How did this project start?
I’ve been thinking about making my own movie for a while. I’m a film lover and have been working as a film dubber for 20 years but haven’t had a chance to get a real start. Then one day I met my boss (Somsak Techaratana-Prasert, founder of Sahamongkol Film International) and he told me that he thought I could produce a film. That was a kind of my first inspiration; it took me two more years to come up with the first draft.
You’re the head of the Panthamitr dubbing team; did that help with making the movie?
I’d say making the movie helped me with dubbing because when I started writing this story, I found out that dubbing scripts and screenplays are totally different, the latter being more difficult and detailed. In dubbing scripts, you just have the dialogue; all we need to do is play a character with the script in hand. But to write a screenplay entails adding so much more detail for each scene.
Panthamitr is funny, are you worried people will assume it’s a shallow film made by comedian?
I am afraid, but not in that way. People know that Panthamitr is fun and have a high expectation for that. People might come to see this movie and expect that, but what if we fail because it’s just not that fun. That would scare me more.
What was the hardest part when making this movie?
Of course, it was how to make it fun and meet audience expectations. The first time I wrote the script, the balance between romance and comedy was around 50/50, but after several revisions, we reprioritized it, but tried not to let that ruin the story. Good thing is that I had a very professional cast: Mario, Judd and Pla-Kung worked well together. It’s like they don’t just follow my script, but also have fully-adapted to the characters to bring them to life. They were so creative, coming up with fun ideas to add into scenes.
Speaking of the cast, why them? Did you choose them by yourself?
Well, I had Mario, Judd and Pla-Kung in mind since I started writing the script. Mario’s character is a playboy that loves extreme and crazy behavior, so I wanted someone that is good looking but never aware of it. For Judd, I had seen him in Lud 4 Lud, and I needed a character like that: a handsome guy always surrounded by girls. Pla-Kung is a character that we normally see in a group of friends; not that good looking or funny, though he could be silly sometimes, but very sweet and loyal.
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Artist: 25 Hours
Label: Believe Records
This third single from the alternative rock band’s second album, Colour in White, shot to the No. 1 slot in the Fat Radio’s Top 40 chart in just three weeks. The song covers the simple subject of friendship, but the lyrics are touching and ably supported by the soft rock sound, cheerful melody and the band’s unique vocals.
Artist: DJ Suharit feat. Gene Kasidit
Label: Independent
After releasing his first single from album Luen Kan Thep back in September last year, wicked turntablist Suharit Siamwalla teams up with the equally flamboyant Gene Kasidit for the second release. Benefitting from Gene’s dramatic vocals, “Krai Kon Nueng” is a throwback to Gene’s previous cover “Hero,” bringing a touch of psychedelic-tinged, post-rock oomph to heart-wrenching lyrics about an unhappy-love story.
Artist: Stamp feat. Singhto Numchoke
Label: Love is
Stamp Apiwat’s previous collaboration, with hip hop outfit Buddha Bless, led to hit singles “Luem Pai Kon” and “Man Kong Pen Kwam Rak (OST. 30 Kam Lang Jeaw)” last year, so it’s no surprise that he starts 2012 with another. This time its a feel-good acoustic pop song that gets its upbeat and cheerful sound from Singhto and his trusty ukulele. Definitely one for the beach this Songkran.
Artist: Poomjit feat. Tul Apartmentkhunpa
Label: Lemon Factory
“Nobel” is another cover from the latest Home Floor album, with Tul Apartmentkhunpa’s rapping being the most significant addition. The song begins with a ukulele solo, but don’t expect anything chill; instead it incorporates sounds like the Isaan phin and gradually builds up in in tempo—an interesting and unexpected offering from Poomjit.
Artist: The Yers
Label: Smallroom
The Yers’ third single from their album Y might be the hardest sound they’ve done to date. “Kuen Tee Puad Rao’s” acoustic guitar adds an American Southern rock touch, while the catchy solo line, hard drum beat and harsh synthesizer create a dark, punk rock mood.
