Chapter 238: 《taste Of Neon》! Hiroshi Nohara’s Brilliant Idea! Shocked Onlookers!
The air conditioner in the Kanto Stage meeting room was still humming, the excitement from the morning discussion on the reform plan hadn’t fully dissipated, the empty ramen bowls and beer cans on the table had just been cleared by logistics staff, when Yamada pushed the door open holding a thick stack of materials, the edges of the paper pages still stained with some morning tonkotsu broth.
“Everyone, I just dug this out from the materials room.”
Yamada placed the materials on the conference table, pointed to the top yellowed booklet, “This is the documentary production report from Showa 56 （1981）, back then Kanto Stage also filmed 《Kanto Folk Chronicle》, unfortunately it only aired for three episodes before being canceled due to low ratings—at that time Tokyo TV’s 《Tokyo Wide Angle》 was super popular, audiences loved urban themes, no one wanted to watch slow-paced folk records.”
Matsui reached out to pick up the report, his fingertip tracing over the embossed title on the cover, his tone carrying a bit of regret: “I remember this piece, back then Old Tanaka was in charge, to film Kamakura’s Dragon Boat Festival, he took the team to squat at the shrine for half a month, and in the end the ratings were only 2.3%, the board of directors directly axed the project. Thinking about it now, if we had persisted back then, maybe Kanto Stage would have had its own documentary signature by now.”
Asumi sat in the main seat, holding a freshly brewed green tea in his hand, gently blowing on the steam: “It’s not just Kanto Stage, the entire Japanese documentary market isn’t thriving right now. I saw Tokyo TV’s annual report before, last year the whole station produced only 12 documentaries combined, not even a fraction of the variety shows, and most were NHK-commissioned historical themes, nothing new.”
Hiroshi leaned back on the chair back, his fingers lightly tapping the desktop, his gaze sweeping over everyone present—Matsui flipping through the old report, his brows slightly furrowed.
Ken Fujishita touched his beer belly, a puzzled look on his face;
Kobayashi opened his notebook, pen tip hovering over the paper but not writing;
Saito was the same as always, clutching his pager, eyes on the sycamore tree outside the window, lost in thought.
He cleared his throat, speaking slowly: “Actually, documentaries aren’t popular right now mainly because the era hasn’t arrived yet. We’re in 1991 now, home television penetration rate is already over 85%, but most families still treat TV as an ‘entertainment tool’, during the prime time slot from seven to ten at night, audiences prefer dramas and variety shows, no one wants to sit down for slow-paced documentaries.”
As soon as he said this, everyone looked over.
Matsui put down the report, curiosity in his tone: “Mr. Nohara, so when do you think the ‘era has arrived’? Do we have to wait until home television penetration rate reaches 100%?”
“It’s not just penetration rate, more importantly it’s the change in audience demand.”
Hiroshi sat up straight, tone confident, “I estimate it’ll be after the 21st century, around 2005 or so, when things will change. By then home televisions will be basically universal in every household, even many families will have two or more TVs, audiences won’t crowd around prime time programs anymore, instead choosing based on their interests—some like late-night animation, some like weekend documentaries, the market will become more segmented.”
He paused, continuing the explanation: “And by then, with economic development at a certain stage, audience aesthetics will change too. Right now everyone is still pursuing ‘stimulation’ and ‘liveliness’ in entertainment, like 《Super Change Change Change》 with its strong interactivity, 《Seven Samurai》 with its big scenes; but in another dozen years or so, audiences will start pursuing ‘depth’ and ‘warmth’, wanting to learn more about the people and things around them through TV, understanding those overlooked cultures and stories—this is when the documentary market will come.”
Asumi nodded, adding: “Mr. Nohara is right. I went to NHK for an exchange before, their documentary person in charge said there’s already signs these years—viewers over 35 are slowly increasing attention to history and folk themes, last year NHK’s 《Japan Old Street Stories》, though aired on Sunday afternoon non-prime time, still hit 4.7% ratings, much higher than expected.”
“4.7%?” Ken Fujishita’s eyes lit up, “That’s higher than some of our current prime time programs! I remember last month our 《Kanto Family Drama》 only got 3.9% ratings, and got laughed at by Tokyo TV people.”
