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The movie "White Snake: Floating Life" released on August 10 is the third work in the "White Snake" series of Light Chaser Animation. It is also the one in the series that is closest to the interpretation of "White Snake" in the minds of generations of audiences.

Poster of White Snake: Floating Life

Back to the beginning of the story, five years ago, White Snake: Origin set the highest box office record in the history of Light Chaser Animation, which was established six years ago. Douban gave it a high score of 7.8, with a total box office of 470 million yuan. This "prequel to the White Snake" amazed the audience with its brand-new legendary story and CG animation's visual expression of oriental connotations. The bold and passionate love expression of the hero and heroine opened the precedent of the Chinese animated film style. Two years later, White Snake 2: The Tribulation of the Green Snake, in the Shura fantasy world that combines reinforced concrete glass curtain walls with traditional antique buildings, allowed Xiaoqing to embark on a fantasy adventure of experiencing fate and tribulations, which opened up her mind.

"White Snake: Floating Life" focuses on the rooting and sprouting of emotions, showing the various challenges and obstacles faced by lovers in the daily life.

The three films each have a different focus, but they all share a deep exploration of emotions and a modern interpretation of traditional stories.

"White Snake: Origin" re-screening poster

"White Snake: Origin" is a turning point for Light Chaser Animation. Through the adaptation of the classic Chinese IP, it further established the development goal of "Chinese team, Chinese audience, Chinese story", and followed this route to create the subsequent "New Legend", "New God List", and "New Culture" series. In the future, it has launched different animation IP maps such as "New God List: Nezha Reborn", "New God List: Yang Jian", and "30,000 Miles of Chang'an".

As an animation film company that integrates production and production, Light Chaser is one of the few animation film companies in China that has the ability to continuously output animation films. Since the launch of its first animated film "Little Door Gods" in 2016, Light Chaser Animation has maintained a high-efficiency output of one film per year, continuously upgrading the high standards of Chinese animation film industrial production, and its brand influence has also been steadily increasing in the industry and among audiences.

On the occasion of the film's release, Yu Zhou, president of Light Chaser Animation and producer of White Snake: Floating Life, accepted an interview with The Paper. Yu Zhou reviewed the creative process of the entire series and also shared Light Chaser Animation's growth and changes over the years and its thoughts on the industry.

【dialogue】

The "White Snake" series is a milestone for Light Chaser Animation

The Paper:The stories of the three "White Snake" series films tried three different directions. What do you think of these three attempts and the experience gained in the process?

Yu Zhou:The Legend of the White Snake is a household story. In 2016, when we started creating White Snake: Origin, we didn’t plan to make the first part a true story. In White Snake, Bai Suzhen was loyal to Xu Xian and devoted to him, but we discussed internally that Xu Xian’s character was not perfect and even a little cowardly. Xiao Bai was so good to him perhaps because of the story in her previous life, and this was the beginning of White Snake: Origin. Two years later, we felt that Xiao Qing also deserved her own story, so we made White Snake 2: The Tribulation of the Green Snake.

Both works have achieved good results and have been recognized by the audience and the market. White Snake 2 also won the first Golden Rooster Award for Best Animated Film for Light Chaser. This time, White Snake: Floating Life returns to the source of the original story. We did not repeat the story exactly, but tried some innovations and adaptations.

On the one hand, this is our first attempt at a comedy genre, and we hope that the story can be more relaxed and suitable for all ages. Second, we have made major changes to the characters, especially Xu Xian. Before, the cowardly Xu Xian, at present, if only Xiao Bai was running towards love one-way, everyone would feel uncomfortable, so the love in "White Snake: Floating Life" is a two-way love. Xu Xian is still an ordinary person, but he becomes brave and finally chooses to sacrifice his life for love. This is a relatively big change. For example, Bao Qing Fangzhu, this is our original character, which is also different from the traditional "Legend of the White Snake", so the audience knows the storyline, and at the same time there are some new content, everyone will feel fresh.