Artist: Krit Kritsanavarin feat. Praew Kanitkul
Label: Werk Gang (GMM Grammy)
Out since Jan, but still hot everywhere, “Kit Tueng Na” is the first single from Krit Kritsanavarin’s second project, Lazy Sunday 2, which again features a lot of artists, like Preaw Kanitkul (vocals) on this track. The song blends simple melodic-pop and a catchy hook, not to mention Praew’s bright, pretty voice. If you’re a fan of Foster The People’s “Pumped Up Kicks” or Palmy’s “Kit Mak,”you’ll dig this.
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BK: Who is your musical inspiration?
My music experience started when I was in grade 3 as the violinist for the school orchestra at Vachiravudh College. After six years in that position, I found it boring, so I quit and switched to vocals. One day, during my first year at ABAC, my friends gave me a Damien Rice CD, and I was enlightened. I found my style and real inspiration. Other inspirations would be Jack Johnson, Lenny Kravitz, Moderndog and Thee Chaiyadej.
BK: How did you go pro?
My friend Tee [vocalist from Jetset’er] asked me to join an acoustic competition at ABAC. We formed a band with Sunny [Sunny Suwanmethanon, actor] and won the runner up prize. Our band, Side Project, ultimately split when I went to Sweden to do my master’s degree.
BK: Do you have a full-time job?
Well, I used to have one as a business consultant, and I would also keep playing music at bars after work. But it was too overwhelming. I couldn’t keep up both a full-time day job and play gigs at night. I had to make a decision, so I quit my day job. I played at Cosmic Café and met Ping [Monotone’s drummer], who asked me to sing on Monotone’s album, Rean Chen Tan Poo Mee Sit Jab Pla. I jumped at the opportunity.
BK: You took a huge risk quitting your job.
Playing music and working a “real” job evoke quite different feelings. I just think I’m a better version of myself in music than as a consultant. I don’t care about being rich. I’d rather be doing something I love as long as I can make a decent living. Plus, I love the feeling when my music moves someone.
BK: How did you get involved with Lazy Sunday 2?
DJ Aui [Fat Radio] asked me to audition for Krit [Kritsanawarin] after seeing me play at Stu-Fe with Singhto Numchoke. I was really nervous about the audition because that sweet style of singing, like Praew Kanitkul or even Bell Suphon, isn’t my kind of thing. I was surprised when Krit called me and said I had got the job.
BK: So what’s next?
Actually, I have another album that is coming out at the same time as Lazy Sunday 2 called Zor Nok Hook Ta To, which is a joint project with the Monotone crew. Apart from that, I’m now working on four more projects: a duo album with Ping Monotone, my own album, putting together a new band called Wai Roon Yod Niyom with some friends, and playing gigs as guitarist with Tue’sday this year.
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Best Picture:
None: There were many impressive Thai films last year, though I wouldn’t want to name any as Best Picture, for we can surely always hope for more and better.
Best Actress:
Paowalee in Pumpuang: In a year of strong female performances, from Meryl Streep as Margaret Thatcher to Michelle Yeoh as Aung San Suu Kyi, Paowalee channels that mix of impersonation technique and novice spontaneity to great result.
Best Actor:
Nopachai Jayanama in Headshot: He's deep and intense and sad, embodying the eventual density of a film noir fall guy.
Best Script:
Laddaland: It's Death of a Salesman with a Siamese twist and plenty of ghosts. What more could you ask?
Best Director:
Siwaroj Kongsakul for Eternity: Siwaroj directed the year's most poignant movie in which time is folded up and stretched out, until the love story seems timeless after all.
Best Supporting Actor:
Piak Poster in Top Secret: Respected filmmaker Piak Poster, playing a sidekick to the billionaire-in-the-making, gives the movie its heart, though it looks as if the film doesn't recognize this fact itself.
