Exclusive Interview: Curtis Lum on ‘The Audacity,’ Timely Themes, and Leading His Feature Film ‘New Diamond Restaurant’

Curtis Lum has built his art around stories that feel timely—projects that mirror the world as we’re living it while creating space for audiences to see themselves within it. Across drama, sci-fi, and action, he has brought a commanding presence to high-stakes worlds. But with The Audacity, he taps into something new, revealing a sharp comedic edge that feels both effortless and long overdue. It’s a shift that not only surprises, but expands what audiences have come to expect from him.

Set in a Silicon Valley spiraling into AI-fueled excess, The Audacity follows a would-be tech titan and his ethically compromised therapist as they chase fortune—and some version of happiness—in a world where morality is constantly shifting. Created by Jonathan Glatzer (Succession, Better Call Saul), the series feels in direct conversation with the present moment, blurring the lines between ambition, power, and consequence. Within that chaos, Curtis carves out a distinct presence, leaning into the show’s razor-sharp tone with a performance that balances restraint, unpredictability, and a comedic rhythm that often says more in silence than it does in words.

Beyond The Audacity, Curtis is stepping into a new chapter, preparing to lead his first feature film, New Diamond Restaurant. Inspired by deeply personal experiences, the project speaks to the kind of storytelling he’s drawn to—rooted in identity, family, and the complexities of carving your own path. It’s a natural next step for an artist committed to work that resonates on both a personal and universal level. Pop Culturalist caught up with Curtis to talk about The Audacity, embracing comedy, and bringing those perspectives to life.

PC: You’ve always been intentional about the projects you take on. Can you give us a sense of what The Audacity is about and how it spoke to you, both in terms of your ethos as a storyteller and the path you want to walk as an artist?
Curtis: Wow—heavy question right off the bat. I love it. The show gives you a behind-the-curtain peek into this ego-driven, chaotic world of Silicon Valley and the tech moguls who run it. It’s a fresh take on themes of surveillance, power, and morality. What I love about it is that it feels like art imitating life in real time. There’s a real sense of urgency to it. We shot it not too long ago, but everything felt incredibly timely and relevant. Everyone was pushing to get this story out into the world as quickly as possible because we’d get scripts and think, “Wow, this is happening right now.”

When the show comes out, it’s going to tap directly into the conversations people are already having—it really speaks to the current cultural moment.

As a storyteller, and as someone who’s part of this machine that puts stories out into the world, it feels meaningful to offer a reflection of society and be part of that conversation—what’s really going on, what’s right and wrong, and how we feel about the things happening around us.

PC: Definitely. I’ve seen the first five episodes, and “urgent” and “urgency” are the perfect ways to describe this show. It really does feel reflective of the times we’re living in. How do you navigate that while still grounding your work in the story itself, and what kinds of conversations do you hope it sparks for audiences?
Curtis: At the end of the day, as an artist—whether you’re a storyteller, actor, or performer—you want to connect with an audience. You want to be part of a story that resonates with as many people as possible. With our show set in Silicon Valley and rooted in the tech space, these are themes that permeate across the world. And again, I love that we’re tackling these issues in real time.

As an actor on the show, I’m just happy to be along for the ride. I play a character named Tim Kwan. He’s a corporate climber who works for a company very similar to Apple—something with a massive imprint on the world and within Silicon Valley. He shakes things up in his own way and definitely has his own agenda. It was really interesting to step into the shoes of someone in that position—someone who has a bit of power but is always looking to expand his status and influence within the industry. It was a lot of fun to play.

PC: There’s this morally gray area where all of these characters reside, and the show really leans into the idea that no one sees themselves as the villain of their own story. Each character operates from a place of justification, making choices that feel right to them. How did that foundation shape the way you approached your character?
Curtis: That’s a great question. To be honest, my original approach was, “How can I make Duncan Parks’—Billy Magnussen’s character—life as miserable as possible?” [laughs] Morals aside, I was really looking at it from the perspective of how I could have the most fun with the character.

There’s such a wide spectrum and a very gray area between what’s right and what’s wrong. These characters take certain liberties, and there are moments where you have to be pretty audacious in that space. So I didn’t judge him at all. I approached it from the standpoint of: What are his goals? What is he trying to achieve? Who is he in every single scene? Who is he within the company, and who is he in the world?