Kimura pushed up his glasses, analytical tone: “This shows it’s not that audiences don’t like documentaries, but we haven’t found the right themes and forms. Our previous 《Kanto Folk Chronicle》 was too ‘preachy’, starting right away with historical background, all static scenery shots, audiences get sleepy watching; but NHK’s 《Japan Old Street Stories》 is different, it follows ordinary people in the old streets, like the bread shop owner, bookstore landlady, using their stories to bring out the old street’s history, much more interesting.”
Kobayashi immediately noted “use character stories to bring history” in his notebook, looking up at Hiroshi: “Mr. Nohara, for our current documentaries, should we also go this route? Not rigid knowledge dissemination, but filming warm people and things?”
Hiroshi nodded with a smile: “Exactly. And Kanto Stage has a natural advantage—Kanto Region has too many people and things worth filming. Like Mr. Matsui just mentioned old crafts, Kamakura’s woodblock print artisans, spending a lifetime on just this one thing, how their craft is inherited, how they face the impact of modern industry, there are too many stories to tell; plus Kanto scenery, like Chiba’s rice field harvests, Gunma’s hot spring festivals, these scenes themselves have great visual impact, paired with local people’s narration, definitely attract audiences.”
Matsui’s eyes gradually lit up, flipping through the old report in his hand, pointing to one page: “Back when filming 《Kanto Folk Chronicle》, we also thought of filming woodblock print artisans, but the board said ‘too niche, no one watches’, ended up changing to shrine history. Thinking now, if we had persisted filming artisans back then, maybe the result would be different.”
“It’s not too late now.”
Hiroshi took over, encouraging tone, “We can start from three directions first—the first is 《Kanto Old Crafts》, specifically filming traditional crafts about to disappear, each episode focusing on one artisan, from their daily work to the craft production process, finally explaining the culture behind the craft; the second is 《Kanto Scenery Painting》, this can continue the old name, but change the content, film festivals and customs in various Kanto areas, like Kamakura’s Dragon Boat Festival, Yokohama’s Asian Street Spring Festival, use lenses to record these lively scenes, intersperse with local people’s memories; the third is 《Kanto Region Landscape Stories》, film Kanto’s natural scenery, but not just scenery, film the people in the scenery, like farmers at the foot of Mount Fuji, Tokyo Bay fishermen, combining scenery and character stories.”
As soon as he finished speaking, the meeting room livened up.
Ken Fujishita was the first to raise his hand, excited tone: “I think the 《Kanto Old Crafts》 direction is good! We can cooperate with Marui Soy Sauce, their boss likes traditional culture, right? Let them sponsor production budget, give their soy sauce bottle a close-up in the film, promotes the craft and pulls ads, best of both worlds!”
“I support 《Kanto Scenery Painting》!”
Kobayashi immediately followed, pen flying on his notebook, “Last year I went to Yokohama Street for interviews, found a dumpling shop there, owner is third-generation inheritor, also makes old-style red bean buns, young people don’t want to learn now, he’s worrying how to pass it on—this story filmed would definitely touch people!”
Yamada nodded too: “《Kanto Region Landscape Stories》 is good too! I have a classmate planting apples at the foot of Mount Fuji, their family five generations, apple variety passed down from Meiji era, now facing competition from imported apples in supermarkets, tough days—film how they persist, how they figure out selling the old variety apples, definitely audiences would watch.”
Kimura pushed up his glasses, steady tone: “I think the three directions can advance simultaneously, first film one pilot episode each, see audience reaction. For production team, we can select a few experienced old cameramen from production department, pair with young directors, old ones understand Kanto local customs, young ones have new ideas, the film would have both warmth and novelty.”
Saito finally spoke, voice as low as always: “No worries on technical side, I can pull out that idle high-definition camera from technical department, used five years but image quality still good, no problem filming scenery and craft details. If special lenses needed, like slow motion, I can modify equipment myself, no need to apply for new.”
Matsui watching everyone’s heated discussion, a long-lost smile on his face, he put down the old report, gratification tone: “Didn’t expect after so many years, Kanto Stage can discuss documentaries again. Back when filming 《Kanto Folk Chronicle》, I thought we’d never have a chance to do our own documentaries again, now it seems I overthought.”
Asumi smiled and raised his tea cup, toasting everyone: “This is all Mr. Nohara’s credit, without him proposing the documentary direction, we’d still be tangled on how to compete for variety resources from Tokyo TV. Come, everyone, tea in place of wine, toast to Mr. Nohara, thank him for pointing a new path for Kanto Stage!”