Best Supporting Actress:
Ratklao Amaradit in The Outrage: Appearing in just one scene, Ratklao makes you shiver with her shamanic wailing.
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What have you been doing these days?
This year, I have more and more concerts than in the past few years. With local radio playing our tunes, people started wondering if our band still exists, so we were asked to perform more. Most of the shows have been at temple fairs and some provincial concerts in Isaan.
Are you producing new music for the younger generation?
Not really. However, some new artists have come to me to ask permission to cover my old songs, like Mike Piromporn, who did a cover version of one of my hits “Tam Nong Klab Sarakham.” Some young local groups asked me to compose a new molam line and they mixed it with my old song to create a new compilation.
Tell us about the upcoming party.
I’ll be the guest vocalist for the Molam Thephabutr band. I think the crowd will be big on that day because it is my first time back in Bangkok in a long time. The first time I played in Bangkok was in 1973. The tickets were B10, we played at Lumpini Park and they had to turn people away because it was so packed. I hope this concert would be fun like that.
As the original look toong Isaan, what do you think of the look toong and molam scene today?
Look toong today is very different from my day, as they stick to the melody too much. It’s not their fault, but it lacks charm and their own identity, which makes the new songs less classics. Today, anyone can be a look toong singer, even if they don’t have a good voice. You just have a pretty face and sexy appearance. Some singers are simply singing words but can’t express the meaning of them. I wish the next generation could realize this and improve their singing style in order to preserve the uniqueness of the traditional look toong.
Have you ever thought about quitting?
I’ve known since I was very young that I wanted to be a singer. I’ve never felt like I wanted to quit, even when I’ve faced struggles. My look toong career might end at the same time as my life. Vasachol Quadri
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You have been touring a lot this year, how’s life on the road?
We’re lucky to get to tour so much, and love having the chance to make music our lives. But you do get a bit homesick and miss your friends, so you just hope they don’t think you’re a jerk for disappearing for large portions of life.
How was the Laneway Festival?
Laneway Festival was awesome, we got to see and party with so many cool bands, like Toro y Moi, Cults, Girls, Twin Shadow, Geoffrey O’Connor, Yuck, Chairlift and Drums—Neil Finn [of Pajama Club and Crowded House] even let us borrow a spare guitar when we were missing one. We’ve toured with Twin Shadow and Girls before, and they’re super lovely people, but it’s been cool to get to see a bit more of some other bands we’ve never spent much time with. We’re really grateful to the festival for including us and really had a blast these last few weeks.
Who inspires you musically?
I like Stephen Pastel of The Pastels a lot, as well as Teenage Fanclub and Felt. I think treating indie bands as celebrities is a bit odd, but I can’t help but get a bit flustered any time I see a band that means a lot to me, even if they’re only famous to me and a handful of music nerds around the world.
In your opinion, what makes a good indie band?
Good songs, I think. I really value that more than musicianship, cool hair or a specific trendy genre of the moment. Maybe that sounds a bit naive, but to me good songs always win.
At what point will you consider yourself really successful?
On some level, just getting to do the thing you love, playing music, means you’ve succeeded. I feel it’s really selfish to speak of yourself as a failure or not worthy when you get a chance to do something so many people dream of being able to do—playing music you’ve written to people all over the world. There is so much artifice in that traditional artistic self-loathing. If you hate yourself so much and you think the music you make is terrible, go get a “real” job or quit moaning.
What are you looking forward to for your Bangkok gig?
Well, one of my best friends who made our early videos [“Everything With You” from Young Adult Friction] is Thai-American, and he is one of the coolest people I know. So I just assume that Thai people are really cool, artistic and remarkable. So it’ll be fun to just hang out and maybe let some people take us out to a bar or something cool after our show.
