How is Antapal different from a film like 2499?
2499 was a gritty “rock n’ roll” depiction of late-1950s gangster life, but Antapal looks more at the changing face of gangster culture as it tried to adapt to a rapidly changing society around the same time.

Why did you focus on this particular period in the movie?
That period was remarkable for everything: fashion, ideas, politics. It was a time of great change and energy, not just in Thailand, but all over the world. Elvis and rock n’ roll are universal.

How did you come to cast Noi (Krisada Sukosol) as a gangster?
I really wanted to strip away the classic image of the gangster, and Noi seemed made for the part. I wanted to show that gangsters don’t always have to act aggressively, but can be calm and collected before catching you off-guard. A polite gangster is one you can’t mess with because he is a ticking bomb—the next thing you know you’re at the hospital!

What was the hardest part of directing this movie?
Striking a balance between truth and fiction. In terms of production this meant ensuring a consistency of settings and props as we were shooting a period movie in a vastly different world. It was quite tough but also a great challenge to find the right places to shoot and we had to get pretty innovative at times.

What impact has winning the Best Director gong at the Suphanahong Awards 2010 had on your career?
I’m not one to let any recognition be a burden on my work. I won’t let anything take the fun out of directing a movie. Still, winning awards is a huge boost, even if it’s not my real aim. I just want to do my best as a story teller, so that audiences get the chance to watch a great movie.

What do think of the local film industry?
Making movies is certainly easier today because of advances in technology, so we have more up-and-coming filmmakers—but quantity is not the same as quality. So many movies rely on special effects but lack real substance. I daresay there are only really two styles that young Thai filmmakers try to emulate: Quentin [Tarantino] and Joey [Apichatpong Weerasethakul]. Both are stylistically impressive if you have a good theme, but we should be looking to forge our own identities.

What’s planned for your next film?
I want to do something about faith. I think nowadays people lack faith in themselves, their spirituality and their country. I want to produce a movie that has the power to nourish people’s spirits and ignite them to do something worthwhile. Proudpisut Sang-ou-thai

The private sector’s struggles to carry out conservation projects are epitomized by the Praya Palazzo (757/1 Somdej Prakinklao Soi 2, 02-883-2998), a stunning riverside boutique hotel. The owners didn’t seek government support, and they still believe heritage conservation can be carried out privately.

“We put our faith in the place, and thought that no matter what obstacles we would face, we would be able to show that conservation and successful business can go together,” says Preeyadhorn Pitakvorrarat, who oversaw the preservation of the neoclassical mansion on the banks of the Chao Phraya River which was recognized with the Best Conservation Award in 2011 from the Association of Siam Architects.

Preeyadhorn credits her late husband Wichai Pitakvorrarat, an assistant professor of architecture who worked in conservation for 20 years, with the original idea of converting the 90-year-old mansion into a boutique hotel. He was enamored with the unique architectural style which dated from the King Rama V era. But, as it had been abandoned for 19 years, the renovation was a slow and painful process. For a long time there was no roof over one of the wings of the mansion and it had flooded three times, including last year.

The renovation bill grew to B80 million. It was footed by many partners involved in the project, which received no financial loans from banks. These saw no future in the project as it had no road access.

“Conservation in Thailand should get support from banks,” says Preeyadhorn. “They should see the value in our roots. Maybe they’re not romantic enough. But Thai billionaires could put together a fund managed by ASA to do conservation work.”

The hotel is still only accessible by boat. This meant all building materials had to be transported by boat, too. “It was like working a hundred years ago,” Preeyadhorn says with a laugh.

The long 20 months of renovations, during which time her husband passed away, left Preeyadhorn resolved to tell the history of the stately building originally known as Baan Bang Yi Khan. She went to the National Library to research everything she could about the house which belonged to Phraya Chollabhumi Panich, a royal officer in the Customs Department during the reigns of King Rama V and VI.

“Conservation work in Thailand still has a long way to go, but we need models to show the young generation the value of preserving our past. History is something that money can’t buy,” Preeyadhorn says.

                                                                                                       Praya Palazzo