The Alluring Art of Animation: An Interview with Haojun Huang

I first got really captured by animation when Into the Spider-Verse was released back in 2018. The complexity of the artistry exhibited by animators—not to mention their saint-level patience and careful attention to detail—had me awestruck by this artform. From Ghibli to Aardman to LAIKA (not to mention Aotearoa’s very own Wētā), there is always heaps of exciting stuff happening in the world of animation. 

And there’s no better way to get a taste of what's fresh and fun right now than attending the Wellington Animation Film Festival, held March 19th to 22nd at The Roxy Cinema. This year's programme presents a collection of feature films and shorts from across the globe (productions from China, France, and South Korea, to name a few). You’ll also get a chance to see some films screened at last year’s ANNECY festival, the world's biggest animation film fest. There's shorts-compilations, family-friendly films, and award winners—something for everyone!

In celebration of the festival, I had a chat with Pōneke-based animator Haojun Huang about his passion for and work in the field of animation.

What first led you to animation?

Like most animators, I fell in love with animation at a young age. And as a 90s Chinese kid, I grew up with this comic magazine series called Màn You (漫友 Comic Fans), which inspired me a lot. I didn't truly find myself in the animation space until I started to work in the live-action film industry as a set designer, where I found my passion in storytelling through 3D spaces. "End of Summer" was my debut animated film, which was screened at WAFF 2025. I made it during my time in the masters program at Miramar Creative Centre. A really special one to have as my directorial debut.

What is your favourite part of the animation process?

I think lighting is one of the most rewarding parts of the animation process; it's like turning on a lamp in an unknown space. There is a sense of discovery through lighting, where everything comes to life. Light somehow moves the hearts always!

What is the most challenging aspect of your work?

There are many challenges in the animation process. For me personally, the most challenging is also the most exciting part—the act of starting. It is the part where I decide to stop overthinking and start visualising.

What are you most proud of in your work as an animator?

I am always super proud when I see all the strange ideas come to life. I believe one of the most essential skills for an artist is eye-hand coordination: Eye—having the taste & research to conceptualize, Hand—bringing together the skill to execute the concept.

What key traits make a good animator? Patience, perfectionism…?

Patience! Animation is a long process; there are good days and bad days. Another trait would be confidence, even a little bit of blind confidence (the good ol delusion) could be good. Animation is another form of expression and, to me, confidence is the key to communicating the message.

What are you most excited about for the future of animation?

I am most excited by how it is changing! Also how we use our unique voices as animators.

What is your favourite animated film and tv series? (or a couple favourites!)

When I was a kid, I used to be obsessed with this anime called Fairy Tail hahaha. Alberto Mielgo's Wind Shield Wiper is one of my favorite animated films as an adult. When I was in ANNECY last year, I made friends with a Chinese film maker named Tan Jiali—his award winning short Won't Be Here was truly beautiful, and the cultural specification hit home for me.

Last year, Netflix used A.I. to complete VFX work in their show The Eternaut. They cited time and budget concerns as their primary motivators. How do you feel about this as an animator?

Last year, recommended by Raqi Syed, I read Mark Fisher's Capital Realism. And Raqi also talked about VFX. Though charmingly referred to as “movie magic”, it is in fact a time consuming craft. I suppose what we are seeing is craft standing before capital. I often like to think about this through the lens of the fashion industry (bit of cross referencing there); the high end craft (the dying craftsmanship) is consumed by the wealthy, and the affordable, sweat-shop, fast-fashion is consumed by the masses. I don't really know the answer to this, but this is roughly how I feel about it: when big corporations use A.I. to streamline the workflow, then who is consuming the final output? 

Are you feeling the impacts of A.I. in your industry? Any big concerns moving forward?

I think concern regarding A.I. is definitely present. A lecture from Kyle Balda truly enlightened me on this subject matter. As an animator & director, I am intrigued to see the story we tell in a world where A.I. is our reality. My thinking around it is that A.I. presents opportunities whether it is involved or not, because its impact will change our stories as future storytellers, and our stories will continue to be important. The general structure of our society hasn't really been the best at providing stability for artists, so it is in our nature to innovate and find our own footing. That's what we will continue to do in the future.

What was the highlight of your experience at ANNECY?

I met so many awesome people, especially other young, emerging artists. I always have this feeling when I am amongst outrageously talented people—I felt that I would be okay. We are all in this together, we are all swimming. To be more specific, I got to prototype some animatics with a couple artists while we were chatting ideas. The VR exhibition at ANNECY was really cool; I loved how out of the box animation could be when you are confined by a different parameter. 

What are you most looking forward to about this year's WAFF?

The people hahahah. WAFF always brings people together and gives voice to the artists. Wellington has a very vibrant and supportive animation & VFX community, I must say. So I would encourage everyone to take part in the festival. If you haven't got your ticket or it's sold out, it would still be great to be there and see what magic happens.

Are you working on anything exciting at the minute?

Yes, I am! On my way back from Annecy in June of last year, I wrote half of my new story "Our Bodies" on the flight to NZ. I recently finished the story for a proposal, and I must say, it is so rewarding and exciting to see the full story written out. DozeFace Animation Lab is always on the go—we are working with talents to create bedtime stories. We are also finding our way though a projection mapping project. Additionally, I've been photographing the people of Wellington this year. I love photography for the human connections it builds. It is a more rapid exercise for me to train my eye and taste for visual communication.

Tell us a bit about DozeFace…

• What excites you about this project?

DozeFace Animation Lab is exciting because of our emphasis on "lab". We are experimenting with what animation can be in and out of the film and TV industry. We are a team of emerging VFX artists and animators, carving our own paths in this changing landscape.

• How do you feel animation can contribute to one's emotional or mental state?

Animation always has such an impact on our childhood, and childhood is strongly linked to our emotional well-being as adults. Our producer Nadia Koolina has discovered through research that what helps us sleep isn't just sedation, but curiosity and excitement for the next day. So that's what we are trying to do with animation as a medium.

• How can people support the work your team is doing?

Join us on the journey, with your talents and visions. I am always here to have a coffee and conversation, or multiple of them!

In your teaching at Yoobee College of Creative Innovation, what are you seeing young animators getting most passionate and excited about? 

We are artists. We can't help but do it, and I see that everyday. They are talented, intelligent, and filled with thoughts—philosophical, political, and emotional. I find that in my day-to-day as a teacher, my job is to see and be enamoured by their strengths. I am a professional, full-time hype man. 

Haojun’s debut film "End Of Summer" was screened at WAFF in 2025. This granted him the opportunity to attend the ANNECY film festival in 2025, where his film also screened. Later that year, it was screened again at SIGGRAPH Electronic Theater in Vancouver. You can watch “End of Summer" at www.vimeo.com/1062321024/05570cf4a0 

Haojun co-founded DozeFace Animation Lab with his classmates from the masters programme at Miramar Creative Centre—Nadia Koolina, Mason Garner, and Andrew Tian. DozeFace Animation Lab creates animated bedtime stories—”not just as entertainment, but as gentle acts of caregiving.” Their team is “further exploring the possibility of animation as a tool to help anxious adults de-escalate, and shepherd them into the land of sleep.” Watch some of the DozeFace seeds—”short animated experiences crafted for different kinds of sleepers”—and enjoy a restful night of slumber. Check out the project at www.dozeface.com

The Wellington Animation Film Festival is running from the 19th to 22nd of March at The Roxy Cinema in Miramar. Find the full programme at www.wellingtonanimationfilmfestival.com