My Name is Hiroshi Nohara, Star of Neon Film and Television!

Chapter 257: Nohara Hiroshi Is the Seed! He Is Japan's Future! Everyone's Recognition!

This book is first published across the entire internet by 𝕥𝕨𝕜𝕒𝕟.𝕔𝕠𝕞

Early morning in the TV Tokyo pantry, the coffee machine gurgled with hot steam, and freshly baked red bean buns emitted a sweet aroma.

Sato Nanako, the young editor in charge of post-production for "Yamishibai," held a newly printed promotion notice, her voice full of excitement: "Look at this! Hiroshi-san really got promoted to Level 2 Director! And he's concurrently the Deputy Bureau Chief of Kanto TV! This is too amazing!"

Next to her, Yamada Keisuke, responsible for the anime storyboards, leaned over, his eyes widening: "Really? But this was to be expected! No surprises here! The last time I asked Hiroshi-san for advice on storyboard design, he just glanced at my sketch and pointed out, 'The scarecrow shot needs to be from a low angle to highlight the sense of oppression.' Later, that storyboard became the most popular scene in 'Yamishibai'! With his talent, he should have been promoted long ago!"

"Isn't that the truth!" Momokawa Jin, responsible for sound effects, walked over holding a coffee cup, nodding repeatedly. "Before, when recording the 'Rainy Night Ghost' segment of 'Tales of the Unusual,' I always felt the sound effects were lacking something. Hiroshi-san told me to add 'the hollow sound of rain hitting an iron shed,' and instantly it had that eerie feeling! I couldn't catch up to that kind of control over details even if I studied for another five years!"

Tanaka Sumiko, the cleaning lady who was wiping the table, couldn't help but interject upon hearing the trio's conversation: "I clean Hiroshi-san's office every day, and I always see his desk piled high with materials on craftsmen. At night, he's still revising proposals, sometimes working overtime until dawn without going back. A young man who works so hard and has such talent deserves to be promoted!"

Sato Nanako waved the notice in her hand, her tone full of admiration: "Look at what's written in the notice, 'Special promotion in recognition of his outstanding contributions to cultural inheritance and program innovation'! Even the Station Chief signed it personally;

this kind of treatment is too rare!"

Yamada Keisuke rubbed the back of his head and said with a smile: "I heard from Section Chief Hashimoto Ichiro before that in order to film 'A Bite,' Hiroshi-san specially went to Chiba Fishing Port to learn how to cast nets with the fishermen for half a month. He got several blisters on his hands but never complained of pain. With this kind of dedication, who can compare?"

Momokawa Jin took a sip of coffee and sighed with emotion: "I used to always think 'geniuses' were born that way. It wasn't until I saw Hiroshi-san that I realized a genius also has to work ten times harder than others! I'm not surprised at all that he was promoted to Level 2 Director;

I even feel it came late!"

In Iwata Masao's office, sunlight spilled across the desk through the blinds, and the script for "Onibo Samurai" was still spread out on the corner of the table.Holding a copy of the Asahi Shimbun, which published the news of Nohara Hiroshi's promotion, he sighed softly: "Before, I was always unconvinced, thinking that the 'Yamishibai' he directed was just lucky. It wasn't until I saw the rough cut of 'Seven Samurai'—when the farmers resisted the bullies, the camera cutting between the hoes and the samurai swords, that kind of tension from class conflict, I can't film that."

Sitting across from him, Ashikaga Takashi, holding the storyboard script for "Seven Samurai," spoke with a tone full of emotion: "When I used to film period dramas, I only thought about making the armor shiny and the fights dazzling, but I forgot the core of the story. When Hiroshi-san filmed 'Seven Samurai,' he was even particular about the patches on the farmers' clothes, saying 'the position of the patches shows the hardships of life'—I am far behind in this kind of understanding of the characters."

Iwata Masao put down the newspaper and tapped his fingers lightly on the desk: "Last time the station organized director training, Hiroshi-san talked about 'how to convey emotion with the camera' and used the example of 'the boss cooking ramen for the lonely old man' in 'Midnight Diner.' He said, 'The camera doesn't need to be shoved in the face to film a crying scene;

filming the old man's hands clutching the chopsticks is enough.' At the time, I felt that he saw things more clearly than us veteran directors."

Ashikaga Takashi nodded in agreement: "Isn't that the truth! Before, when I filmed 'Sengoku Scenery,' I wanted to express the general's loneliness and used a lot of empty shots. In the end, the audience said they 'couldn't understand.' Later, after watching Hiroshi-san's 'Tales of the Unusual,' I realized that 'loneliness' can be filmed through the detail of a general repeatedly wiping an old sword—I have to study this ability to let details speak."

Iwata Masao picked up his coffee cup, taking a sip, his tone holding a bit more relief: "No one can gossip about his promotion to Level 2 Director. I used to always want to compete with him, but now I understand that true greatness isn't about beating others, it's about driving the progress of the entire industry. With him at TV Tokyo, us veteran directors also have to progress, otherwise we really will be phased out."

In Tanaka Kei's office, the latest recording plan for "Kasou Taishou" was spread out on the desk. Several young directors gathered around, discussing Nohara Hiroshi's promotion.

"Kei-san, you've collaborated with Hiroshi-san the longest. Tell us, shouldn't he have been promoted long ago?" Takahashi Nanako, the director responsible for the family creativity segment, spoke with a tone full of anticipation.

