“Everything Happens by Chance”: Tony Leung Discusses Léa Seydoux, Silent Friend, and Ryūsuke Hamaguchi

      A fondness for modern cinema and admiration for Tony Leung go hand in hand. The recent retrospective of the actor at Film at Lincoln Center showcased this perfectly: whether it was a successful programming choice or just a film that seems to have been viewed by everyone in New York, the movie featured Leung, making tickets for the 268-seat Walter Reade nearly impossible to obtain. This series was tied to Ildikó Enyedi’s Silent Friend, which provides one of Leung's most subdued performances amidst a lengthy filmography, starkly reminding us of the many years he has dedicated to his craft.

      Having watched Leung more than nearly any other actor, I consider myself fortunate to spend time with him during his first trip to New York since the release of The Grandmaster in 2013. He speaks softly and warmly, his demeanor shifting quickly from deep thought to laughter. (I suspect these are qualities that can’t be taught for acting.) Despite his esteemed status, Leung exudes a nearly humorous lack of pretentiousness—his casual dark Adidas tracksuit emphasized his ease—and encourages a relaxed dialogue.

      You’re here at the conclusion of Film at Lincoln Center’s retrospective. You began acting at a young age, and we can witness your journey from a young man in his 20s to the present. In Silent Friend, it was striking to see you appearing and sounding your age of 60—even with assistance from a hair and makeup team. Your filmography represents a chronicle of how your face, body, and voice have evolved over the years.

      Tony Leung: I didn’t do it intentionally. [Laughs] I’m fortunate: I began my career during the golden era of Hong Kong cinema. So, I had opportunities to collaborate with various crews and directors and explore different genres. But it isn’t by design; I never sat down to plan my next steps.

      Without that planning, you’ve still achieved an incredible career—not just in terms of the films, but also the prominent actors you’ve worked with. Just to mention a few: Maggie Cheung, Leslie Cheung, Chow Yun-fat, and the Five Tiger Generals. In this film, you share the screen with Léa Seydoux. Your characters often find themselves alone in silence, yet you’re also quite generous with your fellow actors. What qualities do you seek in a scene partner? What do your co-stars bring out of you?

      It largely depends on the partner I have. When there’s mutual understanding and trust, we can improvise and experiment in our scenes. It really relies on the dynamics of that relationship, which I think is very significant. For example, with Leslie when we worked in Buenos Aires, we spent a lot of time together—learning tango, picking up Spanish, dining together—trying to cultivate that unique relationship, which helped us build the trust and friendship mirrored in the film [Happy Together].

      Or with Maggie: you need to have some affection for your co-star [Laughs] to convey authenticity in your performance.

      You can't fake it.

      No, you cannot. Audiences can sense whether you have a connection with her or not. [Laughs] You can’t pretend. That’s how I engage with my partners. But yes, after filming wraps, it’s important to remind myself, “This is just a film.” I return to my private life.

      With Léa Seydoux in this film, communication takes place primarily through the computer. What preparation did you undergo for that?

      I first met her at the Venice Film Festival and found her very captivating. She’s a wonderful actor. However, during filming, we only shared one or two dinners in Marbach, Germany, before we started. When we were shooting, we were actually on the same floor—doing it in real-time, just in different rooms—so we rehearsed together with the director. Since our relationship wasn’t too close, it was somewhat easier to navigate, and because I first noticed her on TED Talk, I sought her assistance in portraying… that kind of distant relationship.

      There’s no need for extensive preparation. When we rehearsed and the director felt our dialogue worked, we’d return to our separate rooms to shoot. I found that simpler since there wasn’t a lot of communication needed between Léa and me as we were both unfamiliar with each other.

      You’ve explored various genres: romance, comedy, action. People sometimes overlook that you’ve also tackled very dark themes, like in Cyclo or The Longest Nite...

      Lust, Caution.

      …Bullet in the Head. The alternative ending of In the Mood for Love was quite unsettling. Silent Friend, however, is gentler and very subdued. Do you have different levels of comfort when it comes to playing extremely dark versus softer material? Or is it all just acting?

      I enjoy experimenting with different types of films and characters. You never know if you like something or how far you can