From massive hits like Bố Già (Dad, I’m Sorry) to his latest heart-wrenching performance in the Việt Nam-South Korea co-production Mang Mẹ Đi Bỏ (Leaving Mom), Tuấn Trần has become one of Vietnamese cinema’s brightest young faces. Amid the buzz, he sat down with Hà Phương to reflect on his acting process, favourite behind-the-scenes moments and what really fuels his passion for choosing roles.

Inner Sanctum: During filming 'Mang Mẹ Đi Bỏ', which scene haunts or stays with you the most?

The most painful scene wasn’t a heavily dramatic one - it was the simple meal with my mom, where my character knows he’ll abandon her the next day. On the surface it seems calm, but to me, that was the hardest moment to film.

Emotionally heavy, it was my character walking away, leaving a frail, elderly mother behind in an alien land. I was overwhelmed with uncertainty. How will she live without me? Is she okay? Will someone care for her? Guilt weighed on me; he’s been there for me for so long.

And what’s heartbreaking is she’s clueless. Even more, this was on our very first shooting day in South Korea, right after arriving. Oh, and we were filming eating black bean noodles - six or seven bowls straight. It was relentless.

Inner Sanctum: Was working with renowned South Korean actors intimidating?

I was nervous initially, assuming there’d be distance between us. But they were welcoming and warm. At dinner, they’d chat and even serve me food. After the press conference, Jung Il Woo surprised me with a gift, which was so thoughtful. It’s clear why audiences love them.

Go Kyung Pyo is absolutely lovable. We were both getting makeup done in the same small space. I panicked internally about how to even say hi or ask for a photo naturally. But he shook my hand and greeted me. I ended up with a small photo album of us.

Even when we didn’t share scenes, I watched them closely – how they react, how they embody the role. That’s priceless learning.

Inner Sanctum: After so many blockbuster hits, does box-office appeal ever overshadow your role selection?

I don’t consider myself a “name”, just a fortunate actor. What matters most are two things: novelty – the role must be unlike anything I’ve done; and emotional resonance – it must touch the audience.

It’s not about doing another role people expect. I don’t want my work to be predictable. Many scripts seem intriguing at first but fail to touch me after reading them. A role only matters to me if I feel it – that’s how I give a performance. Even as a villain, I must be hated.

Without that spark, conveying emotion to viewers is difficult. Though I won’t deny that pay and reputation matter, the heart of the character is what truly guides me.

Inner Sanctum: In just six days since its first release on August 1, 'Mang Mẹ Đi Bỏ' hit VNĐ100 billion (about US$4 million). How do you feel about being the box-office assurance of a new generation?

It’s not so much about wins and losses at the box office – it’s about the richness of experience. I’m a perfectionist who dislikes repetition. Even if a project succeeds financially, the real joy lies in collaborating with passionate people.

It genuinely moves me when crew members open their hearts to work with someone they hardly know. Working together to make something great is where dedication and excitement shine, and that’s what draws me to filmmaking.

Inner Sanctum: South Korean director Mo Hong-jin called you "a gem of Vietnamese cinema”. How did that make you feel and did it bring any pressure?

I’m deeply grateful for the compliment. But honestly, I get intoxicated by praise only for a few hours before it fades, like buying something you love. That spike of joy doesn’t last.

I think the director saw my sincerity and dedication to the role, especially Hoan. His words were a huge encouragement, affirming that maybe I’m not a glittering gem, but I’m still valuable. It’s validation that my efforts on set are seen.

Inner Sanctum: You haven’t appeared in recent projects by Trấn Thành. Why is that?

I’ll act in his films if he asks. He casts who fits the role. I’ve worked with various directors and learned that each brings a different vision. Trấn Thành only makes one film a year; many others are making several.

I don’t want to box myself in or be swayed by others’ judgments. I want to stay open to learning and exploring. No one is born perfect, and I want to grow.

Inner Sanctum: You’ve played a mother–son duo again with Hồng Đào. How did that feel, and would you want a third collaboration?

If there's cosmic help, I’d love to act against Hồng Đào, like as archenemies. I’ve mostly played roles based on love or harmony. But to face off in a tense thriller – now that would be high octane.

Imagine me as a gangster and her as the hardened matriarch – I’d love that! I enjoy conflict on screen, especially with someone so talented. When she’s unleashed all her skills, I’d get to absorb so much by watching. I’d learn a tonne from her.

Inner Sanctum: What kinds of roles are you eager to explore next?

I’d love to play a villain, maybe in a martial arts film. And detective thrillers intrigue me, but I’d prefer to play the antagonist, not the hero.

I don’t want one-dimensional evil, but a character that does bad for a reason – say, stealing something. I want to know why, what drove them. I want a script that digs into the purpose behind the evil, so the audience understands, not just sees the villainy. It sounds greedy, but a villain viewers can empathise with – that’s my dream role. VNS