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[ CLAPPING, DRUMS BEATING ]
JAPAN.
TOKYO.
[ SHOUTING ]
TO COME HERE, ANY EXCUSE WILL DO.
I'M ANTHONY BOURDAIN.
♪ THAT'S RIGHT ♪
I WRITE.
I TRAVEL.
I EAT.
AND I'M HUNGRY FOR MORE.
♪ OOH ♪
♪ YOU GOT TO ♪
♪ GET LOST ♪
-- Captions by VITAC -- www.vitac.com
CAPTIONS PAID FOR BY THE TRAVEL CHANNEL, L.L.C.
I'LL NEVER REALLY UNDERSTAND THE JAPANESE
OR THEIR PREOCCUPATIONS.
BUT I DON'T CARE.
THE ABILITY TO LOOK AT ONE THING AND ONLY ONE THING
IS SOMETHING TOTALLY AND WONDERFULLY ALIEN TO ME.
BUT IT'S SOMETHING I MOST ADMIRE AND APPRECIATE
ABOUT THE JAPANESE.
A ROCK...
A POND...
A SINGLE PIECE OF FISH...
A GRAIN OF RICE --
TO KNOW THESE THINGS -- REALLY KNOW THEM --
AND APPRECIATE THEM...
A SINGLE GESTURE,
OR SERIES OF GESTURES.
[ SHOUTING ]
TO HELP ME MAKE SENSE OF IT ALL,
I'VE ENLISTED THE HELP
OF A FAMILIAR FACE IN THESE PARTS,
MASAHARU MORIMOTO --
IRON CHEF, FRIEND...
HELLO.
HELLO!
...AND ROCK STAR.
IF I WANTED TO GET THE GOOD STUFF,
THEN I FIGURED I'D BEST BASK IN HIS REFLECTED GLORY.
MORIMOTO BROUGHT ME TO SARASHINAHORI
FOR ONE OF JAPAN'S MOST FUNDAMENTAL FOODS,
SOBA NOODLES.
SOBA IS THE JAPANESE WORD FOR BUCKWHEAT,
AND GOOD SOBA NOODLES ARE 80% BUCKWHEAT, 20% WHEAT FLOUR.
TOKYO HAS A LONG TRADITION OF NOODLE RESTAURANTS,
AND SARASHINAHORI HAS BEEN MAKING SOBA SINCE 1789.
EVERY ASPECT OF SOBA MAKING IS INCREDIBLY PRECISE,
DOWN TO THE CUTTING OF THE NOODLES.
THE PREFERRED WIDTH OF A SOBA NOODLE IS 1.6 MILLIMETERS.
ANYTHING ELSE THROWS OFF THE COOKING TIME.
I'M GUESSING IT TAKES A LONG TIME TO ACHIEVE SUCH PRECISION.
[ SPEAKING JAPANESE ]
SO WHAT IS IT, EXACTLY,
THAT MAKES SOBA SO GOOD AND SO ESSENTIALLY JAPANESE?
SOBA EQUALS THREE [ SPEAKING JAPANESE ]
SO RIGHT AFTER, YOU KNOW, THE GRIND,
AND THEN RIGHT AFTER, THE MAKING,
AND THEN RIGHT AFTER, THE COOKING -- 'CAUSE BOILING --
THE BEST, BEST, BEST.
FRESH.
HOW MANY YEARS DO YOU THINK IT TAKES
TO LEARN HOW TO MAKE SOBA?
THIS GUY WORKING ENTIRE LIFE.
SO THE ANSWER TO THE QUESTION WOULD BE
IT TAKES YOUR WHOLE LIFE.
RIGHT, YEAH.
YEAH.
[ SPEAKING JAPANESE ]
SO, HE'S OWNER HERE AND HEAD CHEF HERE.
AND MAYBE I'M GOING TO ASK HIM WHAT TO EAT TODAY.
YES, PLEASE.
[ SPEAKING JAPANESE ]
HAI, HAI, HAI, HAI.
SO, NEW SOBA JUST CAME IN.
OH, BEAUTIFUL.
[ CONVERSATION IN JAPANESE ]
AMERICANS TEND TO THINK
ABOUT THE SAUCE OR THE BROTH, NOT THE NOODLE.
THEY TEND TO THINK ABOUT THE FISH, NOT THE RICE.
JAPANESE -- THEY ARE THINKING OF EATING
RICE WITH SOMETHING.
RIGHT.
RICE WITH SOUP, RICE WITH NOODLES, RICE WITH THE FISH.
RIGHT.
RICE IN THE MIDDLE.
MM-HMM.
BUT NOW, YOU KNOW,
YOUNG KIDS AND GENERATIONS YOUNGER ARE CHANGING.
THEY DON'T EAT THE RICE MUCH.
NO?
SO, MORE HAMBURGERS. [ CHUCKLES ]
MORE HAMBURGERS -- THAT'S TOO BAD.
[ SPEAKING JAPANESE ]
OH, YEAH.
PERFECTLY CHEWY...
A QUICK DIP...
A LOUD SLURP, LIKE THIS.
...A LOUD SLURP...
COUPLED WITH AN INTAKE OF AIR,
IMPORTANT TO ENJOYING THE FLAVOR --
THE PART I JUST CAN'T SEEM TO GET RIGHT.
I HAVE TO PRACTICE MY SLURP.
SOME PEOPLE DOESN'T LIKE THE SOUND WITH EATING.
THAT'S WHAT I'M GETTING.
ALL RIGHT, SO...
LONG.
[ SLURPS ]
MMM.
OH, THAT'S FANTASTIC.
THAT'S FRESH, FRESH FLAVOR.
[ SLURPS ]
WHAT IS NECESSARY TO MAKE A PERFECT NOODLE?
GOOD SOBA SEED,
A GOOD TECHNIQUE, THE SEASON.
SO, WHAT'S IMPORTANT IS PASSION.
THEN, KEEPING TRADITION, YOU KNOW.
TRADITION?
TRADITION, YES.
PEOPLE WATCHING THIS MAYBE FEEL STRANGE,
SO I SAY TRY SOBA,
BUT WE HAVE TO KEEP ON SOME BASE FOUNDATION.
THEN, YOU KNOW, LOTS OF ROOM FOR THIS, THIS, THIS, THIS, YOU KNOW?