"White Snake: Origin" Misty and Rainy Broken Bridge, Fairy White meets for the first time

"White Snake: Floating Life" Xian Bai happily married

The Paper:Were the three films planned from the beginning, or did you develop them one step at a time? How was the production cycle planned?

Yu Zhou:We had a plan in 2016, but we still think about the next few steps after each step, and make plans after observing the market response of the works. The production cycle of each film is about three years, which is how Light Chaser Animation operates, but we are rolling forward three projects, so we will release a movie every year.

The Paper:What foundation and help did the previous two films lay for "White Snake: Floating Life"?

Yu Zhou:This is the first time that Light Chaser Animation has produced three films in the same series, and naturally there is an accumulation of animation assets in the process. First of all, in terms of animation images, the images of Xiaobai, Xiaoqing, Xuxian and other characters do not need to be redesigned, but are upgraded based on the original characters, including performance, image, hair accessories and clothing. This is a huge project, but it is much more convenient than starting from scratch.

Of course, our team has accumulated a lot of experience and technology, so we release one movie a year, and we take a step forward every year, because our entire production system can improve every aspect of each work.

Hosei-bōzu returns to the stage

Baoqingfangzhu is holding traditional clothes, looking cute and playful

The Paper:When "White Snake: Origin" came out, it amazed everyone and was also the best-grossing film of Light Chasing. What role did it play in the development of Light Chasing and its subsequent projects?

Yu Zhou:White Snake: Origin opened up the development of adult animated films in the Chinese film market. Previously, animated films were usually screened during the day, and there were very few screenings in the prime time between 6pm and 9pm, because children rarely go out to watch movies at night, and usually watch them during the day. However, the prime time screenings of White Snake: Origin exceeded the daytime screenings. This is the first time in the history of animated films. White Snake: Origin later won the "Best Romance Film" at a film festival that year, which we did not expect, and of course we were very happy.

For Light Chaser itself, White Snake: Origin is definitely our first milestone, and it also marks our shift from family audiences to young audiences. Light Chaser's first three works, Little Door God, The Adventures of Atang, and Cats and Peach Blossom Spring, are all more family-oriented, because at that time we had just entered the animation industry, and our understanding of animation was basically "big hands holding small hands" family-oriented. However, young-oriented animated films are the characteristics of our Chinese market and also our opportunity.

Later, our "New Gods: Nezha Reborn", "New Gods: Yang Jian" and "White Snake 2: The Tribulation of the Green Snake" were mainly targeted at young audiences, while also taking into account family audiences. "White Snake: Origin" is not only a milestone work for Light Chaser Animation, but in fact, for the industry, it began to change the stereotype that animated films are for children.

The painting style does not pursue "explosion", but focuses more on the texture of details

The Paper:Compared with the previous two films, what are the difficulties in the production process of "White Snake: Floating Life"?

Yu Zhou:As for the picture production itself, it is not a big challenge for us. The challenge mainly lies in the story creation. The Legend of White Snake is well-known to everyone, so it is a relatively greater challenge to tell a new story.

Of course, White Snake: Floating Life has improved in terms of graphics. First, in terms of performance, whether it is action or expression, the graphics are more delicate and rich. After watching the movie, a friend said that he forgot that it was an animation rather than a live-action film, because the more detailed performances allowed the audience to immerse themselves in the characters and the story.

The second point is more production details. We hope to show the culture of the Song Dynasty through "White Snake: Floating Life". The quality of life of the Chinese in the Song Dynasty was very high and the economy was very prosperous. So we referred to the prosperous market life shown in "Along the River During the Qingming Festival" in the scene. We have done some research on food, clothing, calligraphy, paintings, furniture, and food. For example, the texture on the clothes and the effect of wet hair are more natural compared to previous works, which can reflect the improvement of production capabilities.