Everyone raised their tea cups toward Hiroshi, the atmosphere in the meeting room even hotter than morning, even the air conditioner’s hum less grating.
Hiroshi quickly waved his hand, humble tone: “Senior colleagues too polite, I just proposed a direction, specifics on implementation rely on everyone working together. And these three directions we’re discussing now all have huge potential, like 《Kanto Old Crafts》, besides woodblock prints and washi paper, Tokyo’s kimono embroidery, Kanagawa’s lacquerware, all worth filming; 《Kanto Scenery Painting》 can also film Kanto food customs, like origin of eating soba noodles on New Year, history of eating shaved ice in summer, all closely related to audience life, easier to resonate.”
“Food customs?” Ken Fujishita’s eyes lit up, touching his beer belly, expectant tone, “This is good! I love eating most, if filming food, I sign up first to follow shoot! Asakusaya’s owner told me too, their tonkotsu broth simmered three generations, secret recipe, if filmed in, definitely attract more customers!”
As soon as he said this, everyone laughed, Matsui laughed too, fingers lightly tapping table edge, suddenly looking at Hiroshi: “Mr. Nohara, you just mentioned food customs, suddenly thought, can we make a dedicated food theme documentary? After all food, whether young or old, everyone loves watching, maybe easier to attract audiences than old crafts or scenery paintings.”
This made the meeting room instantly quiet, all eyes focused on Hiroshi.
Asumi also looked at him, curiosity in his eyes—no food in the earlier three directions, he wanted to hear Hiroshi’s view.
Hiroshi meeting everyone’s gazes, smile on his face, nodded lightly: “Mr. Matsui is spot on, actually I had this idea from the start, just didn’t dare propose first—after all everyone’s impression of documentaries still ‘serious’ ‘niche’, suddenly saying film food, afraid everyone thinks not ‘professional’ enough.”
“Not professional?” Ken Fujishita immediately retorted, unconvinced tone, “How is food not professional? I chatted with Asakusaya’s owner, their tonkotsu broth simmers twelve hours, selects Kyushu black pig big bones, adds over twenty spices, huge knowledge here! Filmed definitely better than those dry historical documentaries!”
Kobayashi nodded too, writing “food documentary” big in notebook, excited tone: “I support! No dedicated food documentaries on market now, if we do it, we’re first to eat the crab! And food doesn’t conflict with old crafts, scenery paintings discussed before, like filming Kamakura woodblock prints, can also film local seafood rice bowls; filming Yokohama Asian Street, film century-old bun shop’s buns, can mutually promote, make content richer.”
Matsui looking at Hiroshi, expectant tone: “Mr. Nohara, what exactly do you think? How to film this food documentary? Which foods?”
Hiroshi sat straight, serious tone: “I plan to name this documentary 《Taste of Neon》.”
“《Taste of Neon》?” Everyone repeated in unison, eyes full of surprise.
Matsui stroking chin, thoughtful: “This name… sounds very visual, like hearing it brings images of all kinds of delicious food laid out.”
Asumi nodded too, appreciative tone: “Good name, highlights food theme, with poetic touch, more appealing than straightforward 《Kanto Gourmet Journey》. What about content? Only Kanto food, or all Japan?”
“Start with Kanto first, expand to all Japan after gaining fame.”
Hiroshi explained, “Kanto Region has plenty of food already, like Tokyo sushi, Yokohama dishes, Kamakura seafood rice bowls, Gunma hot spring eggs, Chiba rice—each food has stories behind, like Tokyo sushi masters, how select fish, how grip sushi, lifetime persisting traditional methods, craft heart here; Yokohama Asian Street century bun shop, how improve Chinese buns to Japanese tastes, cultural integration here; Gunma hot spring eggs, why only local hot springs boil that texture, regional characteristic here.”
He paused, continuing: “And filming food, not just food itself, but people behind food. Like filming Chiba rice, film farmers planting rice, from spring plowing to autumn harvest, through winds and rains; filming Gunma hot spring eggs, film hot spring inn landlady, up at dawn every day to boil eggs, persisted decades; filming Tokyo sushi master, film how he deals with fishmongers, selects freshest fish—these people’s stories are the soul of food documentaries.”