Tanaka Kei put down the pen in his hand and nodded with a smile: "Of course! I still remember when 'Kasou Taishou' first launched, everyone thought 'family costume changes' lacked viewing appeal. However, Hiroshi-san insisted, 'We have to film the process of the family rehearsing together;

that kind of tacit understanding is more touching than the costume change itself.' Later, the first episode aired, and a family resolved a parent-child conflict because they rehearsed together. Letters from the audience piled up on the desk!"

Watanabe Kenta, the director responsible for props, holding a newly made "robot" prop, sighed with emotion: "Last time we recorded the 'Future World' theme, I always felt the robot I made was missing something. Hiroshi-san had me add a 'family photo sticker' to the robot's chest, saying, 'No matter how amazing technology is, it can't match the warmth of a family.' Consequently, that segment became the most popular program of the episode!"

Takahashi Nanako waved the audience letter in her hand, her tone full of admiration: "Look guys, this letter says, 'Because we watched Kasou Taishou, our family does crafts together every week now, and the neighbors are envious'! Hiroshi-san doesn't just make programs;

he also changes everyone's lives. With this kind of ability, who can compare?"

Tanaka Kei took a sip of tea and added: "Another time, a kid was so nervous he forgot his lines on stage. Hiroshi-san didn't stop the recording;

instead, he had the host interact with the kid, and in the end, the kid successfully completed the performance. He always says, 'The program is important, but people's feelings are more important'—this empathy is more precious than any skill."

Watanabe Kenta scratched his head and said with a smile: "Now that Hiroshi-san has been promoted to Deputy Bureau Chief, he'll definitely bring more good ideas to our Variety Department in the future! I'm already starting to look forward to the new theme for Kasou Taishou!"

In the office of TV Tokyo's Administration Department, several clerks were organizing documents, and the topic unconsciously drifted to Nohara Hiroshi's promotion.

"Did you guys hear? Hiroshi-san got promoted to Level 2 Director and is concurrently the Deputy Bureau Chief of Kanto TV!" Kobayashi Miho, the clerk responsible for document archiving, said, her voice full of surprise.

Sato Kenichi, the clerk responsible for financial reimbursement, holding the newly reviewed "A Bite" expense report, nodded and said: "He should have been promoted long ago! I looked at the 'A Bite' expense report. Every penny is spent exactly where it's needed, like buying equipment for craftsmen or doing local research. He never wastes a single cent. Previously, a director filming a variety show spent over a hundred million just on celebrity appearance fees, and the ratings weren't even a fraction of 'A Bite's'!"

Takahashi Ryoko, the clerk responsible for personnel files, holding Nohara Hiroshi's file, sighed with emotion: "Look at Hiroshi-san's file. He's been at the station for less than two years, won three major industry awards, and the programs he films either drive cultural inheritance or change social morals. What station wouldn't want talent like this?"

Kobayashi Miho put down the documents in her hand, her tone full of admiration: "Last time I went to deliver documents to Hiroshi-san, I saw his office plastered with craftsmen's contact information, and it also said, 'Call the old baker once a week to understand bread sales.' With this level of dedication, who else can do it?"

Sato Kenichi took a sip of tea and added: "There was another time when the budget for 'Seven Samurai' was a bit tight. Hiroshi-san took the initiative to propose, 'Reduce my director's fee and use the money for filming.' Which director nowadays doesn't think about getting more money? Only Hiroshi-san can do this!"

Takahashi Ryoko closed the file and said with a smile: "With Hiroshi-san at TV Tokyo, our station will definitely develop even better in the future! I've already agreed with my friends;

from now on, I'll follow all of TV Tokyo's programs!"

In the office of Kanto TV's Production Department, Matsui Yuichi, holding Nohara Hiroshi's promotion notice, addressed Yamada Takashi, Fujishita Ken, and others, his tone full of emotion: "Before, I always felt that people from TV Tokyo didn't understand Kanto's traditional crafts. That was until Nohara-kun talked to me about the 'Chinkin' process of Ibaraki lacquerware, and he even knew the most obscure 'Akaji Chinkin' technique—that kind of reverence for culture is deeper than ours, who are native to Kanto. For him to serve as Deputy Bureau Chief, I am convinced."

Yamada Takashi put down the "Kanto Lacquerware" proposal in his hand and nodded: "The 'Transforming Fishing Ports' proposal I submitted before, I myself felt it was lacking something. As a result, Hiroshi-kun only gave the suggestion to 'track and film the seasonal changes of fishermen families,' and it instantly came alive. Now when I chat with the old fishermen in Chiba, they are all looking forward to starting filming soon, saying 'We want more people to know about our lives.' With this ability to connect 'the work and people's hearts,' he truly deserves the promotion."

Fujishita Ken walked in hugging a stack of advertising contracts, the fat on his face squeezing together into a smile: "Let me tell you guys some good news! The 'Asakusaya' sushi place that was hesitating before, heard that Nohara-kun was serving as Deputy Bureau Chief, and immediately signed an annual advertising contract, even saying they want to sponsor Kanto TV's documentaries! Their boss said, 'Programs made following Nohara-kun will definitely touch people's hearts'!"

Kobayashi Kijiro also leaned over, his notebook filled densely with words: "My previously rejected proposals for 'Old Street Explorations' and 'Traditional Cloth Dyeing' have now been revitalized by Hiroshi-san! He said, 'Every old craft has a story;

the key is finding the point that can resonate with young people.' Now the proposals in my hands are scheduled all the way until the year after next, and even NHK came to ask if we can co-produce!"

