Li Wenyu graduated from Beijing University in China, where he was mentored by Ma Kexuan. Currently, he is a professor of animation and digital art at Sichuan University. Before his full-length debut, he created many short animations, among which “Go to City Ele” (2015), “Oh & Yeah” (2017), and “A Bus” (2019) won numerous awards at international film festivals.
On the occasion of the world premiere of “A Story About Fire” at the Berlin International Film Festival, he talks about his career, the reception of animated movies and other topics.
Can you tell me how you became a filmmaker?
I learnt animation at university and developed a deep passion for it. However, it wasn’t until about ten years ago that I began working as an independent animation filmmaker. My first widely recognized film, “Go to City Ele” (2015), was a 7-minute animated short. It received recognition which inspired me to continue creating films. It felt like the world was telling me to keep going.
“A Story About Fire” is your feature debut. How did working on this film differ from your previous projects?
The project management was different, but I tried to work on this film using the same methods I used for making shorts. With a feature, it’s challenging to watch the entire film at once to check its rhythm, which is crucial in my opinion. When it comes to short film, you can quickly review it and make proper adjustments. With a feature, it’s much harder to control and refine it. That’s why I divided the story into eight chapters, it helped me manage the rhythm effectively.
Check the review of the film
Your film is based on a legend of the Qiang. How similar it is to it, did you make any changes or interpretations of it in your film?
Yes, it is based on a Chinese legend of the Qiang people, but it isn’t well-documented nor widely known, and many Chinese people are unfamiliar with it. I chose it because it centres on fire, which, I believe, is key for the development of human civilization. Additionally, it touches on evolution, as the story involves a monkey transforming into a human, which I find fascinating. While the core elements remain the same, I made some changes, so the film is different from the source material. For example, there’s no dog in the original legend, but I added one because I just love dogs. The main character is the same, but in the legend there are many gods involved, including his father, a fire god, who helps him bring fire to humanity. However, I wanted to explore the idea that behind every legend, there is a very human story – one not about gods, but about what ordinary people could achieve.
Your movie is hand-drawn in traditional Chinese ink painting style. Could you tell me more about the style of the animation?
Initially, I experimented with various styles, including digital techniques, but I realized it would require a lot of time. In contrast, the ink painting style felt more manageable and efficient. I found it surprisingly easy to work with and loved how unique and refreshing it looked. I handled most of the drawing myself, with some friends assisting me with colouring. The entire process took about five years – one year for writing and drawing the storyboard, three years for animation, and another year for adding effects. I used this style, hoping that when viewers watch the film, they can sense its connection to China.
Apart from the visual layer, the sound is worthy of attention, especially the use of silence. How did you approach the sound design and the soundtrack?
Since the characters are often alone, I wanted the sound to underline this quiet and intimate atmosphere. The music is performed by a Chinese folk band Wild Children. Their music has a distinctive Chinese quality, which helps convey that this is a Chinese film. It adds a cultural layer to the story.
Although the English title is “A Story About Fire”, I feel it’s about much more. Could you please elaborate on what the story is about?
This story is about companionship, growth, friendship, and confronting fear. I wanted the film is to resonate with different age groups. Kids might see the monster as a real character, while adults might question its existence, interpreting it as a metaphor for fear. The monster ambiguous – sometimes fear feels real, but other times it’s just an illusion. This approach allows children to experience the story on one level and adults on another.
As your film appears to addess older viewers, what do you think about the reception of animation both in the world and specifically in China?
I believe animation has endless possibilities. In this film, you’ll see various pieces – hand-drawn elements, paper cutouts, stop-motion, as well as vibrant and diverse colours. In China, most animated films in cinemas are 3D, so I wanted to introduce people to other styles and expand their understanding of what animation can be. It is a medium for everyone, capable of conveying different meanings to different audiences.
What are your plans for the future?
I want to create a film about my childhood and what Chinese society was like during that time. My homeland has developed incredibly quickly, and I would like to capture that change, showing a time when both I and the society were young and evolving.