“Well said!” Matsui couldn’t help clapping, full agreement: “I interviewed in Chiba before, met an old farmer, planted rice lifetime, said ‘rice like child, needs care to grow well’, talks to rice before harvest ‘you worked hard’—this story filmed would definitely touch audiences.”
Asumi looking at Hiroshi, appreciative eyes: “Mr. Nohara, your understanding of documentaries deeper than I imagined. I thought you only good at variety and movies, didn’t expect such unique insights on documentaries.”
Hiroshi waved smiling, humble tone: “Actually I referenced some past ideas. I think good documentaries don’t educate audiences, but move them. Past documentaries too focused on ‘knowledge dissemination’, like lecturing a place’s history, starting with ‘here in Meiji era was like this, Taisho era like that’, audiences get sleepy; but through ordinary person’s story to tell history, like old man recalling childhood life here, audiences accept easier, resonate more.”
He picked up pen on table, drew simple framework on paper: “《Taste of Neon》 first episode, we can film ‘Kanto Breakfasts’. Like Tokyo Tsukiji Market, lively from 4am, fishmongers unloading, sushi masters prepping ingredients, office workers buying breakfast; Yokohama Asian Street, bun shops open 6am, landlady steaming buns, old customers sitting waiting first batch out of pot; Kamakura seaside, fishermen out to sea morning, back selling fresh seafood at wharf, tourists buy and process next door small shop—through these different breakfast scenes, show Kanto people’s life rhythm and food culture, visually appealing and deep.”
“Great framework!” Kobayashi immediately noted in notebook, excited: “I’ll go step on point at Tsukiji Market tomorrow, chat with fishmongers and sushi masters, see if find suitable character stories.”
Ken Fujishita raised hand too: “Familiar with Yokohama Asian Street! Last time went with Asakusaya owner to talk cooperation, know century bun shop owner, he chatted family history, grandfather’s generation came from Southeast Asia and Australia to Japan, started pushing cart selling buns, later opened shop—this story definitely filmable!”
Yamada added: “Been to Kamakura seaside, old fisherman out to sea every morning, back afternoon, says ‘old age, can’t catch too much fish, enough for self plus sell some to tourists’—his mindset great, filmed would touch people.”
Seeing everyone’s enthusiasm, Hiroshi relaxed inside—he was worried at first everyone would think food documentary “not serious business”, now saw not only accepted but very interested.
Asumi raised tea cup, took sip, steady tone: “Since everyone agrees to film 《Taste of Neon》, let’s finalize this project. For production team, Kobayashi handles front research and character interviews, Ken Fujishita assists contacting merchants and venues, Yamada coordinates camera team, Saito technical support, Mr. Matsui experienced as total consultant, Managing Director Asumi and Mr. Nohara overall control.”
He paused, continuing: “Budget wise, I’ll apply to Tokyo TV for pilot funding, about five million yen, first film first episode ‘Kanto Breakfasts’, if good response apply more for follow-ups ‘Kanto Lunches’ ‘Kanto Dinners’ ‘Kanto Snacks’. Also, cooperate with local tourism bureaus, like Kamakura City Government, Yokohama tourism bureau, they’ll sponsor for sure, also promoting their local features.”
Matsui nodded, gratification tone: “Didn’t expect Kanto Stage still chance for such meaningful project. Back filming 《Kanto Folk Chronicle》, I wished to film memorable documentary, now seems wish might come true.”
Hiroshi looking at light in Matsui’s eyes, suddenly felt filming documentaries not just for Kanto Stage reform, but to preserve those about-to-be-forgotten people and things—like 《Taste of Neon》, not just food, but Kanto people’s lives, Kanto culture, warmth and persistence hidden in food.
He suddenly recalled previous life’s 《Taste of China》, that documentary fired because not just food, but people behind food, Chinese life attitudes and cultural inheritance.
Now his 《Taste of Neon》 same principle—use food as link, string together Kanto land, human relations, culture, let audiences feel Kanto warmth while seeing delicious.
“Right, Mr. Nohara.” Matsui suddenly remembered, hesitant tone, “You said filming food needs ‘film people’, but we haven’t filmed this type before, will cameramen unaccustomed? Like how capture character expressions, follow-shoot production process, different from dramas, variety.”