Saito Shigeru hadn't spoken, but at this moment, he silently took out his phone and pulled up previously filmed behind-the-scenes footage for "A Bite"—in the video, Nohara Hiroshi squatted on the ground, kneading dough with the old baker, holding a small notebook in his hand, earnestly recording, "The yeast fermentation temperature must be controlled at 28 degrees."

He shook his phone at everyone: "A director who can squat down and learn skills from a craftsman is a hundred times better than those who only sit behind a monitor gesticulating."

Matsui Yuichi watched the behind-the-scenes footage and nodded lightly: "Before, I always thought that making documentaries was just about filming the craft clearly, until Nohara-kun told me, 'Crafts are dead, people are alive;

only by bringing people to life on film can you bring the craft to life.' Now I finally understand why his programs can become so popular—because what he films are people's hearts!"

...

In the meeting room of Osaka TV, Yamada Kosaku held a copy of the Asahi Shimbun. Addressing the station's directors, his tone was full of emotion: "I've been filming documentaries for thirty years. I always thought about capturing the 'tradition' authentically but forgot that audiences need 'resonance.' When Nohara-kun filmed 'A Bite,' he captured the old baker's longing in the dough and hid the fishermen's resilience in the waves—this ability to 'see the big picture through small details' is truly formidable."

Saeki Yosuke, the director responsible for variety shows, holding a recording clip of "Kasou Taishou," sighed: "Our station previously wanted to imitate 'Kasou Taishou' and make a family talent show. As a result, it came out looking like a farce. Later I found out that Nohara-kun added details of 'neighborhood mutual assistance' to the program, like having neighbors help make props, or having kids teach the elderly how to dress up—that kind of connection between people, we didn't capture at all."

Kobayashi Mai, the director responsible for documentaries, holding the storyboard script for "A Bite," her tone full of admiration: "Look at this shot. When the old baker brushed egg wash on the bread, his hand would involuntarily tremble a bit. Nohara-kun gave this close-up five seconds and paired it with the old tune the old baker was humming—I never thought of this kind of detail, 'Hearing Thunder in a Silent Place'."

Yamada Kosaku took a sip of tea and added: "The last time I went up to Tokyo to attend the industry conference, I chatted with Nohara-kun about the creative concepts behind 'Seven Samurai.' He said, 'Farmers aren't a symbol of weakness;

they have their own wisdom and courage.' Later I re-watched 'Seven Samurai,' and only then did I realize that when the farmers resisted, the hoes in their hands had more power than the samurai swords—I'm far behind in this depth of understanding characters."

Saeki Yosuke put down the clip and sighed: "Now the ratings for our station's variety shows are getting lower and lower. I told the team, 'We need to learn from Nohara-kun's ideas and shoot more warm details,' but they always say, 'Audiences just like to watch lively scenes.' Now seeing Nohara-kun's promotion, I'm even more certain: only programs that touch people's hearts can be enduring."

Kobayashi Mai closed the storyboard script and said with a smile: "I've already applied with the Station Chief. Next time I go to Tokyo, I must visit Nohara-kun and learn from him how to film warm documentaries. With someone like him around, Japan's documentaries have a future!"

...

In the office of Nagoya TV, several young directors gathered around a computer, repeatedly watching a clip of "Seven Samurai," discussing it fervently.

"Look at this shot, the hand of the farmer gripping the hoe, the knuckles are swollen, and there's dirt under the fingernails—Nohara-kun even noticed this kind of detail!" Takahashi Kenta, the director responsible for period dramas, pointed at the screen, his tone full of surprise.

Sato Nanako, the director responsible for documentaries, holding the filming notes for "A Bite," nodded: "When I filmed the documentary on 'Nagoya Miso' before, I only thought about filming the miso production process. As a result, the audience said 'it was too boring.' Later, I read Nohara-kun's filming notes and realized that when he filmed the old baker, he didn't just film kneading dough, but also filmed the old baker saving their favorite flavor for regular customers—this kind of 'human touch' is something I never considered before!"

Suzuki Keisuke, the director responsible for post-production, holding the editing materials for "Tales of the Unusual," sighed: "Last time I edited the 'Watchmaker's Secret' segment, I always felt the pacing was off. Later, I learned from Nohara-kun's editing ideas, intercutting close-ups of the watchmaker repairing watches with photos of his daughter, and the audience all said, 'It moved us to tears!' This ability to connect emotions using details is too amazing!"

Takahashi Kenta took a sip of coffee and added: "Before, when I filmed period dramas, the actors' armor was newly made and looked very shiny. As a result, Nohara-kun said, 'The scratches and rust on the armor are what show the general's experiences.' Later I had the props department age the armor, adding some battle scratches, and the audience all said, 'It's immersive'—I must study this dedication to detail."

Sato Nanako put down the filming notes and said with a smile: "Now that Nohara-kun has been promoted to Deputy Bureau Chief, I heard he wants to push the 'Cultural Export' project. Maybe our Nagoya miso and lacquerware will also have a chance to be filmed in a documentary and step onto the world stage!"

Suzuki Keisuke nodded, his tone full of anticipation: "If we really get to collaborate with Nohara-kun, I definitely have to learn from him how to shoot warm works. With a director like him around, Japan's film and television industry will definitely get better and better!"

...

