How did you first get into 3D trompe l’oeils?
I worked as a 2D street painter for 10 years. I was becoming popular so I decided to try 3D. It was very rewarding because it was a challenge to learn a new technique and people loved the effect. It is very rewarding.

The piece will be the world’s longest trompe l’oeil painting. How does it feel to be a world record holder?
It’s very exciting. We didn’t realize when we first accepted the project. To have the record proposed to us was a very exciting twist.

What was the inspiration behind the piece?
Diving into a new and exciting world where you will meet the unexpected.

Where there any difficulties with the project?
One issue was that we were not able to see the location until after much of the painting was complete. We had to begin working in our studio and ship our work overseas and continue on-site. A lot of planning went into it. I think the special moment will be the second it is all complete.

How long do you typically spend on each project?
It really depends, most take 2-7 days. This project took us two weeks in total.

What is it about 3D anamorphic art that you find most appealing?
Anamorphic art is like a surprise for the audience. You look at it from one angle and it looks completely strange, then all of a sudden you step in the right spot and a cool image comes to life.

It’s been a while since your last visit to Bangkok–what are your memories of it?
We have an office in Bangkok so the city has become a second home in Asia over the years and an excellent springboard from which to explore the mainland and the islands. In my time, I’ve DJ’d at the Met bar, eaten and danced the night away at Bed Supperclub, visited the temples, eaten some more at the fish-(super)market, confiscated bootleg Placebo CDs in Patpong, and, at times, explored the city's more salacious underbelly.

Your new album Loud Like Love will be released next month—how is it different from previous albums?
I wanted to call our last album "Speed of Sound" before Coldplay beat us to it with their single. So this time I scoured the internet to check that "Loud Like Love" had not already been used in a musical context which, to the best of my knowledge, it hasn't. I can't remember exactly when and where and why it came to me, but it was sometime during our first phase of writing. It occurred to me that an underlying theme was emerging. We stood at a turning point: were we to follow our instincts and recognize that this theme was a manifestation of our collective sub-conscience and have the courage to explore, in our own singular manner, the subject that remains the most explored in popular song? Or were we to embrace the intellectual and steer the album’s subject matter away from its natural course out of fear of appearing cliched? Thankfully we chose the former and never once questioned that choice. And the results have exceeded our own expectations.

The new album was a long time coming. What took so long?
It is a common misconception that in the time between visits to a particular country your favorite band hasn't been up to much. In our case, we toured Battle For The Sun (2009) for almost two years. I then decided to take a year off to focus on parenting, during which I wrote some of the songs that appear on Loud Like Love. We reconvened in the summer of 2012 ostensibly to record a new single as we had just signed a new record deal. That single morphed into the five-track B3 EP which we released in the autumn to placate the more militant factions of our fanbase. We then realized that we were having such a fantastic time in the studio with our new producer Adam Noble that it felt as if we had already begun the recording of album seven. And that was when we committed ourselves.

What was the recording process like?
Because we practically fell into the recording process accidentally we all had other commitments to fulfill. Adam Noble was about to tour with the Red Hot Chili Peppers to record their live shows and we had booked a tour to promote the B3 EP. We got back together at the beginning of 2013 to finish the new album. This proved challenging as we had already set quite a high benchmark of quality with our 2012 recordings that we felt we had to surpass in some way. A great deal of self-questioning and insecurity followed. It was unpleasant at the time but it forced us out of our comfort zone and to up the ante. The result is an album that feels as if it has a side A and a side B, like an old vinyl album. And like an old vinyl album it is best consumed in one sitting.

What can we expect from your Bangkok show? Plenty of new material?
Unfortunately, due to the fevered proliferation and iniquitousness of smart devices it has become more and more difficult to preview unfinished or unreleased material in a live setting. We do, however, re-work a lot of our old songs to keep them fresh and enjoy presenting them in a new form. Rest assured, our set-list will differ greatly to the one from the last tour.

Your new single “Too Many Friends” seems a bit of a rallying cry against social media…
"Too Many Friends" is most definitely not a rallying cry against social media. It is a small story about social alienation. I do worry, however, that technology is fast replacing religion as the opium of the people. But we cannot blame the technology itself—people are the problem. After all, guns don't kill people, but people do.

You’re coming here to play the Sonic Bang festival, which has a pretty diverse line-up, from Pitbull to the Pet Shop Boys and a number of K-Pop bands. What’s your strangest festival experience?
Being pelted with cooked ham whilst opening for Metallica at an Italian festival ranks in the top three. We have had many strange objects thrown at us during gigs over the years. Coins hurt the most. Bullets were the most disturbing.

You guys have been playing together for so long. Do you still get the same buzz out of touring/playing shows?
If anything, the satisfaction is greater. But it’s a very nerve-wracking thing to do, because as a performer you are placing yourself in a very vulnerable position. When an audience reaches out to the band as much as the band reaches out to them, a state of collective euphoria akin to transcendence is created. Band and audience exist purely in the moment, our every-day perception of time evaporates and true synergy is achieved. This is a rare occurrence but it is what we strive to achieve every time we step out onto the stage. 

Placebo has always been pretty overt in challenging of gender stereotypes—do you feel popular perception has changed at all over the span of your career?
I do not, despite the fact that how we presented ourselves in the 90s has been assimilated into the mainstream. This is nothing more than smoke and mirrors. In my opinion, the human race is as prejudiced as it ever was despite the fact that minorities are accepted by the artistic community. This has always been the case. The internet has simply given a louder voice to the forces of tolerance. But it has also provided a platform for the spineless and hateful---and governments still discriminate against what they fear and do not understand.