For me, it became about making the most of the time I have on screen. I’m involved in some crucial parts of the story throughout the season, so it was really about asking, “How can I make the biggest impact in those moments?”

PC: There’s such a presence to your character and a sense of mystery surrounding him. I love that you mentioned that dynamic with Duncan, because there are so many comedic moments between you and Billy. A lot of that comes through in the looks—less about what’s being said and more rooted in physical comedy. How much of that was improvised, and how did you discover that through your collaboration?
Curtis: We definitely had some room to improvise, especially in the later episodes of the season. But a lot of it was already there on the page, which is a huge testament to how much of a genius Jonathan Glatzer is. He really understands comedy in a dark way. He knows how to write with a certain pacing that walks the line of anxiety, but also leans into smart, witty, funny wordplay. I’ve heard people say he’s almost Shakespearean in some ways, and I think that’s absolutely right. He knows how to put these characters at odds and have them constantly going at each other in a way that’s really fun. That was very much the dynamic between Duncan and Tim.

On set, it was hilarious. Billy Magnussen and I couldn’t stop laughing during some takes. That back-and-forth rivalry we had on the show was just a lot of fun to play. Every day I showed up to work knowing I had to put my work hat on—that was my M.O. Go in and get after him. [laughs] So that’s what I did.

PC: I also love that you mentioned Jonathan. This is the first time he’s stepping into the role of showrunner. What was it like collaborating with him to bring Tim to life, and how did you balance his vision with your own take on the character? Were there things you took away from working with him that you’ll carry into future projects, especially since you also work behind the scenes as a writer, producer, and director?
Curtis: By the time I got my eyes on the script, things were already very much locked in, and the world had been created for all intents and purposes. The roadmap he built was so strong and clear. I can’t speak for anyone else, but for me, I was definitely nervous. I love doing comedy—I’ve always said I want to do more of it—but I hadn’t done it in a while, and this is a dark comedy. I hadn’t worked on something like this in a couple of years, so I had to shake off the cobwebs a bit. It felt like I was stepping onto a bullet train that was already moving by the time I arrived—they’d already been shooting for a few days.

Everyone on set—not just the actors, but the entire crew—had a deep respect for Jonathan and his work. But he’s such a down-to-earth, humble guy, and always willing to listen. When it came to discussing ideas for the character, we found a really nice middle ground between his vision and mine for Tim. It’s a fine line in a show like this because there are so many big characters, but he’s a maestro in the way he manages it all. He’s constantly watching everything, rewriting in his head, editing, and shaping the story in real time.

What was really exciting to witness was how flexible the process was. Even with a clear roadmap and finished scripts, things could still evolve on the fly. It really was a case of the best idea wins. And when something changes in the moment, it can ripple across the entire season. Watching him work with that kind of speed and adaptability was incredible—he never seemed stressed, just completely in control. Cool as a cucumber. He’s such a strong, influential presence on set. So getting to collaborate with someone as accomplished as he is, while also being so open and collaborative, was a fantastic experience.

PC: It really starts from the top down. I went into this show completely blind, so I didn’t know the premise, and it was so refreshing to see you flex your comedic chops. I’ve seen your dramatic and action work, and this is such a different side of you—it was so much fun to watch.
Curtis: Thank you.

PC: Speaking of that fine line, you all walk it so brilliantly—where these characters can be outrageous but still feel grounded. Can you talk about finding that balance, and how it’s further shaped by who you’re acting opposite in a scene and when to lean in?
Curtis: 100%. You’re absolutely right. A lot of these characters are grounded—it’s their actions and the situations they’re in that are more out there. My first scene was with Rob Corddry, and it was a masterclass watching him work and getting to act opposite him. It was such a gift. He’s so invested in what he’s doing and such a professional. He’s been doing this for a long time, and you never quite know what you’re going to get from someone with that level of experience. But he showed up so gracious, humble, and completely dialed in. He really helped set the tone for that scene and made sure we were all bringing our A-game.

That speaks to what I was saying earlier about working with Jonathan and the directors throughout the season—there was always that sense of grace and a safe space to play. If I wanted to do a take where I pushed things a bit more, went bigger, or really swung for the fences, they encouraged that. And then we’d do another version that was the complete opposite—more grounded, more restrained. Somewhere in between, you find that balance. That’s where it all clicks.