In the meeting room of Hokkaido TV, Takeuchi Ryo held the clip of "A Bite" showing the Hokkaido fishing season. Addressing the young directors in the station, his tone was full of emotion: "When I shot 'Fishing Season,' I only thought about recording how the fishermen caught fish, but I forgot to film their wives preparing hot tea for them when they woke up at 3 AM. Nohara-kun, however, filmed all these details—what the audience is watching isn't the fishing techniques, it's the human touch behind it!"

Kobayashi Kenta, the director responsible for documentaries, holding the research materials for "A Bite," nodded: "Last time I went to Asahikawa in Hokkaido to film 'Ramen Masters,' I only filmed the ramen-making process. As a result, the audience said 'they felt nothing.' Later, I read Nohara-kun's research materials and found out that before filming the old baker, he spent a whole month living with the old baker to understand his story—I couldn't do this kind of 'deep dive into life' attitude before!"

Sato Keisuke, the director responsible for photography, holding the photography notes for "Seven Samurai," sighed: "Last time I shot the 'Hokkaido Snow Scenery' documentary, I always felt the picture was missing something. Later I learned from Nohara-kun's photography ideas, using a low angle to shoot footprints in the snow, accompanied by the sound of the wind, and the audience all said, 'It feels like being there'! This ability to convey atmosphere with the camera is too amazing!"

Takeuchi Ryo took a sip of tea and added: "I previously chatted with Nohara-kun about the creative concepts behind 'Flavors Across Mountains and Seas.' He said, 'We need to film the collision of different cultures, for instance, combining Hokkaido's catch with Southeast Asian spices'—this kind of international vision is far beyond us local station directors."

Kobayashi Kenta put down the research materials and said with a smile: "Now that Nohara-kun has been promoted to Deputy Bureau Chief, I heard NHK wants to collaborate with him on the 'Cultural Export' project. Our Hokkaido fishing season and Sapporo ramen might both have a chance to be filmed in it. By then, people all over the world will be able to see Hokkaido's beauty!"

Sato Keisuke nodded, his tone full of anticipation: "If I can shoot together with Nohara-kun, I definitely have to learn from him how to use the camera to record culture and convey emotion. With someone like him around, our Japanese traditional crafts and stories will definitely be known by more people!"

...

The discussion in the meeting room of the Nippon Hoso Kyokai (NHK) continued. The afternoon sunlight cast mottled shadows on the desk through the floor-to-ceiling windows.

Watanabe Masao hung up the phone with Miyazawa Yuichi, turned to the crowd, and his eyes carried a bit more solemnity: "Everyone, I just finished chatting with Minister Miyazawa, and he also agrees with our idea—Nohara Hiroshi is not only a talent for TV Tokyo but a 'potential stock' for the entire cultural field in Japan. Our association must treat him as a key target for cultivation."

Upon hearing this, Sato Kiyokazu immediately put down the documents in his hand and leaned slightly forward: "Chairman Watanabe is right. Currently in Japan's film and television industry, older directors mostly stick to tradition, while the younger generation lacks talent capable of taking on major responsibilities. Nohara Hiroshi happens to fill this gap. He can understand the value of traditional crafts, understands the aesthetics of young people, and can also grasp the demands of the international market—it would be too much of a pity not to focus on cultivating someone like this."

"Isn't that the truth!" Yamada Takashi picked up the thread of the conversation, his fingers lightly tapping on the table. "I chatted with the Bureau Chief of the Cultural Affairs Bureau of the Ministry of Education before. He said what gives the Cabinet the biggest headache right now is 'cultural inheritance gaps' and 'weak international dissemination.' Nohara Hiroshi's 'A Bite' perfectly solved these two problems: it made young people refocus on traditional crafts, and it allowed foreigners to understand Japanese culture through food. If we can propel him to a higher platform, it will be beneficial for the entire country's cultural strategy."

Watanabe Masao nodded, took a thick folder from the drawer, and placed it on the table: "This is all the material on Nohara Hiroshi's works and industry evaluations that I had my secretary compile. Look, from 'Yamishibai' to 'Seven Samurai,' every work has a breakthrough;

from an ordinary director to Head of the Independent Production Department, and now Level 2 Director and Deputy Bureau Chief of Kanto TV, his growth speed far exceeds his peers. More importantly, he's not only talented but also understands 'responsibility'—when filming 'Kasou Taishou,' he actively promoted neighborhood interaction;

when filming 'Midnight Diner,' he focused on the needs of lonely groups. Such a responsible young man is worth pouring resources into cultivating."

Sato Kiyokazu picked up the folder, flipping through it quickly, his tone full of emotion: "Look at this audience survey. Among the audience for 'A Bite,' young people aged 20-30 account for more than 60%, and 15% are foreign viewers. In the past, when we shot documentaries on traditional crafts, the audience was mostly middle-aged and elderly. Yet Nohara Hiroshi can interest both young people and foreigners—this 'boundary-breaking' ability is innate, but also the result of hard work."

Yamada Takashi suddenly thought of something, his tone carrying a bit of anticipation: "I have an idea. Our association can partner with TV Tokyo to establish a 'Cultural Innovation Special Fund' for Nohara Hiroshi, specifically supporting him in doing projects that 'fuse tradition and modernity.' For example, having him shoot a documentary on the 'rejuvenation of traditional crafts' or develop overseas spin-off content for 'A Bite'—this will not only help him expand his creative boundaries but also set an 'innovation benchmark' for the industry."