RIGHT, RIGHT.
[ HORNS HONK ]
[ INDISTINCT CONVERSATIONS ]
THERE'S THE COCKTAIL,
AND THEN THERE'S THE JAPANESE INTERPRETATION OF THE COCKTAIL.
AS YOU MIGHT HAVE GUESSED,
THEY TEND TO TAKE THESE THINGS SERIOUSLY HERE --
MAYBE TOO SERIOUSLY.
SO, SHIN, WHERE ARE WE, FIRST OF ALL?
WE ARE IN SHIBUYA.
BASICALLY, THIS IS ONE OF THE BEST BARS IN TOKYO.
THE BARTENDER HERE WIN THE PRIZE
IN THE INTERNATIONAL BARTENDER COMPETITION.
MM-HMM. WHAT SHOULD WE DRINK?
UM, I THINK WE SHOULD DRINK CLAUDIA.
OF THE COCKTAIL.
OKAY.
IT'S LIKE THE [ SPEAKING JAPANESE ]
AH. WELL, LET'S DO IT.
THERE'S SOMETHING DELIGHTFULLY WRONG ABOUT THIS.
I MEAN, IT'S JUST A FREAKIN' DRINK, MAN.
I KIND OF WANT MY ***.
THERE'S A LOT OF SOPHISTICATED KNIFE WORK GOING ON HERE.
WHAT HAPPENS IF HE GETS, YOU KNOW --
EIGHT FRIENDS COME IN, THEY ALL WANT ONE.
BASICALLY, THE WAY OF MAKING THIS COCKTAIL
IS EXACTLY THE SAME,
AND YOU HAVE TO MAKE EIGHT EXACTLY THE SAME COCKTAIL.
SO THEY WAIT FOR QUALITY?
YES.
HOW'S A HARD-WORKING GUY
SUPPOSED TO GET DRUNK AT THIS RATE?
I MEAN, THERE WON'T BE TIME.
BUT AT BAR ISHINOHANA, IT'S NOT REALLY ABOUT THAT.
BLACK PEPPER. PINK PEPPERCORNS.
OH, LOOK AT THAT.
AND THIS DRINK?
POLAR STAR.
THE POLAR STAR. AH.
SO, CLAUDIA IS NAMED FOR...
AN ITALIAN ACTRESS.
CLAUDIA CARDINALE?
YES.
AH.
CHEERS.
CHEERS.
IT'S VERY GOOD. IT'S EXCELLENT.
THE PEPPER IS VERY UNUSUAL AND A VERY NICE TOUCH.
SLOW IS THE WAY TO DO THINGS.
KENDO IS SUBTLE, ALWAYS DO.
AND THIS, I THINK, IS COCKTAIL DO,
THE WAY OF MAKING AN EXCELLENT COCKTAIL.
DOES HE REMEMBER THE FIRST TIME HE SAW A COCKTAIL BEING MADE
AND SAID TO HIMSELF, "AH, THIS IS WHAT I WANT TO DO"?
[ CONVERSATION IN JAPANESE ]
AH, TOM CRUISE IN "COCKTAIL."
AH. VERY GOOD.
[ LAUGHS ]
IN SEARCH OF KENDO...
[ SHOUTING ]
...TO EAT WITH MORIMOTO.
WHAT MORE CAN I SAY?
AT FIRST LOOK,
THE SURFACE OF TOKYO IS AS NOISY AND DISTRACTING
AS ANYWHERE ELSE IN THE MODERN WORLD.
BUT THE TRADITIONS OF JAPAN PROVIDE DEEP ROOTS
TO THOSE WHO SEEK A MORE DISCIPLINED, INNER FOCUS
TO THEIR LIVES.
ONE OF THE MOST POPULAR PATHS TO THIS GOAL
COMES NOT FROM THE WAYS
OF DEVOTION OR INTELLECTUAL LEARNING,
BUT FROM THE WAY OF THE SWORD --
THE STUDY OF KENDO.
[ SHOUTING ]
THE INTRODUCTION OF THE SHINAI, OR BAMBOO PRACTICE SWORD,
IN THE LATE 18th CENTURY
ALLOWED KENDO TO BE EXPRESSED IN A MORE VIGOROUS WAY
THAN REAL SWORDS WOULD HAVE ALLOWED.
THE NEED TO DISREGARD
THE FEAR FOR ONE'S LIFE IN THE HEAT OF BATTLE
FOUND A PERFECT COMPLEMENT IN THE TEACHINGS
OF ZEN BUDDHISM FOR JAPANESE SAMURAI.
THEY UNDERSTOOD THAT THE REAL GOAL
WAS THE CULTIVATION AND MASTERY OF THE HUMAN CHARACTER,
MIND AND BODY.
KENDO MASTER TADAO TODO
HAS A NEAR-LEGENDARY STATUS WITHIN JAPAN.
OBSERVING HIM TEACHING
AT THE NIPPON BUDOKAN MARTIAL ARTS HALL
WAS A RARE OPPORTUNITY.
AUSTRALIAN KENDO STUDENT ALEX BENNETT
DESCRIBES SOME OF THE FINE POINTS.
[ GRUNTING ]
Bennett: YOU'LL NOTICE KENDO'S VERY NOISY,
SO YOU'RE ACTUALLY SCREAMING OUT
THE NAME OF THE TARGET THAT YOU'RE STRIKING,
SO IF I WAS STRIKING THE HEAD,
I'D GO, "MEN," OR "KOTE."
[ SHOUTING IN JAPANESE ]
Bourdain: THOUGH IT REQUIRES TREMENDOUS STRENGTH AND ENDURANCE,
OBVIOUSLY, THIS IS NOT AN ENTERPRISE --
I HESITATE TO CALL IT A SPORT --
ABOUT BRUTE STRENGTH.
THAT'S RIGHT.
IT'S ALL ABOUT FRONTAL.
A STRIKE NOT DONE.CK --
NOT DONE, RIGHT.
NOT ONLY THAT, ONCE YOU'VE MADE THE CUT,
THAT'S ONLY 50% OF IT, 'CAUSE AFTER THAT,
THERE'S SOMETHING CALLED ZANSHIN.
SO, WHEN YOU MAKE THE CUT, YOU GO, "MEN."