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The awards were announced last month on Jan 16, The Descendants and George Clooney took the Best Motion Picture (Drama) and Best Actor awards, respectively, while on the Comedy/Musical front The Artist and Jean Dujardin took the same awards (Best Motion Picture and Best Actor). Best Actress (Drama) went to Meryl Streep, and Michelle Williams won in the musical and comedy genre. Midnight in Paris didn’t get much love, except for Woody Allen’s prize for Best Screenplay.
Catch the Academy Awards on Feb 27, 8am (Bangkok time) via Channel 7. As usual, the nominations looks pretty much like those of the Golden Globes. Let’s see if George Clooney will confirm his glory with the top actor award again or lose the crown to the younger Brad Pitt for his role in Moneyball.
This regional film awards is scheduled for Mar 2 in Hong Kong. There are three nominations from Thai films to watch out for this year: Mario Maurer from The Outrage was nominated as Best Supporting Actor, Chris Horwang from Headshot is nominated as Best Supporting actress and Noppadol Techo is nominated as Best Costume Designer from The Outrage.
The Thai film-award season kicked off this year with the Kom Chad Luek Awards, which were announced on Feb 9. Ladda Land got the most awards, including Best Script, Best Supporting Actress (Suthatta “Punpun” Udomsilp), Best Directing and Best Motion Picture. Poom Puang got two awards with Nattawut Sakitjai as Best Supporting Actor and Paowalee Pornpimol as Best Actress, while Noppachai Chaiyanam won Best Actor for Headshot.
Announced the same day as the Kom Chad Luek, on Feb 9, Headshot won six out of twelve awards, including Best Motion Picture, Best Directing, Best Actor in a Leading Role, Best Film Editing, Best Art Direction and Best Cinematography. Ladda Land followed, with Best Actress in a Leading Role and Best Script, while Poom Puang grabbed one award with Nattawut Sakitjai as Best Supporting Actor. Suckseed won Most Popular Film; Hiso won Best Original Sound Track; and Best Supporting Actress went to Preaw Alisara for her role in Love, Not Yet.
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I have two films in mind, which are Ladda Land and Tee Rak (Eternity). Regarding Ladda Land, more than 50% of films released last year fall into either the rom-com or ghost story category, but Ladda Land nailed managed a perfect mix between ghost story and drama. Despite the horror part, the film tells the story of a middle-income man who bears the responsibilities and pressure of being the head of a family. Thai films rarely touch on this issue. That’s because if they did, and talked solely about this, then the film would bomb [in this country]. The additional part of the ghost turns out to be the perfect support for the whole story.
For Tee Rak, I’d say this is the kind of the love story that is real and has more variety than other cliché Thai chick-flicks. The film is split into three timelines: it starts with a guy searching for his loved one; then another couple’s love story; and ends with the story of a girl who has to move on with her children after her husband dies. The way these timelines are arranged creates a huge impact at the end, when the truth is revealed.
I’d give it to Thep Pohngam in Friday Killer. This film by Yuthalert is slightly different from his other action flicks, as it packs in some real drama. We’ve never see a comedian like Thep Pohngam star in a pure drama role before, and he holds his own here as an old, desperate retired-killer. Yuthalert breaks up some of the intensity with a joke here and there, but it isn’t overdone.
Paowalee in Poom Puang definitely wins. Apart from her appearance, which is so similar to Poom Puang’s, her acting and singing are superb—so great that audiences could actually believe that she is the real Poom Puang. The lack of realism and details they got wrong in the plot make the story bland and dry, but this lead performance saves the movie.
Peach Patchara in Suckseed. I think Peach did better in Suckseed than in Top Secret. The film is quite over-the-top and cartoonish, but his overacting does not go over the edge, rather, it seems natural.
We saw Dame Judi Dench awarded Best Supporting Actress for her 15-minute appearance in Shakespeare In Love. Just as goodis Poramaporn’s cameo as CP Manager in Top Secret. There’s even this buzz that she was a real CP Manager.
