Mr. NSND, the movie "Under the Lighted Window" explores the setting of old apartment buildings - a space full of memories. What emotions does this evoke for you?
- I believe that in each person's childhood, everyone has a attachment environment - it could be a collective area, a street or a village. It is a place that preserves deep memories that, whether when we grow up or go far away, every time we return, we feel nostalgic. Not only directors, screenwriters or actors, but I think we all find such a attachment.
Under the lighted window" is a story built on the spirit and humanistic theme like that.
What is special about the father character in the movie "Under the Lighted Window" to attract him to participate?
- The role is attractive to me because it is the image of a very simple father, cherishing family values and wholeheartedly worried about the future of his children. The new point is that this character also has a close connection with neighbors. He lives in the same neighborhood, sharing joys and sorrows with those around him, not just confined to the family. The truthfulness, decisiveness but also full of emotions of this character easily goes into people's hearts.
In the movie, he continues to reunite with actor Quang Su. Is this "being a father" different from previous times?
- Almost all of my scenes in this movie are "hooked" to Quang Su. We play father and son, but the personalities and circumstances are completely different. The two uncle and nephew have worked together a lot, so they understand each other very well and coordinate well. Hopefully the audience will welcome this change.
Having experienced many types of roles from villain to leader, why do gentle father roles still always have such a special attraction for you?
- Roles like fathers - specifically Mr. Sinh in this movie - are still the type of character I love the most. That is a father who always puts family first. The joy of being a parent is seeing their children grow up and the greatest pain is when witnessing their children fail or break down. Those everyday feelings always have a great attraction for me. Some opinions say that gentle, hard-working father roles easily lead artists into a "rut". My point of view is very clear: If it is a rut but brings good, human values, then I will still go. I just don't go if that path leads to absurdity or lack of value.
After the success of major film projects like "Phí Phông", how do you see the current television film environment changing compared to the previous period?
- Now everything is more solid and professional than before. Back then, we mainly acted in films commissioned by the State, the production intensity was very different. However, if you say acting in TV series to "get rich", I have really never seen anyone rich.
For old people like us, playing short roles of 5-10 days or a little longer, the income is only just enough.
So what motivates you to still work hard with camera lenses even though your income is not high and are you afraid of having to "reliant" your economy on your children?
- Firstly, because of passion, secondly, when acting in movies, I meet brothers, friends, and young children, I feel young again. With my pension and performance salary, I still take care of my basic needs myself.
I want to be self-reliant so as not to rely on or bother my children. Only when major events arise will I need to calculate more (laughs).
