Question:
Epstein was born to a secular Jewish family in New York City and raised in Brookline, Massachusetts. He attended Brookline High School (a 1991 graduate), and played baseball for the Brookline High School Warriors, but dreamed of working for the Red Sox. Epstein attended Yale University where he lived at Jonathan Edwards College. He served as sports editor of the Yale Daily News.
After leaving the position as the Padres' President, Lucchino became president and chief executive officer (CEO) of the Red Sox on November 15, 2001 and hired Epstein to work under him. At the end of the 2002 season, Lucchino appointed Epstein to replace interim general manager (GM) Mike Port. Epstein is credited with initiating the trade of Nomar Garciaparra and making key contract acquisitions including those of Kevin Millar and Curt Schilling during his first tenure as Red Sox GM. The new players were regarded as instrumental in breaking the so-called "Curse of the Bambino" when the Red Sox defeated the St. Louis Cardinals in the 2004 World Series. It was the Red Sox' first World Series championship since 1918, ending what remains the third longest championship drought in the history of any Major League team, after the Chicago White Sox (1917-2005) and the Chicago Cubs (1908-2016). On October 31, 2005, Epstein resigned, rejecting a three-year, $1.5-million-per-year contract for personal reasons. According to The Boston Globe, "This is a job you have to give your whole heart and soul to", he said. "In the end, after a long period of reflection about myself and the program, I decided I could no longer put my whole heart and soul into it." Because it was Halloween the night he resigned from the Red Sox, Epstein left Fenway Park wearing a gorilla suit in an attempt to avoid reporters. A witness reported spotting a person wearing a gorilla suit driving a Volvo similar to Epstein's that night. The suit was loaned to him and was later auctioned for $11,000. The money raised was given to The Jimmy Fund and the Foundation to be Named Later (FTBNL). Epstein remained in contact with the team's front office and on January 12, 2006, he and Red Sox management announced his return. Six days later, the team announced that he would resume the title of general manager and add the title of executive vice president. In November 2007, Epstein announced, at the annual general manager meeting, that he had signed a new contract with the Red Sox but declined to disclose the terms of the deal. In December 2007, Epstein was mentioned in the Mitchell Report regarding a November 2006 email exchange he had had with Red Sox scout Marc DelPiano on the possible acquisition of closer Eric Gagne. In the email, Epstein asked DelPiano, "Have you done any digging on Gagne? I know the Dodgers think he was a steroid guy. Maybe so. What do you hear on his medical?" DelPiano replied that "steroids IS the issue" with Gagne, questioned his "poise and commitment" and expressed questions about his durability "without steroid help." Despite DelPiano's reservations about Gagne, Epstein traded Kason Gabbard and minor league outfielders David Murphy and Engel Beltre to the Texas Rangers for Gagne on July 31, 2007.
Answer this question using a quote from the text above:

what did he do when he returned to the Red sox?

Answer:
later, the team announced that he would resume the title of general manager and add the title of executive vice president.

Answer the question at the end by quoting:

Departures (Japanese: okuribito, Hepburn: Okuribito, "one who sends off") is a 2008 Japanese drama film directed by Yojiro Takita and starring Masahiro Motoki, Ryoko Hirosue, and Tsutomu Yamazaki. Loosely based on Coffinman, a memoir by Shinmon Aoki, the film follows a young man who returns to his hometown after a failed career as a cellist and stumbles across work as a nokanshi--a traditional Japanese ritual mortician. He is subjected to prejudice from those around him, including from his wife, because of strong social taboos against people who deal with death. Eventually he earns their respect and learns the importance of interpersonal connections through the beauty and dignity of his work.
Several critics discussed the theme of death found in Departures. Scott highlighted the contrast between the taboo of death and the value of jobs related to it. He also noted the role of the encoffiner in showing "one last act of compassion" by presenting the dead in a way which preserved proud memories of their life. Initially, Daigo and his family are unable to overcome the taboos and their squeamishness when faced with death. Daigo is alienated from his wife and friends owing to traditional values. Ultimately it is through his work with the dead that Daigo finds fulfilment, and, as Peter Howell of the Toronto Star concluded, viewers realize that "death may be the termination of a life, but it's not the end of humanity". Okuyama writes that, in the end, the film (and the book on which it was based) serves as a "quiet yet persistent protest" against the discrimination which people who deal with death continue to face in modern Japan: death is a normal part of life, not something repulsive. Along with this theme of death, Takita believed Departures was about life, about finding a lost sense of feeling human; Daigo gains a greater perspective on life and comes to know the diversity of people's lives only after encountering them in death. This life includes family bonds: Daigo's coming to terms with his father is a major motif, encoffinment scenes focus on the living family members rather than the dead, and even in the NK Agent office, conversation often revolves around family issues. Mika's pregnancy is the catalyst for her reconciliation with Daigo. Ebert writes that, as with other Japanese films such as Tokyo Story (Yasujiro Ozu; 1953) and The Funeral (Juzo Itami; 1984), Departures focuses on the effect of death on the survivors; the afterlife is not given much discussion. He considered this indicative of a "deep and unsensational acceptance of death" in Japanese culture, one which is to be met not with extreme sorrow, but with contemplation. Takita stated that he intended to focus on the "dialogue between people who have passed away and the families that survive them". The film touches on the question of the afterlife: the cremator likens death to "a gateway", and Okuyama writes that in this sense the cremator is a gatekeeper and the encoffiners are guides. Byrnes found that Departures leads one to question the extent of modernity's effect on Japanese culture, noting the undercurrent of "traditional attitudes and values" which permeated the film. Although the encoffining ceremony was traditionally completed by the dead person's family, a decreased interest in it opened a "niche market" for professional encoffiners. Okuyama wrote that, through this film, Takita was filling a "spiritual loss" caused by the departure from tradition in modern Japan. Tadao Sato connected this theme of modernity to that of death, explaining that the film's unusually non-bitter treatment of death demonstrated an evolution in Japanese feelings about life and death. He considered the film's treatment of nokan as an artistic rather than religious ceremony to reflect the agnostic attitudes of modern Japan.

What are the themes of this movie?
Several critics discussed the theme of death found in Departures.