Upon hearing this, Suzuki Abehide nodded immediately in agreement: "This is a great idea! The special fund can not only provide financial support but also help him connect with more resources—such as the Ministry of Education's craftsman network, the Ministry of Foreign Affairs' overseas promotion channels, and even the Cabinet's cultural export policies. With these resources, the scope of influence of Nohara Hiroshi's works will be much larger than it is now."

Watching everyone's enthusiastic discussion, a satisfied smile appeared on Watanabe Masao's face: "Everyone's ideas are very spot on. But we must also take a longer-term view—Nohara Hiroshi is only 23 now, and there are decades of development ahead of him. We shouldn't merely support his creations but also help him accumulate 'industry influence' and 'societal recognition.' Examples include recommending him to join the Cultural Affairs Agency's 'Traditional Craft Protection Committee,' inviting him to act as a judge at international documentary festivals, and even having him participate in the Cabinet's 'Cultural Strategy Symposiums'."

Sato Kiyokazu was slightly taken aback but then understood: "Chairman Watanabe, do you mean... to have him develop towards 'cultural policy'?"

Watanabe Masao didn't answer directly but looked out at the streetscape of Tokyo through the window, a hint of emotion in his tone: "What our Japan lacks most now are versatile talents who 'understand culture, understand dissemination, and understand policy.' Nohara Hiroshi possesses creative ability and understands grassroots needs;

he has international vision and can grasp overseas markets;

and he has a sense of responsibility and is willing to work for cultural inheritance. Should he be gradually exposed to the political sphere, he could potentially become a bridge connecting the 'cultural field' and the 'political field' in the future—this yields greater value for the entire nation's long-term development than him simply being a director."

Understanding this, Yamada Takashi's eyes instantly brightened: "That's right! Right now, the Cabinet's cultural policies are mostly decided on the fly by politicians, rarely considering actual dissemination effects. If Nohara Hiroshi participates, he can offer suggestions from a creator's perspective, making policies more aligned with market demands and closer to people's lives. For example, the 'Traditional Craft Promotion Plan' pushed by the Ministry of Education before was too rigid, and its effects were always poor. If Nohara Hiroshi designs it, he might be able to implement policies through 'storytelling,' just like jumping out of 'A Bite'."

Sato Kiyokazu also nodded along, his tone full of agreement: "I chatted with Minister Hattori Tadashi before. He said what the Tokyo Metropolis 'Cultural Revitalization Plan' currently lacks is an advisor who 'understands dissemination.' If we recommend Nohara Hiroshi to Minister Hattori to participate in the formulation and promotion of the plan, it might elevate Tokyo's cultural influence to another level. Moreover, Nohara Hiroshi has a good reputation among the public. With his participation, policy acceptance will also be much higher."

Suzuki Abehide suddenly thought of a problem, his tone carrying some worry: "But Nohara Hiroshi's main energy is currently on creation. Will he be unwilling to get involved in the political sphere? After all, many creators resent 'being tied by policy'."

Watanabe Masao smiled and shook his head: "I'm not worried about that. I chatted with Sakata Nobuhiko before, and he said although Nohara Hiroshi focuses on creation, he understands very clearly that 'culture needs policy support.' When filming 'A Bite,' he actively liaised with local governments and secured 'traditional craft protection subsidies.' When working on the 'Cultural Export' plan, he was also willing to communicate with relevant Cabinet departments. He's not the kind of creator who 'works behind closed doors';

conversely, he understands 'riding the momentum'—such a person won't lose his creative intent even if he gets involved in politics, but instead can better use policy to push cultural development."

Yamada Takashi picked up the document from the table, turning to the proposal for "Flavors Across Mountains and Seas," his tone full of anticipation: "Look at this proposal. Nohara Hiroshi plans to go to Southeast Asia, the Middle East, Europe, etc., to film the collaboration between Japanese artisans and their local counterparts. Should this project be executed well, it won't just elevate the international influence of Japanese culture but will also provide a boost to the Cabinet's 'Cultural Diplomacy.' If our association could aid him in connecting with the overseas embassies and consulates of the Ministry of Foreign Affairs, allowing local Japanese cultural centers to assist with filming, the impact of this project will yield twice the result with half the effort."

Sato Kiyokazu added: "I can also coordinate with NHK and have them promote 'Flavors Across Mountains and Seas' as an 'Annual Key Project.' Not only would it air during prime time domestically, but it could also cover the globe through NHK's overseas channels. In this way, Nohara Hiroshi's influence will spread internationally much faster, and it will also let the Cabinet see his 'strategic value'—paving the way for his exposure to higher-level policies later on."

Watching everyone chime in, a knowing smile appeared on Watanabe Masao's face: "It seems everyone already possesses a clear line of thought. Next, we'll proceed in three steps: First, partner with TV Tokyo to establish the 'Cultural Innovation Special Fund' to back Nohara Hiroshi's creations;

second, recommend him to participate in relevant meetings of the Cultural Affairs Agency and the Cabinet to accumulate experience in the policy domain;

third, help him connect with international resources to elevate his global profile. We must let the Cabinet see that Nohara Hiroshi can not only shoot great works but also become the 'core driving force' of Japan's cultural strategy."

Suzuki Abehide suddenly remembered something and asked: "Chairman Watanabe, should we communicate with TV Tokyo first? After all, Nohara Hiroshi is TV Tokyo's man. Our cultivation plan must get Sakata Nobuhiko's support."