Everyone on this show was so good. Casting did an incredible job, the directors were amazing, and the cast was just really dialed in. We found our rhythm pretty quickly. There was a natural synergy on set where everyone knew to bring their A-game, but also to have fun with it.

In Vancouver, we don’t always get a lot of opportunities to do comedy—we do a lot of sci-fi, drama, action, and some Hallmark—but when a show like this comes through, everyone is not just grateful, but genuinely excited to flex that muscle and bring that energy to set every day.

PC: Outside of The Audacity, you and your production company are preparing to produce your first feature. What can you share about the project, and what do you feel it says about the kind of stories you want to tell as a company?
Curtis: It’s been a long road getting here, but this summer we’re finally preparing to shoot our first feature film. It’s called New Diamond Restaurant, directed by Milton Ng. It’s a fun action-family comedy with a bit of a zombie, viral outbreak element to it.

It’s really a rollercoaster ride packed into a 100-page script, and I can’t wait for people to see it. The story is inspired by Milton’s upbringing—growing up as the only Asian family in a small town in Alberta, where his family ran the only Chinese restaurant. When I read the script, I immediately connected to it. I was almost in tears, honestly, just feeling grateful that the universe brought us together. It made me feel seen. I grew up in the restaurant business too—working in the back of my father’s kitchen, cutting potatoes, counting money—and I had this moment of, “Wow, someone else gets it.” And not only that, they were able to put it into a story that allows us to immortalize those experiences.

For me, it’s also a love letter to my father. I play Aaron Chan, who grew up in the restaurant business but spent most of his life trying to get away from it. He sees himself as a budding hockey star—at least in his own mind—and thinks that’s his way out. Meanwhile, his family has spent decades building this legacy, and there’s this constant pull for him to come back and take it over. On the night of his father’s retirement, he’s expected to step into that role—but then a zombie outbreak hits.

So it becomes this redemption story. He wants to be a hero in this larger world, but ultimately realizes he needs to show up for his own family. It’s about understanding what the restaurant really represents—not just the food, but the culture, the relationships, the memories, and what it all means to him and the community.

That’s what makes it so personal for me. My father wanted me to take over the family restaurant too—something he worked on for decades. My grandfather was a restaurateur, my great-grandfather was a restaurateur, so there was a lot of pressure and guilt when I chose to pursue acting instead.

At the core of it, we just want to tell an authentic story and hope it resonates. Whether you grew up in a small town, felt “othered,” or have complicated family dynamics—there’s something universal there. No family is perfect. Everyone has their own version of that journey. If audiences can walk away feeling a sense of connection, love, and understanding, then we’ve done our job.

PC: I can’t wait to see that. Huge credit to you, your team, and everyone involved, because it’s so important that we have art that reflects our lived experiences. You’ve often said it’s about making twelve-year-old Curtis proud. If you could sit down with him now, what would you tell him about the work you’ve done—and the work you’re continuing to do, especially in 2026?
Curtis: I feel very blessed that if I could sit down with twelve-year-old Curtis right now, I could genuinely tell him that he did all right. It took a lot of patience, a lot of stubbornness, and a lot of tough blows along the way. But through perseverance, belief, hope, and a commitment to getting better every single day, I can look back on my career so far with a lot of gratitude. I haven’t done anything I regret—there are no regrets.

Over the course of an eighteen-year career, I’ve continued to grow and expand. Especially in the last five years, going from Siren to The Night Agent to The Agency to Invasion, then The Audacity and Chinatown Diner, which is coming out later this year—and now stepping into my first feature as a lead in New Diamond Restaurant—it’s been an incredible journey.

I’m so grateful to have a team around me that’s championed me and pushed me to keep striving toward the best version of myself. I wouldn’t be here without them.

If I could speak to twelve-year-old Curtis, I’d tell him, “You did all right. You did it with love and with purity.” And I think the thing I’m most proud of is that I’m not jaded. I still love what I do—and I know that’s not always the case in this industry.

To keep up with Curtis, follow him on Instagram. New episodes of The Audacity drop every Sunday on AMC.