AFTER THAT, YOU'RE GOING THROUGH, YOU'RE FOLLOWING THROUGH,
SO YOU'RE READY TO GO AGAIN.
IT'S NOT TAKING ANYTHING FOR GRANTED.
AND IT'S ALSO, IN A WAY,
SHOWING RESPECT TO YOUR OPPONENT,
BECAUSE IN USUAL SORT OF SPORT SITUATION,
AS SOON AS YOU GET THE POINT, YOU'RE GOING AROUND,
LIKE, "YEAH. I'M THE BEST. I'M THE GREATEST."
BUT YOU NEVER, EVER DO THAT IN KENDO.
WHETHER OR WIN OR WHETHER YOU LOSE IS QUITE IRRELEVANT.
IT'S HOW YOU HOLD YOURSELF
AND HOW YOU WERE ABLE TO DEAL WITH ANY SITUATION
THAT YOU'RE CONFRONTED WITH.
SO, EVEN IF YOU WIN,
YOU NEVER SHOW IT.
AND EVEN IF YOU LOSE, YOU NEVER SHOW IT.
[ SHOUTING ]
AND JUST LOOKING AT THE BEAUTY
OF THE SIMPLE THING IN FRONT OF YOU
IS SOMETHING THAT'S COMMON IN ALL JAPANESE ART,
BE IT CALLIGRAPHY, BE IT PAINTING, OR BE IT KENDO.
OKAY, IT'S A NICE SOUND.
HOW LONG HAVE YOU BEEN WITH THIS?
20 YEARS NOW, YEAH,
AND AGAIN, I FEEL LIKE I'M STILL A NOVICE.
AND TODO-SENSEI IS 69?
HE'S 69, YES.
AND I CAN'T TOUCH HIM... AT ALL.
IT SOUNDS LIKE SOMETHING OUT OF "STAR WARS" AND YODA,
BUT, YOU KNOW, IT'S VERY MUCH LIKE THAT.
AND AS A WESTERNER, I FIND THAT INTRIGUING.
I MEAN, HOW MANY SPORTS ARE THERE IN THE WEST
WHICH, AS YOU GET OLDER,
YOU GET SO GOOD
THAT YOU CAN BEAT ON YOUNG, ATHLETIC STUDENTS?
[ CHUCKLES ]
THE POINT IS, BEFORE IT TURNS INTO A PHYSICAL GAME,
IT'S REALLY A MIND GAME TO START OFF WITH.
THAT PROCESS WITH THE TIPS CROSSING IS VERY IMPORTANT.
THEY'RE USING THEIR SWORDS TO FEEL EACH OTHER OUT.
ARE THEY TENSE? ARE THEY RELAXED?
ARE THEY NERVOUS? WHAT'S GOING ON?
THE MASTER SHOWED ME SOME FUNDAMENTALS
WITH A NICE SENSE OF HUMOR, I THOUGHT.
[ SPEAKING JAPANESE ]
RICH MAN?
JUST LIKE A RICH MAN.
[ LAUGHTER ]
YES.
MAYBE 20 MORE YEARS.
[ LAUGHTER ]
OF COURSE, YOU STRIVE FOR PERFECTION.
DOES IT EXIST?
[ SPEAKING JAPANESE ]
IT DEPENDS ON YOUR DEFINITION OF WHAT PERFECTION IS,
BUT IT'S BECAUSE YOU CAN'T QUITE REACH THAT PERFECTION
IS WHY YOU CONTINUE TRAINING UNTIL THE DAY THAT YOU DIE.
ANYBODY CAN MAKE ONE OR TWO SUCCESSFUL STRIKES IN KENDO.
BUT DID YOU STRIKE AT THE OPTIMAL MOMENT?
YOU'RE ALWAYS LOOKING AT THESE OTHER FACTORS,
THE WHOLE PROCESS, NOT JUST THE STRIKE ITSELF.
SO THAT'S WHERE THE CONNECTION IS,
BY TRYING TO AIM FOR THESE --
YOU KNOW, THE BEST STRIKE, THE BEST MOMENT,
THE BEST OPPORTUNITY -- IN YOUR KENDO TRAINING.
THAT BECOMES A PART OF YOUR EVERYDAY LIFE,
IS HOW YOU HOLD YOURSELF AS A HUMAN BEING, AS WELL.
AND THAT'S ULTIMATELY WHAT WE'RE LOOKING FOR
BY TRAINING IN KENDO.
[ SHOUTING ]
ON A QUIET STREET IN THE ROPPONGI DISTRICT OF TOKYO
IS MASAHARU MORIMOTO'S FLAGSHIP JAPANESE RESTAURANT,
X.E.X.
X.E.X. IS DEDICATED TO SATISFYING
ALL ASPECTS OF THE HIGH-END DINING EXPERIENCE,
BUT MORIMOTO'S BROUGHT ME HERE OFF-HOURS
TO MAKE ME A MEAL WITH A SINGLE CENTRAL INGREDIENT --
MONKFISH.
MAYBE IT'S JUST A REFLEX FROM SO MANY "IRON CHEF" EPISODES,
BUT I'M NOT COMPLAINING.
[ LAUGHTER ]
SO, ACTUALLY, THIS FISH DOESN'T HAVE A LOT OF BONE IN IT --
NO BONE, JUST CENTER BONES.
HE'LL BE USING EVERY PART OF THE MONKFISH,
BUT WE BOTH KNOW WHERE THE GOOD STUFF IS.
YEAH, THIS IS THE BEST PART.
IS THE LIVER?ART
YEP.
SIMILAR TO FOIE GRAS.
JUST LIKE FOIE GRAS.
YES, SO EVERYTHING YOU CAN EAT.
OKAY, I'M GOING TO COOK FOR YOU.
BEAUTIFUL. VERY EXCITED.
AT FIRST, IT LOOKS LIKE I'M GETTING MONKFISH SASHIMI,
BUT MORIMOTO HASN'T MADE HIS NAME BY DOING THE EXPECTED.
SOME TOMATOES, LEEKS, AND QUICKLY-BOILED MONKFISH SKIN
GET A DRESSING OF MONKFISH LIVER WITH PONZU SAUCE.
AND THEN...
[ SIZZLING ]
HOT OIL?
YEAH.
WHAT KIND OF OIL?
VEGETABLE OIL.
