Writer: Hung-Kai, Chen
The 2025 Kuandu International Animation Festival welcomed director Joe Hsieh, whose film Praying Mantis was selected for the 2025 Venice Film Festival, to deliver a lecture titled “Behind the Scenes of Praying Mantis vs. the Venice Film Festival.” He opened with humor, remarking, “Being able to use national funding to attend an international festival is a blessing,” before introducing into the history and prestige of the Venice Film Festival. Recognized as one of the three most influential film festivals worldwide alongside Cannes and Berlin, Venice dates back to 1932. It serves not only as a landmark for artistic cinema but also as a stepping stone toward the Oscars, with many Golden Lion-winning films later achieving success at the Academy Awards.
He screened some clips from the past Golden Lion winners, including A City of Sadness, Vive L’Amour, The Story of Qiu Ju, Brokeback Mountain, Still Life, and Lust, Caution. He humorously reflected on his work on No.7 Cherry Lane, admitting, “The characters I drew were too ugly for Director Yang Fan’s aesthetic standards,” and noted that he has never imposed strict rules on perspective, believing that creativity should not be limited by technique.
He then presented several films nominated for this year’s festival, such as No Other Choice, Bugonia, Frankenstein, The Smashing Machine, and Girl, before showcasing his own Praying Mantis. He also shared a red-carpet Vlog from Venice, advising creators to “be confident and open” when stepping onto the international stage, capturing the pride and style of Taiwanese animators.
He then moved on to the main theme of the lecture—the production process of Praying Mantis. He joked that this film is his “Light the Night,” because he challenged himself to achieve the ultimate in colorfulness. He said that his travel experiences often become sources of inspiration, as whenever he encounters a beautiful place, he feels compelled to turn it into a scene. He insisted on completing the entire film by hand-drawing to maintain his unique touch and style, which made the production period particularly long. The film depicts the red-light districts and nightclub atmosphere of Taiwan in the 1990s, filled with dazzling colors and luxury, symbolizing his observation of human nature during that era.
When talking about color design, he said he never starts from commercial considerations: “Colors should be discordant and conflicting.” Each time, he challenges himself with color combinations he has never used before, trying to find emotional truth within visual tension. Regarding the development of his style, he encouraged young creators to experiment with different media, just as he explored his own style through charcoal, pencil, and various experimental drawing methods.
Finally, Director Joe Hsieh invited his main production partner, Eden Chen, to share his thoughts. Eden Chen was responsible for about ten challenging shots and the character design of a chubby uncle. He explained that the ability to draw accurately in motion comes from years of accumulated experience. He praised Joe Hsieh for “knowing exactly what he wants,” which makes communication between the animator and director more efficient. He laughed and added, “What animators fear most is when the director doesn’t know what he wants—no matter how many times you change it, it still doesn’t match the image in his head.” This remark drew laughter and resonance from the audience, bringing the lecture to a passionate conclusion.
