Talking to a reporter from Lao Dong Newspaper, Quang Su said that although the market context has changed a lot with the explosion of technology, the core value of an artist is still in empathy and the ability to make the audience believe that the character is really present.
It has been quite a long time since the audience saw you return to Northern TV series. What is the reason for this absence, sir?
- Actually, in the past 2 years, I have been doing art normally but mainly spending time with my family in Ho Chi Minh City and participating in some personal business projects. In addition, I also focus on separate film projects. It is true that I was absent from national television for a period of time, and the movie "Under the Bright Window" this time marks my return after that break.
For me, every break is necessary to regenerate energy and find new materials for life. When I received an invitation from director Le Phong for this project, I felt this was a suitable time to reunite with television viewers.
Many people commented that his appearance in this comeback is somewhat thinner and more rugged than before. Is this a mandatory requirement from the new role?
- It's true that I have lost quite a lot of weight. Before starting this project, I participated in a movie in Dak Lak filmed before Tet. The requirements for the appearance and weight of the characters in that film project forced me to actively lose weight very strictly to suit my image.
After finishing that movie, I received an invitation from VFC for "Below the Lighted Window". When reading the script and imagining the character this time, I realized that the current body state - thinness and a bit of rudeness - is extremely suitable for the character's background and circumstances. Therefore, I decided to maintain this weight to bring the most realistic image, helping the audience believe in the character from the first sight.
After a series of characters with edgy and heavy psychology, what are the notable differences in your role this time in "Under the Lighted Window"?
- I think the character this time's psychology is not too complicated if placed next to recent projects such as Nghia in "Heart rescue station" or Cong in "My family suddenly becomes happy". From living circumstances, work to the relationships around the character, everything happens gently, everyday and much closer.
However, this is still a character that makes me feel very interesting. The interesting thing lies in the lines and attitudes of the character when facing situations in life. There are times when the character handles the problem in a very unique way - viewers may feel a little uncomfortable, frustrated, but immediately afterwards find this character very cute and humorous. It is the multi-dimensionality in everyday personality that has attracted me.
Does transforming into a "gentler" role like this help you reduce the pressure compared to the heavily psychological roles before?
- Actually, from my point of view, no role is called easy. Whether it's a tough or easy role, I still always maintain the habit of preparing an extremely detailed "personnel profile". That profile includes everything, from brief background, education level, family circumstances to surrounding social relationships.
The biggest goal of an actor is to make the audience believe that the character is real and the story taking place on screen is real. Compared to the complex psychological layers of Nghia or Cong before, this role, although seemingly lighter in essence, the pressure to refresh oneself and create deep empathy with the audience is still present, requiring serious and meticulous investment.
In your opinion, what factors will help traditional TV series retain audiences in the context of short vertical screen videos being dominant?
- The entertainment habits and behaviors of the audience have changed significantly, that is the truth that we must accept. Vertical screen short films are born based on careful research into users' habits of consuming fast content.
For television dramas, the key is harmony between platforms. Currently, VTV's projects are not only broadcast on traditional television channels but also make very good use of digital platforms such as the VTVGo application or social networking sites to reach young audiences. This combination is mandatory in the current competitive environment.
Besides, the value of TV series lies in the depth of content and systematic investment in setting and story. In the movie "Under the lights of the window", we focus on exploiting the nostalgic values of human love in old Hanoi apartment buildings. Although the living space may change, there is no longer noise or honeycomb coal stoves like 20 years ago, but the feeling of "lighting the fire and turning off the lights together" is still the strongest connecting thread. I believe that such humane and true stories will always have a firm foothold in the hearts of the audience.
Faced with the explosion of the short film and web-drama market, actor Quang Su maintains a fairly comfortable attitude and sees this as the inevitable result of technological development. Instead of eliminating it, he chooses to adapt, learn and be willing to participate if the project has a good script, positive messages because the concept of art should not be limited by broadcasting platforms. Regarding the intervention of artificial intelligence (AI), the male actor believes that machines, although simulating images, can hardly replace the true emotions from the eyes, breath and unique life experiences of a true artist. For Quang Su, constantly improving skills to harmonize with the times is the key to helping actors maintain their unique value in the face of the technological wave.
Actor Quang Su (born in 1984, from Thanh Hoa) is one of the male artists highly appreciated for his professional ability thanks to a well-trained background. After passing the entrance exam to Hanoi University of Theater and Cinema, he received a full scholarship and graduated with a degree in acting from Korea National University of Arts (K’Arts). Returning to Vietnam, Quang Su persistently affirmed his name through both cinema and television with a meticulous and psychological depth-driven role-choosing style. Audiences remember him through many diverse film projects such as "Let Me Decide", "Lethal Lens", "Silver Swamp"... In recent years, he has become a "coverage" face at VFC prime time with impressive roles such as: Cong in "My Family Happiness Suddenly" or Nghia in "Heart Rescue Station".