OKAY, THIS IS MONKFISH MEAT, SKIN,
AND A LITTLE GUTS AND LIVER.
VERY EFFICIENT.
REALLY DELICATE FLAVOR.
CHEF, THE INTERPLAY WITH THE LIVER IS SO RICH,
AND A FATTY FLAVOR,
AND THEN THE OIL, AND THE LEAN FISH -- THE CUTS --
THEY GO AGAINST EACH OTHER IN SUCH A BEAUTIFUL WAY.
MMM.
SO, I'M GONNA MAKE TWO MORE THINGS.
MORIMOTO LIKES TO HAVE FUN WITH HIS FOOD.
THE PROCESS ISN'T THAT UNUSUAL,
BUT I DEFINITELY DIDN'T SEE THIS END RESULT COMING.
SO, THIS IS KENTUCKY FRIED MONKFISH.
A KENTUCKY FRIED MONKFISH? AND...
OKAMI SEAWEED, BAMBOO SHOOT.
BAMBOO SHOOT. YES.
THAT'S BEAUTIFUL.
A NABE COMPRISED OF BOK CHOY, LEEKS,
AND OTHER VEGETABLES
AND PRETTY MUCH EVERY PART OF THAT MONKFISH
ISN'T SO MUCH ABOUT SURPRISES AND CLEVER TOUCHES
AS IT IS ABOUT BALANCE AND TECHNIQUE.
[ CHUCKLES ]
AND THIS IS EVERYTHING -- LIVER, MEAT, SKIN.
THIS IS A KIND OF CARTILAGE.
CARTILAGE -- AH, VERY NICE --
ALL TOGETHER.
YEP.
AH, SKIN --
SO ALL OF THE PARTS WE'VE HAD SO FAR, ALL TOGETHER NOW.
YES, FLAVOR, TEXTURE, COLOR --
ALWAYS TOGETHER, YES?
THIS HAS SO MANY BEAUTIFUL DIFFERENT TEXTURES.
A DISH AS TRADITIONAL AS A FISHERMAN'S STEW
RAISED TO A LEVEL CLOSER TO ART.
CHEF, THANK YOU.
THANK YOU VERY MUCH.
EXTRAORDINARY.
THANK YOU.
LIFE WILL GO ITS WAY.
BEAUTY CAN ONLY BE FOUND.
STEP ASIDE. IT'S THERE.
ONE OF THE PLEASURES OF JAPAN
IS THE LONG JOURNEY TAKEN ON A FAST TRAIN.
ROKKAKUDO TEMPLE, KYOTO,
THE BIRTHPLACE OF IKEBANA.
IKEBANA IS THE JAPANESE ART OF FLOWER ARRANGING.
MANABU NODAU WAS MY TEACHER IN IKEBANA.
Bourdain: I THINK MY PRODUCERS WERE SURPRISED
WHEN WE WERE PUTTING TOGETHER THIS SHOW.
ONE OF THE VERY FIRST THINGS
THAT I WANTED TO SEE AND TALK ABOUT
AND LEARN A LITTLE BIT ABOUT
WAS THE ART OF JAPANESE FLOWER ARRANGING, IKEBANA.
IKEBANA.
I'VE ALWAYS FELT THAT ALL OF THE THINGS
THAT I LOVE MOST ABOUT JAPANESE CULTURE
SEEM TO BE EXPRESSED IN A NONVERBAL WAY
BY TRADITIONAL FLOWER ARRANGING.
WE ALWAYS APPRECIATE
THE BEAUTIFUL NATURE AND CHANGING OF TIME,
THE PASSING OF SEASONS.
THEN WE TRY TO BRING IN THIS BEAUTIFUL NATURE
INTO OUR DAILY LIFE
USING THE MATERIAL OF THE SEASON.
THERE'S A LOT OF HARMONY AT WORK HERE,
BUT FOR ME, THIS IS EVERYTHING I LOVE.
YOU LIKE IT?
THIS STYLE IS CALLED...
CHOKA.
CHOKA, WHICH STARTED ABOUT 300 YEARS AGO IN JAPAN.
AND FORM-WISE, AS YOU NOTICE,
IT'S A LOT SIMPLER THAN THE OTHER ONE.
JAPANESE ARCHITECTURE CHANGED ABOUT 300 YEARS AGO.
WE STARTED TO HAVE WHAT WE CALLED TOKONOMA,
WHICH IS THAT ALCOVE PLACE LIKE OVER THERE,
AND IT'S SIMPLE AND SMALLER SPACE.
EACH SINGLE PART HAS A MEANING.
THE VASE, CONTAINER, IS SUPPOSED TO BE THE EARTH, GROUND.
THEN NEW LIFE COME OUT HERE, AND EVERYTHING IS COMPRESSED
THEN SHOOT OUT TOWARD THE HEAVEN OR TOWARD THE SKY,
TRYING TO GROW UP, LIVE UP, LIKE US HUMAN BEINGS.
THE EMPTY SPACES BETWEEN ARE SO, SO IMPORTANT.
YES, VERY IMPORTANT.
EMPTY SPACE EMPHASIZES A SENSE OF MOVEMENT
AND GIVE EACH FLOWER
ENOUGH SPACE TO BREATHE, TO BE COMFORTABLE.
LARGE, SMALL, SMALLER, SMALLER, MORE LIKE A VOLUME, MASS,
THEN A LITTLE MORE EMPTY, AND MORE EMPTY.
SO SYMMETRY IS NOT SOMETHING YOU WANT.
NO. EVERYTHING NATURAL IS ASYMMETRICAL.
WHAT AM I LOOKING FOR FIRST?
IN MY ARRANGEMENT, THIS WAS THE MAIN THING.
FOR SOME PEOPLE, THEY'LL SAY,
"OH, I LIKE THESE YELLOW FLOWERS."
MY INCLINATION WOULD BE TO GO FOR THE LARGEST PIECE.
OKAY, THEN WHAT YOU DO IS
INSTEAD OF LOOKING HERE, YOU LOOK AT THE TOP,
AND YOU HAVE TO TURN IT AROUND --
WHICH WAY SHE LOOKS HAPPIEST.
RIGHT.
HMM.
NOW YOU HAVE THREE FRIENDS.