Watanabe Masao nodded with a smile: "I've already considered this. In the afternoon, I will go visit Station Chief Sakata at TV Tokyo and detail our plan with him. Given how highly Station Chief Sakata regards Nohara Hiroshi, he will certainly fully cooperate—after all, this isn't just for Nohara Hiroshi personally, but for TV Tokyo, and for Japan's cultural future."

The atmosphere in the meeting room gradually grew fervent. The topic shifted from the "Cultivation Plan" to the "Responsibility of the Younger Generation."

Sato Kiyokazu put down the folder in his hand, a hint of emotion intertwining his tone: "Actually, there's another important reason why we place such heavy emphasis on Nohara Hiroshi—the youth demography of contemporary Japan predominantly lacks 'accountability' and 'forward vision.' Multitudes of youth permeating the broadcast media industry solely envision fabricating fast-food styled variety, superficial idol features meant for swift monetary gains. Exceedingly sparse are individuals willing to calm down and develop artworks possessing significant cultural merits. Nohara Hiroshi precisely stands as an exception. He exhibits eagerness expending half a year following recording a veteran baker, willingly polishing singular sequences repeatedly—such 'artisanal spirit' deserves emulation from all youth cohorts."

Yamada Takashi resonated profoundly. Gripping "A Bite's" behind-the-scenes recordings situated atop the table, he pointed toward frames detailing Nohara Hiroshi crouching upon grounds extracting dough-kneading techniques adjacent a veteran artisan: "Behold this frame. To perfectly record sequences encapsulating Saitama's classic bakery during that temporal instance, he remained stationed inside the establishment for a complete monthly span. Daily awaking simultaneously at three ante-meridian shadowing Sato-san manipulating ingredients. Developing blisters traversing his hands yet omitting mentioning exhaustion even once. Exceedingly scarce are contemporary youths maintaining this measure of 'perseverance'."

Suzuki Abehide acquired the topic, his tone saturated with helplessness: "I interfaced with a few recently graduated directors prior. When documenting documentaries, they omitted conducting elementary background research concerning interviewed subjects, fixated unilaterally upon swift completion submitting assignments. Contemplated relatively aligned against Nohara Hiroshi, deficiencies bypass merely constituting talents, notably manifesting across attitudes. Cultivating Nohara Hiroshi simultaneously purposes projecting an 'Iconic Exemplar' traversing towards youth cohorts utilizing his form—Communicating towards them indicating partaking this profession relies not exclusively leveraging intuitive talent but significantly hinging atop effort paired with responsibility."

Watanabe Masao nodded, his tone gaining gravity: "Present trajectories spanning Japan's economic panoramas yield compounding obscurities. Deferment concerning real estate ruptures remains an eventual certainty. Concurrently confronting equivalent timelines, comprehensive populations stand facing a 'Crisis of Confidence.' Traversing these junctures, necessitate augmented requisites demanding culturally moving artworks carrying warmth combined with strength unifying human spirits. Nohara Hiroshi's artworks precisely execute these outcomes optimally—'Midnight Diner' administrates warming comforts reaching solitary individuals. 'Seven Samurai' transmits revealing bravery fighting predicaments. 'A Bite' grants populations restoring discovering adjacent overlooked beauty. Artworks mirroring similar attributes eclipse whatsoever policy slogans resonating human spirits profoundly."

Listening towards this, Sato Kiyokazu instantly inserted additions: "Furthermore Nohara Hiroshi's artworks identically maneuver catalyzing 'Cultural-Economic' prosperities. Analogous citing 'A Bite' subsequent to broadcast, monthly revenue distributions characterizing Saitama's classic bakery magnified tripling quantifiably. Chiba's fishing port perceived tourist volume magnifications, correlated local governments extracting augmented taxation incomes sequentially. Such mechanisms intertwining 'Culture driving economy', supposing expanded utilizations propagate expansively, plausibly translates becoming 'Newer Avenues' combating economic down-trends. Pertaining toward Nohara Hiroshi, he occupies roles characterizing 'Pathfinders' blazing traces tracking identical avenues."

Looking at documents occupying desk areas, Yamada Takashi suddenly spoke: "I harbor an additional ideation. Our association possesses capacity leveraging co-operative collaborations intertwining Education Departments, injecting Nohara Hiroshi's artworks into 'Primary and Secondary Cultural Syllabus'. Citing instances implementing 'A Bite' sequences teaching juveniles grasping traditional artisanry. Alternatively deploying 'Tales of the Unusual' specific episodes teaching youths comprehending humanity's virtuous versus malicious dichotomies. Enacting thusly bypasses merely permitting larger youthful demographics acknowledging Nohara Hiroshi's artworks, additionally structuring inherent cultural consensus identifiably originating childhoods— This bypasses pure policy-propagating efforts demonstrating enhanced efficacies substantially."

Watanabe Masao's eyes brightened, bobbing affirmative head-nodding promptly: "Exemplary proposal! Progressing tomorrow I'll coordinate communication associating Ministry of Education's educational commission pushing corresponding manifestations forwards. Nohara Hiroshi's artworks harbor both artistic values combined with educational significances, suiting exceptionally adapting as scholastic manuals. Moreover funneling paths structuring similar manners diffuses tracing his influence bridging generalized populace spectrums. Setting ground-level foundations aiding subsequent participation involving formulation regarding cultural strategies."

