TIFFCOM Commemorative Interview ②: Hong Kong’s Top Animator and Digital Association Chairman Discuss ‘Stories that Cross Cultural Barriers’ and Possibilities for Collaboration with Japanese Anime

Hong Kong’s film industry is represented by a leading creator and supported by an industry leader. These two individuals, with differing perspectives, discussed strategies for achieving global success, the convergence of technology and creativity, and the future ecosystem that Asia, particularly Hong Kong, aims to cultivate.

Mr. Raman Hui, an accomplished animator behind DreamWorks Animation’s smash hit Shrek the Third and the Chinese film Monster Hunt, which brilliantly combined live-action and CGI characters. And Mr. Gabriel Pan, Chairman of the Hong Kong Digital Entertainment Association, a pivotal figure propelling Hong Kong’s digital entertainment sector.

For global triumphs, it’s paramount to have not only the raw talent of individual creators but also an industrial ecosystem that nurtures and connects them to the world.

These two influential figures, a creator embodying Hong Kong’s vibrant film industry and a leader fortifying its foundations, are both slated to speak at this year’s TIFFCOM. We had the privilege of interviewing them, delving into their distinct viewpoints on strategies for global market success, the fusion of technology and creativity, and the envisioned future ecosystem for Asia, with a special focus on Hong Kong.

Crafting Stories that Captivate the World — Transcending Cultural Barriers

―― First, a question for Mr. Hui. You’ve created blockbusters in two massive markets, Hollywood and China. What’s the secret to storytelling that captures the hearts of audiences with different cultural backgrounds?

Mr. Hui: While there are differences between Western and Asian cultures, universal elements exist that connect them. These are values everyone can relate to, such as family, friendship, human relationships, and personal growth. Even if language and cultural expressions differ, these themes serve as a common foundation. My belief is that depicting people from different cultures connecting and understanding each other through stories is the key to creating works loved across borders.

―― Mr. Pan, from an industrial perspective, how do you evaluate the “cultural hybridity” that Hong Kong’s creators possess?

Mr. Pan: I am incredibly proud of the exceptional talent for cultural fusion that Hong Kong’s creators exhibit. Hong Kong has historically been a crossroads of cultures, and our creators leverage this background to naturally integrate rich Chinese cultural elements with Western expressions in their works. This “hybridity” is Hong Kong’s greatest strength, allowing it to captivate audiences in both Asia and the West. The Hong Kong Digital Entertainment Association (HKDEA) aims to harness this strength, positioning Hong Kong as a vital bridge connecting high-quality content from mainland China to the international market. We are actively working on strengthening intercultural training and building global partnerships to achieve this.

How Technology Evolves Expression

―― Mr. Hui, the fusion of live-action and CGI in your film Monster Hunt was masterful. How did the technical challenges you faced bring innovation to the cinematic experience?

Mr. Hui: It used to be incredibly difficult and time-consuming to seamlessly blend live-action with CGI characters. But now, technology has advanced astonishingly. The crucial point is that audiences should be drawn naturally into the characters’ movements and the story, fully immersing themselves in that world, without even noticing the technology’s presence. This year’s Hollywood productions like How to Train Your Dragon and Lilo & Stitch serve as excellent examples of this.

In recent years, 3DCG technology in China has seen significant growth and development. Back in 2011, when I was working in China for DreamWorks, the Chinese partner companies already possessed a solid technical foundation. Since then, many production companies from the U.S. and other countries have collaborated with Chinese studios, allowing them to absorb a wealth of experience and knowledge, leading to their remarkable growth. This vibrant exchange of talent and collaborative relationships across borders continues to this day, with mutual outsourcing of production tasks taking place.

For Monster Hunt, which I directed, our technicians and digital artists paid meticulous attention to every detail, striving for a level of realism that made the CGI characters feel truly alive.

―― Mr. Pan, as a leader in Hong Kong’s IT and creative industries, which technology are you currently focusing on the most?