EACH OF THEM HAS DIFFERENT COLOR,
MORE STRAIGHT, LARGE AND SMALL,
SO YOU HAVE TO DECIDE WHICH ONE
LOOKS MORE BEAUTIFUL WHEN IT'S TALLER,
WHICH ONE LOOKS, YOU KNOW,
MORE BEAUTIFUL WHEN IT'S SLANTING FORWARD.
HMM. I'M LIKING -- I'M LIKING THIS GUY.
OKAY, OKAY, GOOD. THEN YOU START WITH THAT GUY.
AND I'M ABOUT...
HMM? DOES HE LOOK HAPPY?
HE LOOKS HAPPY.
OKAY, THAT'S GOOD. OKAY.
SOMETIMES, PEOPLE COME HERE.
THEY SAY, "OH, THIS IS JAPANESE TRADITIONAL ART,"
THEN THEY TRY TO BE ARTISTIC.
THEN THEY TRY TO DO SOMETHING DIFFERENT.
WITHOUT THINKING OR FEELING AROUND,
THEY JUST BEND OR CUT AND MAKING, LIKE, A DESIGN.
I KNOW PEOPLE WHO COOK LIKE THAT.
THEY TRY TO MAKE THE FOOD SUBMIT RATHER THAN...
APPRECIATE THE NATURAL TASTE OR WHATEVER.
RIGHT.
YEAH.
THIS IS EVERYTHING THAT WE WALK BY IN THE WEST, YOU KNOW?
THIS IS EVERYTHING THAT I'VE MISSED MY WHOLE LIFE,
THAT I WOULD WALK BY WITHOUT NOTICING.
THIS IS BEAUTIFULLY ARRANGED,
AND WE ARRANGE BRANCHES, OF COURSE,
BUT AT THE SAME TIME,
WE'RE ARRANGING SPACE BETWEEN MATERIALS,
AND THIS IS WHAT WE CALL CONCEPT OF MA.
MA MEANS, LIKE, EMPTY SPACE.
INK PAINTING, TOO...
YEAH.
YOU'VE JUST A LITTLE PIECE OF BAMBOO
IN A BIG PIECE OF PAPER, AND ALL WHITE.
THE EMPTY SPACE MEANS SOMETHING.
YOU DON'T SEE ANYTHING IN THE SPACE,
BUT SPACE MAKES A BIG DIFFERENCE.
AND THAT'S SOMETHING COMMON
FOR JAPANESE TRADITIONAL ART OR CULTURE.
HMM. HEY.
LOOKING GOOD.
MAYBE 20 MORE YEARS OF STUDY.
[ LAUGHTER ]
I LIKE THE WAY YOU LOOK AT THE BRANCHES AND FLOWERS.
ALL THE FLOWERS, ALL THE BRANCHES
LOOKING NICELY, AND THEY ALL LOOK HAPPY.
WHAT'S IMPORTANT MOST IN THIS YOU ALREADY KNOW,
SO I'M HAPPY WITH THIS.
THANK YOU VERY MUCH.
WELL DONE, WELL DONE. YES.
[ SPEAKING JAPANESE ]
[ INDISTINCT CONVERSATIONS ]
URBAN JAPANESE ARE FAMOUS FOR WORKING LONG HOURS,
UNBELIEVABLY CROWDED COMMUTES...
AND COMING HOME TO APARTMENTS SO SMALL
THEY MAKE A MANHATTAN STUDIO LOOK LIKE AN AIRPLANE HANGAR.
THE ONE THING THAT SEEMS TO KEEP THEM SANE
IS A SYSTEM OF SMALL BARS AND RESTAURANTS
FEATURING SOME OF THE FINEST FOOD AND DRINK AND AMBIENCE
IN THE WORLD.
MY GOOD FRIEND HIROSHI BROUGHT ME
TO AN EXCEPTIONAL EXAMPLE IN THE SHINAGAWA AREA --
THE RESTAURANT CALLED TIRIKI,
OWNED BY MR. AND MRS. IHARA --
TO SATISFY ONE OF MY PERSONAL OBSESSIONS...
[ CONVERSATION IN JAPANESE ]
...REALLY, REALLY GOOD YAKATORI.
YAKATORI -- ESSENTIALLY LITTLE BITS OF MOSTLY CHICKEN,
OFTEN ON SKEWERS --
IS PRACTICED AT A VERY HIGH LEVEL IN JAPAN.
TIRIKI GOES ONE STEP BEYOND.
Hiroshi: I MEAN, THIS GUY'S BEEN HERE IN THIS PLACE
FOR, LIKE, WHAT, 35, 36 YEARS?
AND WHAT HE DOES IS ACTUALLY KILLS THE CHICKEN
BY HIMSELF IN THE MORNING, AND HE DRESSES THE CHICKEN,
SO HE ONLY SERVES, LIKE, THE FRESHEST STUFF.
LOOK HOW FAST HE DOES THAT.
HE'S PULLING IT APART PER ORDER.
DUDE, I MEAN, HE'S ACTUALLY CUTTING YOUR CHICKEN
OFF THE WHOLE CARCASS AS HE GETS HIS ORDERS.
SO, OBVIOUSLY, YOU CAN'T GET THIS EVERYWHERE IN JAPAN.
RIGHT.
YOU HAVE TO KNOW
THE PLACE.
AND THIS IS A NEIGHBORHOOD JOINT.
THIS IS TOTALLY LOCAL, LOCAL.
[ SPEAKING JAPANESE ]
THIS IS BREAST CHICKEN WITH LEEKS.
[ CONVERSATION IN JAPANESE ]
MMM.
NOTHING LIKE FRESH-KILLED CHICKEN, MAN. THAT'S GOOD.
[ SPEAKING JAPANESE ]
WHAT IS IT ABOUT JAPAN THAT YOU LOVE MOST?
WHAT I LOVE MOST?
YEAH.
IT'S SOMETHING LIKE THIS.
LIKE, YOU CAN FIND SOMETHING THAT'S SO PERFECT AND SO WELL DONE,
SO YOU CAN ENJOY THE TOP-QUALITY STUFF,
WHETHER IT'S FOOD, PRODUCTS, YOU KNOW, SERVICES, ANYTHING.
[ SPEAKING JAPANESE ]
LIKE ANY GOOD NEIGHBORHOOD PLACE,
THE REGULARS ALWAYS COME FIRST.
AH.