The Dragon Boat Race in "White Snake: Floating Life"

Xiaobai, Xuxian, and Xiaoqing cheered

The third point is visual effects. In the early days, people paid special attention to the physical effects of visual effects, such as explosions, lightning, and magic battles. But as experience accumulates, visual effects cannot dominate the story, and cool visual effects also serve the story. So in "White Snake: Floating Life", we were more restrained. Of course, there are some big scenes, such as the final battle, which definitely require grand and shocking effects, but all visual effects are to promote the story and atmosphere.

Because movies are a kind of emotion, a kind of artistic conception, which brings people feelings, sometimes visual impact is needed, but too much visual effect will make the audience feel tired. Many details are not noticed when watching for the first time, and it is only after watching it for the second and third time that many details are found buried in the picture. Animated movies are different from live-action movies, and there is more room for details. And making the details real and credible is even more difficult than making them exaggerated and explosive.

The Paper:Indeed, this film has more texture and details of life because it shows the various aspects of "floating life". This change happened last year when "30,000 Miles in Chang'an" was filmed. It seems that the "style" of light chasing has changed a bit?

Yu Zhou:In fact, it is not a shift. Our creative direction will become wider and wider, trying new types and artistic styles. The form serves the content of the story. The creation of "Three Thousand Miles in Chang'an" is more based on historical facts, and the creative process is very rigorous.

The story of White Snake: Floating Life is based on legends, and it cannot be said to be "faithful to the original work" because it has been passed down from generation to generation since the Tang and Song dynasties, or through folk music, storytelling and opera, and it must include accidental or personal subjective re-creation. Therefore, in the version of Light Chaser Animation, we also re-create it based on the aesthetics and values ​​of the current audience, which is also the evolution and development of the legend in history and time.

Xu Xian Xiaobai rides the wind

Xiaoqing looked serious and thoughtful.

The Paper:You have talked about your attempts at AI technology before, and you majored in computer science. What are your practices and opinions on the current status and prospects of its application in the animation field?

Yu Zhou:There is some use of AI in White Snake: Floating Life, but it is very rare. At present, the role of AI in animated films is very limited, and it is limited to very auxiliary functions. But we are curious about new technologies. Light Chaser has an AI laboratory inside, and has tested many new AI applications, but they are mostly in the two-dimensional field, such as the refinement of the perspective and details. The current AI is very different from the actual creation method, more like opening a blind box, and it is difficult to predict what will come out.

For new technologies, don’t overestimate their impact in the short term, and don’t underestimate their impact in the medium and long term. We think the same is true for AI. People often overestimate its impact now, but we think that in three to five years, some substantial technologies and tools will emerge.

The average youngest member of the team is born after 1995

The Paper:Animation is a production method with a long production cycle, but Light Chaser Animation has maintained a stable output of one film per year. To be able to achieve this, what kind of experience does the team behind it have in the operation process?

Yu Zhou:We have expanded a lot now, from 150 people when we made Little Door Gods to 380 people now, but all the departments are the same as before, except that the size and quality of the films have increased. We are still expanding our team to prepare for the future.

Since its inception, we have established an industrialized mode of operation. The production cycle of a film is three years, starting from the early story ideas and script outlines to the completion of production and release. The entire process takes three years. There are about fourteen or fifteen links in the production process of animated films. On average, each link, such as animation or model, takes about one year to participate in the production of the film. So our production process is rolling forward, which is also the mode that the industrialization of animated films should have, to ensure the stability of the team and the continuous output of works.

The Paper:This time, "White Snake: Floating Life" has two new directors. I would like to ask how Light Chaser Animation works in talent discovery?

Yu Zhou:It is not about “changing directors”, but about constantly cultivating new directors and new talents. All directors of Light Chaser have grown up from within. Chen Jianxi, one of the two directors of White Snake, is also a veteran employee of Light Chaser. He has been with Light Chaser for more than ten years and has participated in all the creative processes of the entire White Snake series. Another director, Li Jiakai, has also been with Light Chaser Animation for five years. He is just 30 years old and is one of our youngest directors.