Mr. Pan: Undoubtedly, AI. I am convinced that AI will dramatically boost production efficiency and revolutionize the animation industry. In our supported “Future Animation Scheme,” projects that actively utilize AI, such as Nine Awaken, are already yielding impressive results. AI is not merely a replacement for labor; it’s evolving into a “collaborative tool” that stimulates human creativity and expands the possibilities of new forms of expression. HKDEA, we believe it’s essential to promote the ethical introduction of AI while maintaining a balance with creativity.

Building Asia’s Creative Ecosystem

―― Moving to the industry as a whole, Mr. Pan, how do you plan to promote collaboration with other Asian countries?

Mr. Pan: As Chairman of HKDEA, I am actively promoting joint summits and co-productions with various Asian countries and regions. Our strategy is to position Hong Kong not just as a content production hub, but as a gateway for IP and technological exchange. Participation in competitions like “Digicon6 Asia” (an imaging festival organized by TBS Television, aiming to discover excellent content creators from 14 regions across Asia) also strengthens regional ties and serves as a foundation for Hong Kong to play a crucial role in the global animation ecosystem.

―― Mr. Hui, as a creator, how do you view the importance of collaboration among Asian creators?

Mr. Hui: It is extremely important. In my recent directed works, I collaborated with artists from diverse countries including the U.S., France, Spain, and Thailand. When artists from varied backgrounds come together, it sparks a chemical reaction that could never be generated by one person alone, bringing depth and novelty to the work. Technologies like AI will further streamline such collaborations and enhance productivity. I have worked in different regions and cultures, and I hope to see even more co-productions and distribution partnerships emerge in the future, realizing a greater number of projects.

Hong Kong’s Importance as a Hub for the Asian Visual Industry

―― What is needed for Hong Kong to become Asia’s creative hub? Also, what are your thoughts on the possibilities for collaboration with Japanese animation?

Mr. Pan: Hong Kong hosts the massive “Hong Kong Filmart.” This serves not only as a crucial platform to showcase the talent of Hong Kong animators to global industry stakeholders but also plays an exceedingly important role in proposing innovative projects, building international networks, and establishing Hong Kong as a center for animation IP transactions and global market expansion.

Our goal is to maximize our unique position as a cultural bridge and establish our status as the hub for Asian IP transactions and global expansion.

Mr. Hui: Just as with Japan and the U.S., I believe it’s essential to first consistently produce high-quality works that are loved in the Hong Kong and Asian markets, and to nurture talent. Then, these works can naturally expand into the international market. Hong Kong has beloved characters like McDull, and this year, wonderful feature-length films like Another World have emerged. I believe steady growth will pave the way to becoming a hub.

Honored to Participate in TIFFCOM Seminar

―― Mr. Hui, what are your impressions of Japanese animation?

Mr. Hui: I’ve been an avid fan of Mazinger Z since childhood, and works like AKIRA, which are globally acclaimed, have also greatly influenced me. Even in recent years, I’m consistently impressed by the diversity and high quality of films like Kimi no Na wa. (also known as Your Name.).

―― Mr. Hui, you are scheduled to speak at a TIFFCOM seminar. Do you have any message for the TIFFCOM attendees?

Mr. Hui: Many artists worldwide are creating captivating and interesting animated works for global audiences. It’s incredibly stimulating to see new works continuously emerging from talented individuals and production companies in various countries, thanks to the expansion of new technologies and opportunities.

Japan is a leader in this field, and participating in such an event is a great honor and truly moving for me.

Seminar Information

• Seminar Name: 【29-B-1】Animating Asia: Creative Strategies for IP, Storytelling, and Global Reach

• Date: October 29, 2025 (Wednesday) 11:00 AM – 12:00 PM

• Venue: Tokyo Metropolitan Industrial Trade Center Hamamatsucho Hall, 5F Seminar Room B

• Speakers:

  Name	Role
  Raman Hui	Director / Animator
  Polly Yeung	Producer / Scriptwriter
  Samuel Choi	Producer / Bliss Concept General Manager
  Morimoto Kouji	Director / Animator
  Fujitsu Ryouta	Moderator / Anime Critic

• Organizer: Create Hong Kong, Hong Kong Film Development Council

• Cooperation: Hong Kong Trade Development Council

*Visitor registration for TIFFCOM is required to attend this seminar.

《Sugimoto Hodaka》