Hiroshi: SO, THIS IS WHITE MEAT.
NICE AND RARE, TOO -- I MEAN, WHEN YOU'RE EATING
CHICKEN LIKE THIS...TIFUL
IT'S GOT TO BE PINK.
IT'S GOT TO BE PINK.
YEAH.
SEE, IN NEW YORK, THAT WOULD TOTALLY FREAK PEOPLE OUT,
NO MATTER HOW GOOD THE CHICKEN IS.
THIS IS WHAT CONNECTS THE LIVER AND THE INTESTINES.
LIVER AND THE INTESTINES -- INTERESTING.
TIRIKI'S UNUSUAL
IN THAT THEY PREFER TO USE AN ELECTRIC GRILL
OVER THE TRADITIONAL CHARCOAL,
BELIEVING THAT THE CONSISTENT 900- TO 960-DEGREE HEAT
MAKES A BETTER PRODUCT.
[ CONVERSATION IN JAPANESE ]
SPLEEN?
MAYBE,
YEAH, YEAH, YEAH.
IT'S CRUNCHY, BUT NOT AS CRUNCHY AS THE GIZZARD,
BUT IT'S A LOT MORE SUCCULENT.
IT'S --
IT'S ABSOLUTELY FANTASTIC.
OH, CHICKEN SASHIMI, HUH?
OKAY, THIS IS CHICKEN WHITES, OBVIOUSLY.
IT'S VERY, VERY RARE.
I TELL YOU, I HOPE YOU CAME HUNGRY FOR THIS SHOW,
MY FRIEND, 'CAUSE WE EAT FOR REAL.
[ BOTH CHUCKLE ]
SO, THIS WOULD BE ALMOST ILLEGAL IN THE STATES.
THE YAKATORI PLACES THAT DO THIS IN NEW YORK
HAVE TO BE REALLY QUIET ABOUT IT.
WHY WOULD ANYONE BE AGAINST IT?
SALMONELLA.
BUT THAT'S BECAUSE MOST OF THE CHICKEN WE EAT IN THE STATES
IS, LIKE, MASS-PRODUCED, BATTERY-RAISED, CRAPPY CHICKEN.
YOU KNOW, WHEN YOU HAVE A FRESH-KILLED, FREE-RANGE, BEAUTIFUL CHICKEN,
YOU KNOW, YOU CAN EAT IT LIKE THAT, AND IT'S DELIGHTFUL.
[ SPEAKING JAPANESE ]
THIS IS A PIECE OF THE CHICKEN WHICH ACTUALLY CONNECTS
BOTH THE HEART AND LIVER, BUT ALSO CONNECTED AS WELL.
A LITTLE VENTRICLE AND A LITTLE -- AH, NICE.
SO YOU GET A LITTLE BIT OF BOTH THE LIVER AND THE HEART.
[ SPEAKING JAPANESE ]
THIS IS HATAKI, WHICH IS HALF-RAW, HALF-COOKED MEAT.
YES.
AND IT'S THIS RESTAURANT'S ORIGINAL MENU.
AH.
AH, DRIZZLE IT OVER?
IT'S SO BEAUTIFUL.
YOU HAVE CRISPY, COOKED ON THE OUTSIDE.
IT'S REALLY JUICY.
NOW, DOES HE DO SKIN ONLY?
YEAH, SURE.
[ SPEAKING JAPANESE ]
OH, WOW. LOOK AT THAT.
OH, LOOK AT IT SHRINK.
LOOK AT IT, LOOK AT IT. WOW.
LOOK AT IT GO, MAN.
LOOK AT THAT.
FOR ME, THIS IS THE BEST THING EVER.
MMM. GOOD.
COLD STEEL OF JAPAN,
A GARDEN OF TASTE REVEALED
TOO RICH NOT TO SHARE.
[ THUNDER RUMBLES ]
OF ALL THE CRAFTS IN JAPAN,
THE MAKING OF STEEL BLADES RESONATES THE STRONGEST,
WITH THE APPLICATION OF DISCIPLINED TECHNIQUE
TO THE ELEMENTS OF EARTH, AIR, WATER, AND FIRE.
THE SKILLS THAT ONCE PROVIDED
THE LETHAL EDGE OF SAMURAI AUTHORITY
HAVE MADE THE TRANSITION
TO THE CULINARY NEEDS OF THE MODERN WORLD
WITH ONLY A HINT OF CHANGE.
WHEN MASAHARU MORIMOTO NEEDS A PERFECTLY BALANCED KNIFE,
HE HAS IT MADE FOR HIM HERE
AT INOTADA KNIFE PRODUCTIONS IN SAKAI CITY.
THERE ARE A LOT OF SECRETS
TO MAKING BLADES IN THE TRADITIONAL WAY,
BUT MASTER YOSHI KAZUAKADA SHARES ONE OF HIS TECHNIQUES.
HE TELLS ME, BECAUSE OF THE STRUCTURE OF THE STEEL,
YOU HAVE TO COOL IT DOWN VERY SLOWLY,
SO THEY USE CARBONIZED RICE STRAW.
OTHERWISE, IT COOLS DOWN VERY QUICKLY,
BECOMES VERY FRAGILE, AND CAN BE EASILY BROKEN.
Bourdain: FIRST OF ALL, THIS IS NOT LIKE STAINLESS STEEL.
A HIGH-CARBON.
Morimoto: RIGHT,
SO PURE JAPANESE.
SO ALREADY, THIS IS SOMETHING SPECIAL, GOOD STUFF.
SPECIAL MATERIAL, SPECIAL TECHNIQUE, PEOPLE DOING THIS.
THE CHOICE OF A TRADITIONAL METHOD
ALWAYS HAS A PRACTICAL REASON.
I NOTICE HE USES COAL, NOT GAS.
HE CAN USE GAS, BUT CHARCOAL IS EASY TO CONTROL --
JUST ANOTHER SAME SHAPE,
BUT THIS HERE AND HERE IS MAYBE DIFFERENT, YOU KNOW.
TEMPERATURES.
TEMPERATURE.
THE HEAT IS CONTROLLED EASY.
SO FOR BETTER CONTROL.
IF YOU ORDER A KNIFE,
FROM START TO FINISH, HOW LONG DO YOU THINK?
IF HE WORKING ONLY MY KNIFE,
THEN THREE TO SEVEN DAYS.
