Where did you get the inspiration for P-047?
One of my assistants told me the story of losing the key to his apartment. When he called a locksmith, it turned out to be an old lady who arrived with her son. She showed him how to break the lock to get into his apartment. It was such a simple story but one that evoked both excitement and fear in me. The idea that there are people who can break into our houses at any moment inspired me to write the script, which won the Thai Khem Kang Award two years ago.

You’ve worked for big film studios before. Why go independent?
I feel as though I was lucky to have been given the chance, and the budget, to write and direct some projects that I really believed in. If films like Sayew (2003), Cherm and Kod were written nowadays, none of the big studios would be interested—especially Kod, the last film I wrote and directed, which wasn’t very successful commercially. So, I reached a point where I was finding it difficult to define myself—am I commercially-minded or indie? Some of the films I only wrote the script for [like The Letter (2004) and Happy Birthday (2008)] did much better at the box office than my own projects, so I decided P-047 should be produced independently. It’s not an easy film to promote, so I thought it wouldn’t be fair to put any commercial pressures on it. This doesn’t mean that I won’t go back and work for a big studio again. It just felt right for this project.

Have you changed the way you get messages across in your films since your debut, Sayew?
I think it’s just changed with the passing of time. I haven’t made any conscious decisions to change the focus of my films. I simply use each of my films to portray my thoughts and interaction with the world at that specific time in my life.
 

What’s been the hardest thing about doing an independent film?
The filming wasn’t really problematic. But I believe the biggest challenge for indie film makers at present is finding avenues of distribution. P-047 actually premiered at the Venice Film Festival back in September last year and screened at over 20 festivals abroad before coming to Thailand. We have to accept that cinemas are businesses, so it’s only natural that they’ll choose to screen films that will guarantee bigger audiences. But that has a flow-on effect in that people just aren’t aware of all the independent films out there.

You’ve been called the “King of Romance.” How does this film fit with that label?
I’m actually not too happy with that title. I don’t think I’m that romantic! Look at my films, they’re not sweet at all. I view romance as just another aspect of life to be experienced. I guess it’s based on some of the scripts I’ve been hired to write, but even then they weren’t simply tear-jerkers—I focus not only on the relationships between people but also between oneself and one’s thoughts. In Kod, my perspective is that everyone needs love because no one wants to be alone. But P-047 is definitely more about self-identity. If you’re expecting a love story, you’ll be sorely disappointed.

Your stories often touch on the subject of homosexuality. Why do think a film like Insect in the Back Yard gets banned while Hor Teaw Tak has already chalked up four installments?
Firstly, I think there’s no problem with homosexuality in this country, nor is there with portraying homosexuality on film. The reason that Insect in the Back Yard caused such an uproar was down to the storytelling approach. But I don’t think we can apply the same standards to everything. I hate it when films are banned, but there’s a silver lining if it encourages people to fight for what they believe is right.

You’ve also just collaborated with DJ Suharit on his latest single “Love Lies Bleeding.” What are the chances of your band 4 Tao Ter returning to the scene?
The single was completely Suharit’s project and I didn’t know anything about it until he asked me to join. 4 Tao Ter never really split up. But all the members, including me, are busy right now with our jobs, so there are no plans for a new album or anything. Even getting together to perform at the Sonic Attack festival is challenging. But one day, if we all feel passionate about it, we’ll give it another go.

What kind of films do you see yourself making 20 years from now?
My films are always dealing with life’s problems, so I hope that in 20 years’ time they’ll be problems suited to my advanced stage of life! I’m jealous of filmmakers like Woody Allen who put out films nearly every year and their personality really shines through. His films are so sophisticated because he has been through so many things in life. I hope that when I’m at his age, I can produce a film that shows I’m not just getting older but I’m also getting wiser.

See P-047 review

How does your solo material differ from that of Animal Machine?
Animal Machine is all about drum n’ bass and a little dubstep that can be performed live as a five-piece band. But, as my new single “Let You Go” shows, my solo project is not so limited in scope. It reflects my DJ style since I’ve started incorporating deep house, breakbeat, techno and electro.

What kind of stuff can we expect from Zoo Studio?
Previously all [Animal Machine members] had DJ jobs, so the band was a part-time thing. Now the time has come to get serious with Zoo Studio. Last month, we launched the first single from my friends’ band Funky Gangster and this month we launch mine. And the next single will be from Animal Machine, as even though I’ve got my solo project, the band is still very much active.

Dubstep is everywhere right now. Do you think it’s getting mainstream?
Dubstep is already mainstream. There are huge international acts like Skrillex, and even Justin Bieber says he wants to do dubstep. I’m not sure if that’s a good or a bad thing. Trends come and go. And dubstep has been around for over 10 years, anyway. With roots in reggae, the pure stuff will never die or be treated as a fad.

Where do you think the local DJ scene is headed?
All music, not only electronic, is like fashion. It evolves. At some stage, the old stuff will come back in fashion. Lately I’ve seen some leading underground DJs revisit old-school funky house. I like that style, so I’d be happy for it to be the next big thing.

Song: “Rak Sanook (NSA)”

Artist: Gene Kasidit
Label: Smallroom
Three years after separating from electro-punk group Futon to go solo with the album Affairs (2009) on Smallroom Records, gender bending provocateur Gene Kasidit is back with the playful first single from his upcoming full-length, Blonde. “Rak Sanook” laces the electronica of old with a more rock n’ roll, even grunge-y, edge, thanks in part to the contribution of Slur frontman Yeah, who helps out with composition and sound arrangement.