I’d give to Ladda Land. On top of what I’ve said about Ladda Land before, both the drama and horror aspects were extremely well-written.
I think the direction in Tee Rak (Eternity) is smooth throughout the film. There’s a lot of silence and landscape scenes that work well. Headshot is well directed as well. This kind of time-twisting film is hard to understand if the director can’t arrange it well, but this was done right.
Ken Poopoom in 30 Kam Lang Jeaw.
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Top Secret
This biopic released last year explores the life of young entrepreneur Top Aithipat Kulapongvanich, founder of the Tao Kae Noi seaweed brand. Starring Peach Pachara, what really won our hearts was its authenticity, that and the enderaringly contagious energy which Peach brought to the role.
Panya Renu
Actor-turned-volunteer-turned-director, Bin Bunluerit’s debut film was an Isaan-language piece following the lives of Panya and Renu, two teenagers entering a singing competition. The music, love story and focus on Isaan culture generated deserved buzz for the small film. Too bad it also attracted the interest of Sahamongkol, which just released the very disappointing follow-up Panya Renu 2.
Paowalee (Poom Puang)
The resemblance between Suphanburi-born Paowalee and Poom Puang Duangchan is eerie. But what really landed her the top prize is the sheer quality of her overall performance. In fact, her singing and acting is so stunning that it just about makes us ignore (and forgive) the irrational script and the factual errors.
Headshot
We’re left a bit underwhelmed, as nothing really got us all that hot and bothered at the movies this year except the super hot sex scene between Noppachai Chaiyanam and Dream Chanok—finally, a Thai movie that doesn’t treat us like children.
Suck Seed
When Poo Blackhead pops up in the background of one scene in Suckseed, we couldn’t help but burst out laughing. Kao Jirayu starts listening to Blackhead’s Ying Toh Ying Suay and Poo Blackhead starts singing behind him without him noticing. Simple, yes, but effective.
The Outrage
Rashomon is a 1950 Kurosawa movie based on two stories by Ryunosuke Akutagawa. It was remade with Paul Newman into a movie titled The Outrage in 1964. But supposedly, this The Outrage was based on a Thai adaptation of the story by MR Kukrit Pramoj, which was based on a 1959 Broadway version the writer saw. In turn, director Mom Noi first adapted this back into a stage version, before shooting it on film. Aspirin, please.
Saharat Sankapreecha (Ladda Land)
Kong plays the stressed head of a family that’s spiraling into crisis, and convincingly made us feel the pressure and empathize with his character. And while he has a long-standing reputation as a great actor, he took it to new heights here by allowing us to empathize for what is ultimately a pretty stubborn and irrational individual.
Ladda Land
Far more than just a ghost story, Ladda Land impresses as a serious drama that is accessible to everyone. It also proves that sometimes less is more. Even though the past year was full of fun and complex films, Ladda Land’s tight script successfully blended serious family drama and chilling horror—no mean feat.
Eternity (Tee Rak)
If Apichatpong’s films recently shown at the Jim Thompson house weren’t enough to quench your thirst for rural Thai art house films, Tee Rak, a debut movie by Sivaroj Kongsakul should do the trick. As with Apichatpong, some may have difficulty staying awake, others will drift into contemplative bliss.
Hiso
Maybe you studied abroad, maybe you come from abroad, maybe you wish you had or did. In any case, you’re now stuck in Bangkok, surrounded by profoundly Thai customs and culture, and prey to your angsty global citizen yearnings. Aditya Assarat made this movie for you.
Peach Pachara Chirathivat (Suckseed)
Peach Pachara wins this on for his big-screen debut as a loveable high school boy, Kung, who aims to have his own band. Hands down, the fresh-faced actor stole our hearts.
Teng-Nong Jee Won Bin
Apart from a deserved buzz around the orginial song (“Kin Tab”), Teng-NongJee Won Bin represents a side of Thai cinema we could easily live without.