Meetings traversing ongoing durations extended continuous converses. Interchanging topics stretching cultivation planning linking exemplar operations, migrating cultural-driven economies reaching scholastic outreach. Participating personalities uniformly strategizing ideating supporting extending Nohara Hiroshi's future alongside Japan's cultural proliferations respectively.

Exterior aerial skies gradually descending encapsulating dark shades natively. Illuminating city neons initiated flickering operations, reflecting capturing anticipating visages spanning individual constituents occupying conference enclosures entirely.

...

Approaching evening periods natively. Watanabe Masao transporting arrayed compiled documentations relating Nohara Hiroshi natively... Commencing driving navigating Cabinet's Office Building locations directly.

Within meeting rooms occupying Cultural Agency limits natively... Executing meeting occurrences encountering Chief Cabinet Secretary Matsumoto Kenichi paired concurrently with Minister of Education Tanaka Takashi.

“Secretary Matsumoto, Minister Tanaka, gratitude extended accommodating respective busy schedules receiving my presence.” Watanabe Masao handed over document portfolios... Tone expressing respectful attitudes maintaining firmness inherently, “Arriving today predominantly aiming submitting recommendations directing duo individuals toward single personality— Tokyo TV's Nohara Hiroshi.”

Matsumoto Kenichi accepting acquiring documentation files... Flipping spanning several pages... Tones encompassing harboring minor curiosities natively: "Nohara Hiroshi? Recollecting auditory recognitions previously surrounding him. Specifying matching characterizing youth director producing 'A Bite of Neon' accurately?”

“Precisely!”

Watanabe Masao nodding... Tone manifesting complete admiration intrinsically. “Dismissingly acknowledging solely producing 'A Bite', additionally integrating 'Yamishibai', 'Seven Samurai', 'Kasou Taishou' incorporating successive excellent masterpieces identically. Present temporal spans marking newly achieved Tokyo TV special promotions acquiring Level 2 Director standing natively, concurrently holding Deputy Bureau Chief ranks associating Kanto TV. Arriving today manifesting suggesting intimating Cabinet acknowledging prioritizing labeling him adopting ‘Cultural Sector Key Cultivation Talent’ evaluating paradigms.”

Tanaka Takashi capturing taking documents natively. Carefully inspecting analyzing reviewing 'A Bite's overseas dissemination statistical data comprehensively... Eye expressions emitting total surprise intrinsically: "Viewing 'A Bite' accumulating exceeding identifying Southeastern Asian requesting metrics rupturing past 8 million milestones? Concurrently stimulating augmenting regional tourisms paired traditional artisanry revitalizations natively? Analyzing evaluating observing youth... Presenting retaining considerable capabilities admittedly.”

Watanabe Masao hurried generating executing supplementary integrations: “Incorporating capacities significantly bypassing restricting identifying singular boundaries exclusively. Observe evaluating parsing these material files natively... Directing producing 'Kasou Taishou', modifying reversing Japan's ‘Neighborhood Apathy’ societal atmospheres globally... Multitudinal respective community spheres catalyzing organizing familial interactive recreational schedules attributable anchoring identifying identical program streams;

Designing directing 'Seven Samurai', extracting evaluating achieving industry-insider appraisals validating 'Samurai Film's Newer Benchmarks', additionally capturing acquiring international cinematic festival nominations identifiably. Holding augmented paramountcy noting age remaining twenty-three years individually... Encompassing forecasting futures defining exploring boundless developmental domains absolutely.”

Matsumoto Kenichi placing laying aside documentation units natively. Fingers executing spotting tapping maneuvers traversing desk panels inherently... Tones encompassing identifying absorbing minor contemplations natively: "Chairman Watanabe, specifying intending communicating assertions indicating... Eliciting requesting Cabinet assigning providing granting augmented resources paired platforms targeting youthful constituents respectively?”

“Affirmative!”

Watanabe Masao executing expressing firm vocalizations definitively. “Current occurrences indicating Cabinet pushing deploying dual strategies integrating 'Cultural Export' combined 'Traditional Artistry Reviving' natively... Nohara Hiroshi matching accurately capable translating representing 'Core Executors' identifying evaluating corresponding dual strategic tracks inherently. Grasping understandings surrounding creations natively... Accomplishing producing creating artworks manifesting acceptances capturing domestic coupled international viewing audiences collectively;

Grasping dissemination mechanisms dependably... Permitting delivering facilitating realizing Japan's culture 'Marching Extensively Outwards' authentically;

Additionally retaining responsibilities comprehensively... Demonstrating willing expending evaluating allocating temporal alongside experiential investments prioritizing generating cultural inheritances. Assuming generating Cabinet supportive measures granting natively... Bypassing solely accelerating strategic grounding processes effectively... Furthermore successfully cultivating producing representing capabilities shouldering ‘Youth Generation Protagonists’ definitively.”

Tanaka Takashi executed nodding motions affirmatively... Tones encompassing identifying full acceptances natively: "Present temporal elements denoting Ministry of Education perceiving biggest headaches generating originating 'Traditional Crafts Lacking Successors' combined 'Cultural Disseminations Missing Innovations' definitively. Nohara Hiroshi's 'A Bite' accurately resolving settling identical dual concerns natively... Supposing accommodating facilitating enabling leading designing guiding arrayed parallel projects natively... Citing ‘Rejuvenating traditional artisanry modifications’ coupled ‘International cultural communicative documentaries’... Generating tremendous assisting properties associating our cultural agendas.”