Hiroshi anticipated this, pulled notebook from briefcase, opened few clipped papers—shooting plan he stayed up late writing last night, with simple storyboard sketches.
“Wrote preliminary shooting plan last night, everyone can see.”
He handed plan to Matsui, “Lists key points, like ‘follow-shoot without interference’ during filming, cameraman follows character actions, don’t disrupt work rhythm; also ‘detail close-ups’, like sushi master gripping sushi finger movements, bun shop landlady kneading dough wrist strength, these details give audience immersion; also ‘capture natural reactions’, like diners’ expressions eating delicious, fishermen’s smiles catching fish, these natural moments more moving than deliberate performances.”
Matsui took plan, put on reading glasses carefully reading, eyes brighter: “This plan too detailed! Even storyboards drawn, like filming hot spring eggs, start from hot spring steam, slowly focus to egg, finally bite-open flowing yolk—this shot appetizing!”
Kobayashi leaned over, immediately noted in notebook: “Tomorrow at Tsukiji Market, communicate with cameramen per this plan, focus sushi master hand movements and diner reactions, definitely good shots.”
Saito leaned to look too, brows relaxing: “Technical no problem. Can set camera to ‘movie mode’, finer image quality, more realistic food colors, like sushi rice shiny gloss, hot spring egg yolk orange-yellow texture.”
Asumi seeing clear divisions, relaxed too, stood and clapped hands: “Since plan and team set, start ASAP. Kobayashi and Ken Fujishita step on points tomorrow, Yamada contact camera team, Saito prep equipment, Mr. Matsui overall coordination, I report to Tokyo TV day after, aim start shooting next week.”
“Good!” Everyone chorused, full of vigor.
Just then, Hiroshi’s mobile phone rang, he smiled apologetically, walked to window to answer.
“Hiroshi-kun, it’s me.” Director Sakata’s tired voice from phone, “How’s Kanto Stage reform plan talks? Any resistance?”
Hiroshi glanced at meeting room crowd, relaxed tone: “Director Sakata, all smooth. We’ve set documentary direction, plan film 《Taste of Neon》 first, focus Kanto food and behind character stories, start shooting next week.”
“《Taste of Neon》?” Sakata surprised, then laughed, “Good name! Worried Yuichi Matsui they resist, didn’t expect consensus so fast. See didn’t misjudge, sending you to Kanto Stage right.”
Hiroshi humble: “Mainly Mr. Matsui they have feelings for Kanto Stage, willing effort for reform, I just proposed direction. Right, Station Manager, need five million yen pilot funding for first episode ‘Kanto Breakfasts’, can approve?”
“Five million? No problem.” Sakata agreed readily, “Tomorrow have finance department allocate. Also greeted Minister Tadashi Hattori, he’s Tokyo Metropolis publicity minister, from Tokyo TV, cares for our station people, if documentary needs city government support, find him, like contact Kamakura City Government, Yokohama City Government, they’ll cooperate.”
Hiroshi warmed: “Thanks Station Manager! With Minister Hattori help, smoother filming.”
“No thanks.” Sakata gratified tone, “Do well at Kanto Stage, no rush results, take time, build foundation. Right, Toshihide Takada said City Stage’s 《Tokyo Suburbs Visit》 starts shooting next week too, invited Shunsuke Kamiki as host, pay attention, don’t let them take the lead.”
Hiroshi eyes sank, then smiled: “Station Manager rest assured, our 《Taste of Neon》 different from theirs, they focus ‘visit attractions’, we ‘human stories’, different target audiences, no conflict. Believe warm stories attract more than star hosts.”
“Good, with your words I’m assured.” Sakata lighter tone, “If unsolvable issues at Kanto Stage, call me anytime, don’t shoulder alone.”
Hung up, Hiroshi back to conference table, smiling: “Director Sakata approved our plan, five million yen funding tomorrow, Minister Tadashi Hattori help coordinate local governments too, smoother filming.”
“Great!” Ken Fujishita excitedly patted table, “With funding and government support, definitely best documentary!”
Matsui smiled nodding: “Tomorrow call Kamakura City Government, they wanted promote local seafood before, definitely cooperate.”
Asumi watching excited crowd, suddenly recalled twenty years ago filming 《Kanto Scenery Painting》—back then everyone like this, united for program goal, full vigor. He picked up green tea on table, raised to Hiroshi: “Hiroshi-kun, really thanks this time. Without you, Kanto Stage might still spinning in place, unsure direction.”