Love Julinsee
The trailer rocked, and our expectations were great. But like a firework that starts with a bang only to fizzle out, Love Julinsee was the biggest disappointment of the year.
Pen-Eak Ratanarueng (Headshot)
Using a Tarantino-esque timeline that constantly zigzags through the character’s past, the unusual cop thriller packs a twist-a-minute—but it also ends up losing many of its specators in the process. What did keep us riveted is Pen-Eak’s careful use of his actors, and camera-work. It all came together to create a lasting—and very, very noir—mood.
Love Julinsee
Saipan Apinya (playing Fon.) wins the heart of schoolmate Boat, two years her junior. Cougar alert! The scene where they eat a string of taro together in the car takes us back to our teenage years, when sexual tension is as high as it is awkward, but also when (some) innocence still remained.
Ratklao Amaradit (The Outrage)
Ratklao Amaradit plays a female exorcist invited to be a host body for a dead warrior. That means she ends up playing Ananda Everingham. Creepy? You bet. And who knew she had such a masculine side to her. Although the voice is still Ananda’s, Ratklao’s butch body language made for a stunning performance.
Peach Pachara Chirathivat (Suck Seed)
He first started stealing the show in Suckseed and quickly continued his success in Top Secret. Mark our words: Keep an eye on this one.
Hak NA SARAKAM
Last year, we saw a bunch of Isaan-related film, and most of them were funny and upbeat. But Hak Na Sarakam was the leader of the pack. It makes you realize how good it is to respect and be proud of your roots. And if you’re originally from upcountry, you’ll probably want to call your parents and take a trip home after this one.
Desktop Error (Hiso)
This 100% instrumental soundtrack from romantic post-rock band Desktop Error manages to give texture to Ananda Everingham’s every silence. Take note budding directors: music speaks louder than dialogue.
Ananda Everingham
Ananda really learns to let us miss him a bit more before popping up again on our silver screens again (and billboards, and magazine covers and TVs). To be fair, Mum Jokmok was another serious contender this time around.
Baby Arabia
The film, directed by Panu Aree, Kaweenipon Ketprasit and Bangkok Post film critic Kong Rithdee, sees the trio continue their efforts to give a voice to moderate muslims in Thailand. It follows the band Baby Arabia, as they play, tour and go about their daily lives.
Insects in the Backyard
Although technically a 2010 movie, director Tanwarin Sukkhapisit’s movie about a cross-dressing father created a stir that continued well into 2011, with a Facebook group and even legal challenges to its ban by the Ministry of Culture. It just got screened in New York and continues its festival circuit career abroad.
Tukky Sudarat Butrprom
Tukky Sudarat Butprom’s acting is naturally hilarious and all, but the fact that we had to see her four times last year—in Teng Nong Geeworn Bin, Hak Na Sarakam, Jak Ka Ran and 30+ Sode on Sale—was “too much, so much, very much.”
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You retiring the show? Why not keep performing it?
Pichet Klunchun and Myself is a contemporary performance; when times change, the piece has to stop. We do not want to stop the show, but we know the time of this piece has come to the end.
We know you change your performances a lot from country to country. How will this one be different from earlier performances?
After the early years of the show, it was edited and changed. However, the show has not changed much over the past four years. It has been quite stable every time we have performed. In my opinion, it is the reaction from audiences was the change from place to place.
Can you tell us what your future plans are? Are you going to open a theater? How is Black and White Khon coming along?
I plan to open my Chang Theater this March. There will be around three pieces presented there this year. I also plan to bring Black and White back to Bangkok. However, we are still looking for the proper space and sponsor to support this show.
Your two last shows have been less political and more about dancing and personal emotion. What is your current mood?
Actually, Black and White is so political it’s scary. You have to look into it carefully. My mood now? I have a vision to create a new Thai outlook on arts, social issues and politics by using traditional performance. Vasachol Quadri
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