Light Chaser has formed a director team, and there will be several new directors next year when Strange Stories from a Chinese Studio: Lanruo Temple is released. We have established a comprehensive talent training mechanism for all positions, including directors, producers, and visual effects supervisors. The Light Chaser team is very young, with an average of 95s, and dozens of people born in the 00s. Many supervisors were born in the 95s, and they are young but shoulder heavy responsibilities.

Our team is currently expanding, and we expect that by the second half of next year, the team size will reach 600 people, and the output efficiency will increase from one film per year to two films per year. In the summer of 2026, we will release "Three Kingdoms Part 1: Fighting for Luoyang", and another film will be released at the end of 2026.

The Paper:In recent years, most film companies have reduced production to look at different projects. Are you expanding because you are confident in the effectiveness of the current model in recent years, or because you predict that the market will be able to support higher output in the future?

Yu Zhou:We have been producing one film a year for so many years, and we need to make progress. In addition, from the perspective of the market environment, the supply of animated films is currently in short supply, and there is a great demand from the audience.

The threshold for producing animated films is very high. It takes three years for Light Chaser to produce a film, while many companies may need five or even seven or eight years. Market demand requires us to supply. On the other hand, the Light Chaser team has trained many talents and wants to provide more development opportunities for everyone. Many colleagues have the ability and potential to take on greater responsibilities.

The Paper:At the premiere in Hangzhou, we saw that the local government gave strong support, and the film was perfectly connected to the local cultural landscape. Last year, the collaboration between "Chang'an 30,000 Miles" and Xi'an was also very lively. The animation industry is combined with local cultural tourism to help each other. Are there some new models and directions today?

Yu Zhou:Animated films naturally contain such cooperation opportunities. The combination of the prosperous Tang Dynasty depicted in last year's "Chang'an 30,000 Miles" and Xi'an's local culture and tourism was very natural. Last year, not only Xi'an, but also the Yellow Crane Tower, Yangzhou and even Shangqiu in Henan Province saw a large increase in tourism. Shangqiu is not a tourist city, but because it is Gao Shi's hometown, the film brought it a certain amount of popularity. This year, our cooperation with Hangzhou Culture and Tourism was also a perfect match.

The Broken Bridge scene of West Lake in the movie "White Snake: Floating Life"

The Nine Creeks and Eighteen Gorges scene in the movie "White Snake: Floating Life"

The Three Pools Mirroring the Moon scene in the movie White Snake: Floating Life

In the past, we saw more government support for some industries. Funding is the most basic thing, but the cooperation between animation and cultural tourism should be two-way. Good works should not only promote cultural tourism, but also inject new vitality into historical and cultural traditions.

We also pass on literary works and historical culture through animated films. This kind of inheritance is not to read from the book, but to pass it on in a new art form that everyone likes to see and hear, while the core remains unchanged.

Of course, the prerequisite for achieving this inheritance is that we can produce successful works. The general public is the audience and also the final judge.

The Paper:Light Chaser Animation has been around for more than 10 years, and has seen significant growth at every step. How did you achieve this? What new challenges are you facing now?

Yu Zhou:Light Chaser has been around for eleven years. We didn't think too much at the beginning. We just wanted to do a good job on each movie. If we didn't achieve our goal at the beginning, we would summarize our experience and improve the next one. We later summarized it as "Chinese team, Chinese story, Chinese market", which is our general direction. In the past ten years, animated films have developed rapidly, and people are more interested in domestic culture and realistic stories. This may be related to the fact that the post-95s and post-00s have greater cultural confidence. In recent days, most of the athletes in the Olympic arena are post-00s. Their competitive spirit and confidence, as well as their ability to express themselves, have made us shine.

They are also the mainstream moviegoers nowadays. Audiences are more accepting of animated films, have higher expectations, and have higher requirements for creators. So whether it is Light Chaser Animation or other peers, everyone must work very hard.

The Paper:The main story of the "White Snake Series" as part of the "New Legend" series has been told. What plans do you have for interpreting other legendary stories?

Yu Zhou:I can’t reveal too much now, but I want to say that next year’s “Liao Zhai Lanruo Temple” is very worth looking forward to.