Hiroshi quickly waved: “Managing Director Asumi too polite. I just did what should, real hard work Mr. Matsui they, willing drop concerns, effort for Kanto Stage future.”
Matsui looking at Hiroshi, eyes full admiration: “Mr. Nohara, honestly at first bit resistant to you, thought too young, don’t understand Kanto Stage difficulties. But now understand, not only talented, understand what audiences want, what path Kanto Stage should take. Henceforth on documentary filming, command freely, we all listen.”
“Yes!” Yamada added, “You filming 《An Shizhi》《Seven Samurai》, great at grasping audience psychology, this 《Taste of Neon》 definitely grab stomachs and hearts!”
Hiroshi looking at trusting eyes, warm surge inside—traversed this world, from ordinary traverser to Tokyo TV third-class director, now leading Kanto Stage reform, along way much doubt and resistance, but met many like Matsui, Asumi willing believe and support him.
He deep breath, firm tone: “Senior colleagues, thanks trust. Guarantee to everyone, 《Taste of Neon》 will become Kanto Stage signature program, let all Japan know, Kanto Stage not only good local news, but warm deep documentaries, let more understand Kanto food, culture, human relations!”
“Good!” Everyone chorused again, voices full confidence.
……
Kanto Stage meeting room air conditioner still humming, heat from discussing 《Taste of Neon》 not dissipated, shooting plan and storyboard sketches on table still ink aroma.
Kobayashi pocketed notebook heading Tsukiji Market to step point, Ken Fujishita patted chest to contact Yokohama Asian Street bun shop overnight, Yamada hugging old camera manual went to technical department with Saito.
Few hurried steps, even jackets on chair backs forgotten, obviously hooked by new project full energy.
When meeting room door last closed, room instantly quiet, only Asumi fingertip tapping thermos light sound, Kiyoto Suzuki unconsciously rubbing briefcase clasp.
Two eyed each other, saw unsaid concerns in other’s eyes, finally Asumi spoke first, uncertain tone: “Hiroshi-kun, didn’t ask in front of everyone, really put main effort on documentaries?”
Hiroshi not rush answer, instead pulled oolong tea from briefcase, poured cup each, then slow: “Managing Director Asumi worried about ratings? Or afraid headquarters opinions?”
“Both afraid.”
Asumi took cup, fingers pinching cool cup wall, brows not relaxed, “You know, documentaries in Japan always NHK turf, they film history folk with government subsidies, low ratings no fear. But Kanto Stage different, still rely ads to eat now, if 《Taste of Neon》 ratings under 3%, advertisers make trouble, Deputy Station Manager Takada maybe call me tea again.”
Kiyoto Suzuki nodded too, earlier boosted morale but worried inside: “Hiroshi-kun, not pour cold water. Ten years ago Kanto Stage filmed 《Kanto Folk Chronicle》, Mr. Matsui team squatted three months, result? Ratings not even 2.3%, board axed project, production department budget cut half. Now thinner base than then, if flop again, fear no comeback chance.”
He paused, voice lower: “And station old-timers, already dislike you young, if documentary fails, who knows tongue-wagging—last 《Seven Samurai》 big sell, some said ‘good luck’, this flop on documentary, words worse. You only 23, if affects mindset, not worth.”
Hiroshi listening, not surprised.
He leaned on chair back, looking at faded cherry blossom picture on wall—Showa 62 all staff gift, then Kanto Stage profiting, staff smiles come through frame.
He silent seconds, then spoke: “Managing Director Asumi, Mr. Suzuki, you think Kanto Stage problem now lack good programs, or lack standable characteristic?”
This stumped two.
Asumi stunned, subconsciously: “Of course lack characteristic! Past Kanto Stage held Kanto market with 《Kanto Scenery Painting》, because filmed familiar local things, now daily rebroadcast Tokyo TV variety, few Kanto shots, audiences naturally not buy.”
“Exactly.” Hiroshi fingers lightly tapped table, “We do documentaries to pick up this characteristic. Think, City Stage now filming 《Tokyo Suburbs Visit》, Shunsuke Kamiki host, entertainment route, star effect; Tokyo TV variety needless say, 《Super Change Change Change》《All Fleeing》, all rely liveliness attract. If follow their path, can we compete?”
