Asymmetrical Balance: An Interview with Chanikarn O. Lee

Please tell us about yourself first. How did you become interested in cinema and how did you learn this profession? Self-taught or academically?

I first discovered my passion for storytelling at 14, when I wrote and published a young adult novel during a school break. That experience showed me how powerful stories could be in connecting with people, and it has stayed with me ever since. Although I studied architecture and worked as an architect for a few years, I eventually returned to writing, moving from books to documentaries, articles, and then screenwriting. Asymmetrical Balance is my first step into directing, and I was surprised by how much I enjoyed exploring storytelling through this new medium.

How did the initial idea for "Asymmetrical Balance" come to your mind? 

The idea for Asymmetrical Balance came from a conversation about equality. In Thailand, I’ve seen many communities striving for their rights, and I truly wish for them to receive what they deserve. At the same time, I’ve also noticed that in today’s world, some movements can go beyond practical boundaries, which made me reflect that equality must be built on a foundation of reality. That tension between hope and reality inspired me to create a story about balance.

Generally, when an idea comes to your mind, how long does it take to develop it? How long did it take to complete the screenplay for Asymmetrical Balance?

It happened surprisingly fast. Once the idea popped into my mind, it took me only two or three days to develop the screenplay

What was the most difficult part of writing the screenplay for Asymmetrical Balance?

The most difficult part was writing the character of Yok, who lives with OCD and is obsessed with making everything symmetrical. I knew the visuals related to her behavior could be interesting, but I didn’t want to rely solely on imagination. Before writing, I tried living like Yok for a day, and I realized how truly exhausting and challenging that life can be. That experience helped me understand her struggles more deeply, but it was definitely the hardest part of the process.

How did you find your actors, and how long did it take for them to get used to their roles?

For the character of Pin, who is a shop display designer, the casting was very easy. I had Supitchaya in mind from the very beginning of the writing process, since I know her well and her real personality is very close to Pin’s. It felt natural for her to step into the role.

Yok, on the other hand, was completely different. Because this character is very unique and not easy to find in my own circle, we had to hold a casting. After discussing with Niti, the producer, we both felt that Kanyanon’s straightforward personality reflected Yok perfectly, both in appearance and in presence. That’s how we found her for the role.

What do you consider the main difference between the acting of Kanyanon Kaewsakhon and Supitchaya Budjaroen?

From the very first read-through, I could already see the contrast between them. As I mentioned, they came into the project through very different paths, and before the workshops I had never witnessed their chemistry together. To be honest, I was a little concerned at first. Supitchaya is someone who wears her emotions openly, when she’s happy, you see it instantly, and when she’s sad, it’s just as clear, even from a distance. Kanyanon is much more reserved, rarely showing her feelings on the surface. It takes time to really absorb what she is experiencing inside.

And yet, despite these differences, once they came together on set, their chemistry worked in an unexpectedly beautiful way. The contrast between their styles actually created a balance that made their scenes compelling to watch.

What was the most difficult part of making Asymmetrical Balance?

The hardest part was definitely the preparation period before shooting. I had less than two weeks to get everything ready, and since I had never directed before, I felt very unsure of myself. I had once tried working as an AD and realized it wasn’t something I was naturally good at, so stepping into the director’s role made me quite anxious. But when the actual shoot began, things flowed much more smoothly than I expected. Looking back, I think most of my worries came simply from being new to directing.

What were the reactions of the people who saw the film and the reactions of various festivals to your work?

To be honest, I only shared the film with a few close friends, since most people around me know me more as a writer than as a director. I still feel a bit shy introducing myself in this new role. The festivals I’ve joined so far have also been overseas, so I haven’t had the chance to see live audience reactions yet.

Still, the feedback I’ve received has been encouraging. Many found it impressive for a directorial debut, while others admitted they didn’t quite connect with the message at the end. I appreciate both kinds of responses, and I see them as valuable insights to carry into my next project.

If you were to summarize Asymmetrical Balance in one sentence, how would you describe it?

A beautiful sense of balance doesn’t always come from dividing things into left and right, or black and white.

Is making short films a way for you to make a feature film?

Not really. I simply want to tell the stories I feel drawn to, and sometimes they naturally fit into just a few minutes. That’s why Asymmetrical Balance became a short film. But if you ask whether I’d like to make a feature one day, the answer is yes. If the opportunity comes, I would love to try.

What lessons did you learn from making Asymmetrical Balance? If you were to go back to the beginning, what would you avoid?

The biggest lesson I learned was not to panic, just stay calm. While making this film I was quite flustered because of the limited time and budget. If I could go back, I’d try to keep a clearer mind and stay more composed.

If possible, tell us about your next project.

My next short film project is called Neon! Vol.514. Like Asymmetrical Balance, it also deals with the struggle against inner imperfections, but in a very different genre. This time, it will be a psychological thriller about a middle-aged man whose quiet, uneventful life begins to unravel after the manga he has followed since childhood finally comes to an end.