Matsumoto Kenichi viewing gazing Duo constituents natively... Voicing executing abrupt statements natively: "Thus evaluating assuming determining extracting corresponding conclusions... Dismissing acknowledging resource backings unilaterally... What supplementary variables exist granting distributing allocating targeting youthful components precisely? Necessitating evaluating evaluating extending invitations directing participating specific Cabinet's cultural strategic summits respectively?”

Watanabe Masao's eyes brightened cleanly... Hastening generating executing affirmative head nodding explicitly: "Constitutes identical precise suggestions intended proposing natively! Permitting partaking participating strategic conferences definitively... Serving prioritizing enabling generating offering submitting consultative guidances originating adopting creator's perspective natively... Ensuring strategies anchoring adapting mirroring realistic actual necessities natively... Accommodating extracting facilitating accumulating 'Policy Field Visions' concurrently. Subsequent advancing futures... Presenting predicting forecasting manifesting becoming connecting networking bridge merging overarching spanning 'Cultural Realm' paired 'Political Sphere' respectively— Addressing matching determining analyzing current Japan natively, manifesting exhibiting exceptional deficits evaluating characterizing combining interpreting possessing comprehending cultural dissemination blended overarching policy-formulation versatile talents profoundly.”

Tanaka Takashi engaging joining vocalizing executing corresponding agreements equivalently: "Concurring identically. Approaching initializing phases authorizing directing extending invitations granting labeling 'Cultural Advisors' dependably... Permitting engaging partaking navigating participating Ministry of Education's 'Traditional Craft Protection Committees' natively... Successively executing phased progressive steps tracking integrating accommodating engagements breaching reaching elevated hierarchical strategic policy debate forums dependably. Examples identifying mapping permitting engaging tracking participating 'Strategic Cultural Export Specialized Blueprinting' configurations... Alternatively tracking mapping participating 'Primary-Secondary Cultural Syllabus Educational Reforming' investigating frameworks— Maneuvers defining characterizing identical methodologies executing leveraging exhibiting optimal advantages explicitly... Incorporating facilitating executing easing gradual acclimating transitioning understanding experiencing observing realizing analyzing tracking navigating operating political dominions accurately.”

Matsumoto Kenichi administering contemplating executions enduring brief durations natively. Tones transitioning developing acquiring seriousness inherently: "Agreed! Advancing processing marching subsequent alignments tracking evaluating adhering proposed suggestions explicitly. Chairman Watanabe, troubling burdening conveying negotiating coordinating encompassing Tokyo TV's Sakata Nobuhiko cohesively... Cabinet executing assuring reserving facilitating allocating dedicated fundings combined policy backing components targeting Nohara Hiroshi dependably... Additionally extending expanding inviting involving tracking engaging related corresponding summit gatherings paired projects consistently. Mandating communicating signaling conveying notifying determining establishing establishing demonstrating communicating evaluating... Realization indicating signaling acknowledging Cabinet placing extreme priorities validating recognizing his capabilities... Entire nation encompassing necessitating demanding anticipating requiring characterizing tracing identifying identical personnel capabilities.”

Watanabe Masao hearing recording perceiving inputs natively... Facial profiles demonstrating projecting generating encompassing manifesting gratified smiles implicitly: "Expressing granting distributing evaluating conveying tremendous gratitude acknowledging Secretary Matsumoto, Minister Tanaka! Affirming consolidating believing implicitly... Acquiring achieving securing Cabinet's validations backings inherently... Nohara Hiroshi inevitably unequivocally formulating producing generating generating contributing augmented monumental creations favoring targeting shaping influencing directing characterizing Japan's cultural developments definitively.”

Walking departing exiting bypassing navigating Cabinet Office Building arrays natively... Nighttime shading environments completing arriving encompassing natively. Tokyo's localized street infrastructures gleaming radiating vivid brilliant lights intrinsically.

Watanabe Masao viewing gazing staring targeting maintaining observing remote distant flashing neons adorning skyscraper constructions intuitively... Internal mentalities permeating filling absorbing saturated anticipations natively— Achieving acknowledging comprehending tracing present day's recommendation submissions natively... Bypassing solely laying paving developing generating evaluating executing extended broadened avenues tracking prioritizing accommodating matching predicting Nohara Hiroshi natively... Embodying defining acting planting configuring burying discovering seeding capturing generating boundless hopes characterizing modeling tracking representing evaluating Japan's future cultural evolutions profoundly.

Equating analyzing corresponding determining identical seeds natively... Arriving realizing nearing proximal impending sequential futures... Absolute inevitability characterizing transitioning evolving spanning spanning formulating growing determining constructing building ‘Towering Trees’ supporting facilitating maintaining bolstering retaining stabilizing balancing anchoring maintaining entire industry frameworks... Expanding stretching reaching evaluating encompassing encompassing entire nation cultural advancements cohesively.

Furthermore tracking observing identifying Watanabe Masao currently natively... Eye portions sparkling gleaming generating emitting vivid radiances implicitly... Psychological constructs displaying projecting generating unmatchable unparallel overwhelming prides internally: "Assuming evaluating tracing analyzing anticipating forecasting anticipating succeeding timelines resuming engaging combating battling American imperials respectively... Corresponding resulting Nohara Hiroshi representations defining designating identical matching indicating 'Seed' elements characterizing left buried reserving intentionally tracking targeting aiding Japan achieving attaining regenerating 'Resurrected Prosperity' respectively!"

PS: Pursuing ticket provisions seeking ticket contributions profoundly~

(Chapter Ends)