He picked up shooting plan, pointing “Kanto Old Crafts” page: “But documentaries different. We film Kamakura woodblock prints, Gunma washi paper, all Kanto unique, Tokyo TV City Stage can’t film. Even initial low ratings, as long as retain 35+ audiences—they emotional on these old things, slowly build reputation. Reputation up, advertisers come naturally, who not want bind product with ‘Kanto characteristic’?”
Asumi frowned pondering, somewhat convinced but not fully: “But what if… I mean what if, reputation not build, ratings flop? Can’t bet all on documentaries right?”
“Not betting all.”
Hiroshi pulled another file from briefcase, listing project names, “Also prepare let Mr. Hashimoto’s animation production section do short animation called 《Kanto Little Master》, kid follows grandfather learn Kanto food story, link with documentary. And Mr. Yamamoto’s drama production section writing 《Old Street Eatery》 script, set in Yokohama Chinatown, then mutual traffic with 《Taste of Neon》.”
He paused, confident tone: “And we have Minister Hattori support. He’s Tokyo Metropolis publicity minister, friends with Governor Koike, as long as 《Taste of Neon》 films Kanto cultural features, maybe get metropolis government publicity subsidy—then even less ad revenue, subsidies hold, no fear budget overrun.”
Kiyoto Suzuki looking at Hiroshi’s file, each project person in charge and timeline clear, concerns gradually gone.
He recalled last year cooperating 《World of the Strange》 with Hiroshi, this young man same, seemingly casual but considered all risks. He smiled: “You always think so thoroughly. Didn’t say these in front of crowd, afraid too much pressure?”
Hiroshi smiled too, sipped oolong tea: “Mainly want everyone energy united first. Now 《Taste of Neon》 just started, if say ‘backup plans’ at start, would slack. After smooth filming, throw linkage projects, more vigor.”
Asumi fully relieved, leaned on chair back, long exhale: “Speaking, earlier Mr. Matsui eyes lit seeing shooting plan—he lifetime wanted film documentary preserving Kanto culture, this time maybe wish granted.”
“Mr. Matsui truly cares Kanto Stage.” Kiyoto Suzuki gratification, “Ten years ago filming 《Kanto Folk Chronicle》, for one Inari Festival shot, squatted shrine door three days, ended fever but insisted editing. If 《Taste of Neon》 fires this time, fear happy sleepless.”
Hiroshi recalled Mr. Matsui touching old report earlier, warm eyes: “Actually doing documentaries, not just Kanto Stage reform, but for these old employees. Followed Kanto Stage many years, watched from glory to decline, hearts hurt most. If let them hands-on good film, rounds their dream.”
He paused, looked out window—sycamore leaves below fallen few more, wind-blown stuck on Kanto Stage old walls, like those about-to-be-forgotten old crafts.
He suddenly recalled previous life quote: “Documentaries are history’s living fossils”, now to do is put Kanto’s “living fossils” on screen, let more remember this land’s people and things.
“Right, Managing Director Asumi.” Hiroshi suddenly remembered, “Next week shooting, can you tell Deputy Station Manager Takada, have station camera instructors come help? Kanto Stage cameramen experienced, but for ‘follow-shoot without interference’ documentaries, need more pointers—like capture natural reactions, handle detail close-ups, different from dramas.”
Asumi nodded immediately: “No problem! Call Deputy Station Manager Takada tomorrow. Now same boat, definitely help. Maybe come see personally—last 《Super Change Change Change》 Kanto division recording, specially came watch day, said ‘support Hiroshi-kun projects more’.”
Kiyoto Suzuki added: “If need deal local governments, tell me anytime. Know Gunma Prefecture publicity section chief, drank with him last pulling Marui Soy Sauce ad, straightforward, anything promote local features, willing cooperate.”
Hiroshi looking at two, suddenly felt though Kanto Stage reform road long, with these people supporting, toughest hurdles passable.
He raised oolong tea, to two: “Then let’s work hard together, make 《Taste of Neon》 Kanto Stage signature—not just Kanto audiences like, but all Japan know, Kanto has delicious, fun, and group dedicated people.”
Asumi and Kiyoto Suzuki raised cups, clinked his.
Oolong tea fragrance spread in meeting room, mixing window autumn wind, bit long-missed hope.