Song: “Tung Wayla (Wake)”

Artist: Lomosonic
Label: Smallroom
Lomosonic have evidently added a few strings to their bow since bursting onto the scene as a hyper-masculine rock band on their debut album Firework back in 2009. This, the ambitious first single from the four-piece’s second album (expected later this year), adds a bit of diversity and demonstrates a welcome maturity—not that it’s subtle or anything. A marching beat, multi-tracked vocals and a post-punk-like cascading wall of guitars all add up to something rather epic, especially when you consider the rousing lyrics from frontman Boy. A band bound for big things, it would appear.

Song: “Love Lies Bleeding”

Artist: Suharit Siamwala feat. Kongdej Jaturanrasamee
Label: Independent
Suharit can seemingly do no wrong. Fresh from teaming up with Gene Kasidit a few months ago for the electro-ballad “Krai Kon Neung,” the superstar DJ now tries his hand at some pretty slick Britpop-inspired sounds on “Love Lies Bleeding.” In-the-know Thai indie fans won’t be surprised to find that this single features lyrics composed by Wasit Mukdawijit (former frontman of Crub and Day Tripper, currently of Ooh & The Ballyhoo) and vocals from Kongdej Jaturanrasamme (frontman of 4 Tao Ter and director of the soon-to-be-released P-047, see +film, page 34). The best thing is this catchy number just about exceeds the sum of its parts. And it comes with a pretty racy music video, too.

Song: “Earth”

Artist: The Must
Label: Tai Pan
Another 90s musician treading the well-worn comeback trail is singer-songwriter Krityot Lertprapai, who released his self-titled debut album in 1995 then reached his critical peak two years later with hits like “As Sa Win Ma Mai” and “Ong Sa Tee Tang Kan.” His first single under the name The Must is a breezy slice of indie-pop with softly sung lyrics that dwell on long-distance relationships. It’s the type of track that wouldn’t sound out of place in the 60s.

Song: “Chao Sao Chai Lai”

Artist: Apirome
Label: Independent
This independent act from Sakonakorn, comprising Mate (guitar), Tai (vocals) and Folk (percussion), tasted some chart success earlier in the year with their toe-tapping, easy-going single “Wan Sa Bai.” While keeping the same acoustic, percussion-heavy sound, their latest release “Chao Sao Chai Lai” dims the mood a bit with lyrics that tell the tale of a heartbroken bride jilted at the alter who awaits her man’s return.

Song: “Motorcycle Yam Ter Yak”

Artist: Suburbian
Label: Spicydisc
Songwriter-turned-singer Soodson Vongsamuthara aka Suburbian is the guy behind the hits from many artists on labels like Bakery Music and Gancore Club. He’s also lent his own unique vocals to hits like “Chai Nai Kwam Rak” and “Tell.” Soodson continues his soul, funk and r n’b odyssey with the first single, “Motorcycle Yam Ter Yak,” from his fourth studio album, Luk Thoong R n’ B—which, as the title suggests, mashes genres in pretty far-out but happening ways.

What’s the story behind the Obscene series, and particularly “Goddess of Democracy”?
The idea for Obscene stems from when Prime Minister Yingluck Shinawatra came to power. As every Thai knows, she came to power because of her brother, Thaksin Shinawatra, who is still the real PM. The government and its key supporter group, the Red Shirts, have been putting out all sorts of propaganda trying to portray Yingluck as a champion of democracy. The PR machine particularly uses gender as a tool for gaining political popularity and avoiding lawful scrutiny by making her legitimate accusers appear like macho bullies. You might think that having a beautiful woman as Prime Minister would soften political conflict in the country, but for me her female beauty is a cynical disguise for violence. That’s why my “Goddess of Democracy” is armed, to protect her constitution.

Is there any relation between these works and Shakespeare Must Die?
I was director of photography for Shakespeare Must Die, but there’s no direct relation between the film and the exhibition, except both heavily incorporate the color red and use the lighting style of Italian Baroque master painter Caravaggio. I love dramatic expression and composition. Director Ing Kanjanavanit’s choice to use red in the movie is based on all the blood imagery in Macbeth, but my use of red in Obscene is a specific reference to the Yingluck government.

Why red?
It holds so many meanings, depending on your background. Although the red in Obscene is derived from the Red Shirts, the color has broader universal connotations. It can symbolize desire, passion, obsession, vanity and so on.

The themes of sex, politics and heroes are so central to your work. Why?
They’re the three key components of our lives, wouldn’t you agree? I should also add “greed” to that list. Every morning when you read the newspaper, these are the themes that stand out. They drive the world forward, as well as cause untold problems.

Do you think exhibitions such as yours have any influence on politicians, or the general public’s perception of politicians?
Who knows? My intention is to question whether we have a real government that’s working for the poor and under-privileged, as the propaganda says, or if it’s just self-serving. In actuality, are we, rich and poor alike, being exploited by a corrupt billionaire?

Do you have any other projects in the works?
Right now I’m just focused on fighting against the banning of Shakespeare Must Die. We’re preparing our case for the Administrative Court. We’re also working with the Thai Directors’ Association and the iLaw NGO on a Film Law amendment campaign. If we can ban the banning of films then we’ll be much closer to true democracy.