RIGHT.
BUT THEY HAVE A SCHEDULE.
SO IF YOU ORDER FROM UNITED STATES,
AT LEAST THREE TO SIX MONTHS.
RIGHT. SO, IS A PERFECT BLADE POSSIBLE -- PERFECT?
OH.
[ SPEAKING JAPANESE ]
SO, HE STILL DON'T UNDERSTAND THE WORD FOR "PERFECT."
THAT'S WHY HE TRY TO LEARN EVERY DAY WITH EVERY SINGLE MOMENT.
KYOTO IS VERY MUCH A MIX OF OLD AND NEW.
BUT STEP INTO ONE OF THE TRADITIONAL JAPANESE INNS
KNOWN AS A RYOKAN,
AND YOU CAN TRULY IMAGINE YOURSELF IN ANOTHER TIME.
RYOKAN ARE FOUND ALL OVER JAPAN,
BUT KYOTO HAS THE MOST AND THE BEST.
AND TO A GREAT EXTENT,
THAT REPUTATION IS BASED ON EACH RYOKAN'S FOOD,
SPECIFICALLY THE KAISEKI MEAL.
MORIMOTO AND I SAT DOWN FOR THE COMPLETE EXPERIENCE
AT THE HIIRAGIYA RYOKAN.
NOW, WHAT IS THIS?
THE MENU SAY KING EEL TAIL.
GOODY.
GOODY.
SO, THIS IS GRADE RADISH...
THAT'S GOOD.
...AND THE SEARED [ SPEAKING JAPANESE ]
SO, KAISEKI IS ALWAYS SEASONAL.
IS IT ALSO ALWAYS REGIONAL, SPECIFIC TO THE AREA?
YEP.
A LARGE, MODERN KITCHEN MAY BE THE SETTING,
BUT EVERYTHING ABOUT THE FOOD BEING MADE HERE
REFLECTS THE REGIONAL FLAVORS AND SEASONAL APPROPRIATENESS
OF KYOTO-STYLE CUISINE.
KAISEKI SEEKS TO ELEVATE THE JAPANESE DINING EXPERIENCE
TO ITS HIGHEST LEVEL.
EACH DISH ASPIRES TO A PERFECT BALANCE
OF TASTE, TEXTURE, APPEARANCE, AND COLOR.
THE PRIMARY ROLE OF THE GEISHA
IS TO PROVIDE WITTY CONVERSATION
AS COMPANIONS DURING THE MEAL.
[ CONVERSATION IN JAPANESE ]
[ LAUGHTER ]
WHAT DO WE HAVE HERE?
THIS IS CALLED HASSUN.
OF A BOX, BASICALLY.IZE
MM-HMM.
HASSUN IS ABOUT 20 TO 24 CENTIMETERS.
BUT THIS IS NOT THE HASSUN SIZE,
BUT WE STILL CALL IT HASSUN.
THANK YOU.
[ LAUGHTER ]
THE FOOD IS GREAT, THE DRINK PLENTIFUL,
WHICH LEAVES ME TO WONDER.
EVERY TIME THEY ENTERTAIN,
DO THEY HAVE TO DRINK WITH THE CUSTOMER?
NO, NO.
BECAUSE THAT'S --
THAT'S BUSINESS.
THAT'S HARD.
WAIT A MINUTE. THAT'S WHAT I DO.
AFTER THE SASHIMI DISH
OF FLATFISH, TUNA, AND WHELK,
DRINKING GAMES.
[ SINGING IN JAPANESE ]
GOT THAT?
NO.
IT'S TOO COMPLICATED.
THEN A METICULOUSLY GRILLED JAPANESE BUTTERFISH WITH MISO.
IS WHAT YOU DO INFLUENCED BY THIS STYLE?
ACTUALLY, YOU PROBABLY DO THIS EXACTLY IN THE U.S.
IT'S NOT -- A LITTLE BIT -- SO MUCH FOR THEM.
SO, FOR EXAMPLE, SASHIMI,
SO A LOT OF PEOPLE SAY, "OH."
THEN OLIVE OIL AND SALT AND PEPPER AND THE LIME JUICE,
CALLED CARPACCIO -- THEY EAT IT.
RIGHT.
RIGHT.
SOME FOODS, HOWEVER, REPRESENT A BIGGER MARKETING CHALLENGE.
COD ***.
AHH, YES, VERY GOOD.
YEAH.
IN EUROPE, YOU SEE IT SOMETIMES.
MM-HMM.
SO, IN AMERICA, IT'S NOT --
NEVER. NEVER.
YEAH.
VERY DIFFICULT TO TRY TO CONVINCE AMERICAN CUSTOMERS --
THEY'RE NOT GONNA DO IT.
THIS IS DELICIOUS,
BUT YOU'D HAVE TO CALL IT SOMETHING ELSE.
YEAH, FISH EGG FROM THE --
FROM THE MAN.
YES.
MALE FISH EGGS -- THERE YOU GO.
THE GAIJIN GEISHA STANDS FOR ART.
AND ASIDE FROM UNTRANSLATABLE CONVERSATIONAL SKILLS,
ALL GEISHA HAVE MASTERED A NUMBER
OF TRADITIONAL SINGING, DANCING,
AND INSTRUMENTAL ABILITIES.
[ SINGING IN JAPANESE ]
THIS IS "NONBEIYOKOCHO," WHICH BASICALLY MEANS
"ALLEYWAY TO GET ABSOLUTELY WASTED DRUNK."
TOKYO APPEARS TO BE
AN INFINITE AND MYSTERIOUSLY ORGANIZED HIVE OF SPACES.
WITHIN TOKYO'S SMALL SPACES ARE TINIER ONES --
WORLDS WITHIN WORLDS, EACH ONE DIFFERENT --
BARS CALLED NOMIYA,
POCKET-SIZED CLUBS AIMED
AT THE TINIEST OF DEMOGRAPHICS...
YES! [ LAUGHS ]
...EACH ONLY A 10-FOOT BY 8-FOOT SPACE
FITTING, AT MOST, MAYBE 8 OR 10 PEOPLE.
Bourdain: SO, WHAT DOES IT SAY?
THIS IS "NONBEIYOKOCHO," WHICH BASICALLY MEANS
"ALLEYWAY TO GET ABSOLUTELY WASTED DRUNK."