We’ve heard you’re pretty interested in Asian religions; can you tell us any more about that? 
I’m interested in Buddhism because it is a philosophy of life rather than a religion. In Buddhism, there’s no god and that is a big part of the attraction for me. Right thoughts, right action. No god, no attachments—no worries.

Lately in the news, Thai monks have been getting pretty messed up with drugs, sex and scandals. Do you have any words for them?
I don't quote Jesus very often but I think in this case it is appropriate: "let he who is without sin cast the first stone."

How did you first get into ikebana?
When I was six years old, I began learning under my aunt, Kasumi Teshigahara, who was the second generation iemoto (headmaster) of the Sogetsu school of floral art. And I’ve continued to learn ever since.

What is the core concept of ikebana?
At the heart of ikebana is an expression of peace and serenity through the life power which is hidden inside plants. It is my wish to send good spirits, smiles, and joy through ikebana.

Do you have any tips on how to appreciate ikebana?
There are no rules for appreciating ikebana. There is no prejudice or judgment in appreciation. Through ikebana, though, the emotions and feelings of the floral artist are reflected quite directly. Even when the same plant is used, it can be represented in many ways according to the artist’s essence. Personally, I would encourage you to simply enjoy the variety of expression.

Where do you get your inspiration from?
I believe the art of ikebana is born from the environment and space in which it’s made. So, I try to put myself in the place as much as possible, to be conscious of the presence of humans, air and light, and I transfuse that into my work.

How would you describe your style?
I tend not to verbalize my work too much. I think different people might perceive it in different ways. 

Can you tell us more about this new floral installation at The Emporium?
Bamboo, which I use as the main material for this installation, possesses a very strong life force. In Japan, it is used for auspicious occasions. It also has the potential for a wide variety of expressions. Strength, delicacy, elegance, and dynamism—these are exactly the same traits as the mother of the Thai Kingdom, HM Queen Sirikit. In Japan’s winter, the bamboo stands without breaking or splitting under the weight of deep snow. It stands strong with the coming of spring, too.

What do you hope to achieve in the future?
My grandfather Sofu Teshigahara, who pioneered the Sogetsu art school, said, “Ikebana is the art of peace.” I think that in ikebana there is a power potent enough to blur religions and borders, and convey a peaceful feeling to people all around the world. I wish to continue in ikebana, for any chance that it might lift the suffering of people.

How did you first get involved in filmmaking?
I never studied film in university. But a love for film has always been in my blood. I’m a real film junkie, especially when it comes to artistic films. So, at the age of 30, I decided to leave my job as an organizer and pursue my dream of making a film. I gathered the funds from many sources and made my debut film, Dae Por Nak Pattana Phoo Ying Yai (2009). After realizing I could make films on my own, I followed it up with 9 Mahadsajan Ong Rajan Phaen Din (2010), Siang Tao Fah Nah Tao Klong (about Thai traditional music, starring Lek Carabao, 2011), and Menu Kong Por (2013).

What’s the story behind Pawn Shop?
After Menu Kong Por found some success, Golden A founder Somchai Ongarj saw my work and asked if I had any ghost-related plots that could work with his studio. I gave him a very brief outline of the film and how I wanted it to be a different kind of ghost movie where the living really confront and interact with the ghost. Surprisingly, he entrusted me to work on it. It’s made on a small budget and most scenes happen inside a single room, but with Noi Pru starring, the ensuing hype probably makes it my first so-called commercial film. The film is carried by the performances of the actors, who make it a really powerful statement.

We heard that your film will be screened abroad, too.
It’s already been shown in Hong Kong, where some people from the UK took interest and asked that the film be screened at an event in Coventry. It will be screened in Malaysia, too, right after Thailand. I think this interest is mostly down to the fact it’s a rather different approach to a ghost film. I hope my work can act as encouragement for lesser privileged people who don’t have the chance to study in a university that you can eventually achieve something big through diligence and a strong work ethic.

What’s your signature?
I think it has to be the picture style, which is quite obvious if you’ve seen my previous movies. It’s all about the framing, the intensity, and the fact that I never compromise on dialogue and acting. As a director, I need to get my hands on every detail; I used to do all my films’ posters by myself.

Where do you get your inspiration?
From everything around me. Inspiration doesn’t have to come from watching an epic film. The idea of Pawn Shop actually came to me when I went broke last time making a film and had to go in and out of the pawn shop all year round. As another example, now I’m really fascinated by Thai people’s love of football, so I plan to do a film about it next year.

What do you think about Thailand’s movie industry?
Thailand is not really a film-producing country, like the USA, India, China or Europe. The industry is so small. It seems Thai movie-goers are more into the hype surrounding a film than the film itself. And unfortunately, only films from the few big productions houses have the opportunity to be promoted.

What’s next for you?
A film that I directed called Rang (The Parallel), which should be out next year, with Paula Taylor playing the lead. It’s inspired by a real incident where an old woman was punched and robbed. It’s about this little girl whose mother dies in front of her, and her doll who takes on her mother’s soul. I think I’ll do a film every year. I don’t need anything but filmmaking; it means a lot more to me than gold or sport cars.