REALLY?
YEAH.
THEY WORK UNTIL 11:00, 12:00 MIDNIGHT,
AND THEN THEY COME HERE, GET DRUNK
BECAUSE THEY DON'T WANT TO GO HOME.
Bourdain: AND THEY COME TO THE SAME PLACE?
EVERY -- ALMOST EVERY DAY.
SO, IT'S KIND OF LIKE CHEERS BUT SMALLER.
SMALLER. OKAY, HERE WE ARE.
PIANO BAR IN THE SHIBUYA DISTRICT
IS A CLASSIC, IF RELATIVELY LAVISH, EXAMPLE --
ROOM DOWNSTAIRS FOR ABOUT SIX.
UP A STAIRWAY THAT'S MORE LIKE A LADDER
IS A BIGGER ROOM FITTING ABOUT EIGHT.
IT FEELS LIKE YOUR OWN TREE HOUSE,
ESPECIALLY WHEN THE OWNER, MR. MATSUMURA,
POKES HIS HEAD UP THROUGH THE FLOOR TO TAKE ORDERS.
[ SPEAKING JAPANESE ]
CHEERS, MAN.
NOMIYA -- WHAT IS IT?
NOMIYA IS BASICALLY LIKE THE REALLY SMALL DRINKING HOLES
WHERE ALL THE SALARYMEN --
THEY'RE FED UP WITH, OBVIOUSLY, PROFESSIONAL WORK
AS WELL AS MARRIED LIFE,
AND THEY DON'T WANT TO GO HOME.
WHY ARE THEY WORKING SO LONG?
THEY'RE ALWAYS AFRAID ABOUT, YOU KNOW,
HOW MUCH MONEY YOU HAVE,
HOW MUCH TUITION YOU HAVE TO PAY FOR THE KIDS...
THAT'S BIG.
YEAH --
...WHO'S WATCHING, YOU KNOW, WHO'S LOOKING,
WHO'S ABOUT TO FIND OUT THAT, YOU KNOW,
YOU CAN BECOME ABSOLUTELY DRUNK AND WASTED
AND STUFF LIKE THAT.
BUT, NO -- IT'S A SOCIAL OBLIGATION TO GET DRUNK.
IF YOU'RE GOING OUT WITH THE BOSS,
NOT GETTING DRUNK IS SORT OF NOT COOL.
NOT COOL, YEAH.
BUT, AT THE SAME TIME YOU'RE MEANT TO GET DRUNK,
YOU ALSO HAVE TO BE IN CONTROL OF YOURSELF
IF YOU'RE A SUBORDINATE,
IF YOU HAVE A BOSS ON TOP OF YOU.
YOU CAN'T GET TOO DRUNK --
DRUNK ENOUGH BUT NOT TOO DRUNK.
NEVER.
YOU KNOW, TO ME, AS AN OUTSIDER,
STAYING AT A RYOKAN...
YEAH.
THERE IS NOTHING LIKE THAT IN THE WORLD -- NOTHING.
ABSOLUTELY. ABSOLUTELY.
JAPANESE ART, FLOWER ARRANGING,
CALLIGRAPHY, THE FOOD --
IN A WORLD THAT THRIVES ITSELF ON PLEASURE
SO MUCH OF THE TIME,
WHAT PLEASURE YOU TAKE IS SO FOCUSED
ANDTO ITS ESSENCE.WN
DETAILED, YEAH.
IT'S ABSOLUTELY UN [BLEEP] BELIEVABLE.
AND IT'S ONE OF THE REASONS
THAT I LOVE, LOVE, LOVE COMING TO THIS COUNTRY.
WE HAD TO LOOK INSIDE OURSELVES
TO FIND WHATEVER IT IS THAT WAS INTERESTING
OR THAT WE WANTED TO FIND TO PERFECT
OR, YOU KNOW, WE WERE WILLING TO EXPEND, AS WELL.
WE HAD TO LOOK INTO OURSELVES AS A COUNTRY.
WHAT ASPECTS OF JAPAN COULD YOU JUST NOT LIVE WITHOUT?
BASICALLY WHAT THIS ENTIRE CULTURE IS ABOUT --
IT'S ABOUT DETAIL.
LIKE, WHETHER IT'S ABOUT, YOU KNOW,
PROVIDING REALLY, REALLY HIGH-QUALITY FOODS,
HIGH-QUALITY SERVICES, TECHNOLOGY, WHATEVER,
EVERYTHING GOES INTO DETAIL.
AND THAT'S WHAT I THINK
DEFINES WHAT OUR CULTURE IS AND WHO WE ARE.
WE DON'T HAVE ANY CHOICE
BECAUSE, COMPARED TO ANY OTHER COUNTRY,
WE HAVE NO ACTUAL NATURAL RESOURCES AT ALL.
SO WHAT ARE YOU GONNA DO?
YOU CAN'T SELL YOURSELF IN ANY OTHER WAY
EXCEPT DETAIL IN ANYTHING THAT YOU DO.
WHAT IS THE GREATEST VIRTUE OF -- OF JAPANESE CULTURE?
IN THE END, EVERYTHING IS BEAUTIFUL.
AND YOU SHOULD TRY TO MAKE EVERYTHING, IN THE END,
IN A BEAUTIFUL WAY, IN ONE WAY OR THE OTHER.
THAT'S -- THAT'S WHAT, YOU KNOW, DEFINES US.
CHEERS.
CHEERS, MAN.
THE JAPANESE CALL IT SHIBUI --
SIMPLICITY DEVOID OF UNNECESSARY ELEMENTS...
...ONLY THE GOOD STUFF,
THE OBJECT OF DESIRE ITSELF,
EVERYTHING ELSE GONE --
EMPTY AIR, THE SPACE BETWEEN.
THE VERY THINGS THAT DISTURB ABOUT JAPAN --
THE TIGHT, FETISHISTIC FOCUS, THE EASY COMPARTMENTALIZATION,
THE LOVE OF RITUAL AND PRECISION --
ARE ALSO THE THINGS I LOVE...
ESPECIALLY WHEN AT THE CENTER OF THE FRAME --
OR IKEBANA STYLE, SLIGHTLY TO THE LEFT OR RIGHT OF IT --
IS SOMETHING EXTRAORDINARY.