His experiences during the political unrest of the 1970s led “Tor” Maroot Sarowat, 54, to fully appreciate the power of the media and led him to become one of Thailand’s most influential lakorn directors. These days he looks to help the next generation through his lectures and his ongoing work fighting corruption, as well as continuing the main passion of his life: directing stage plays.

I dreamt of being a diplomat as a kid, so I tried to get into Thammasat University to study international relations.

I was a teenager in the midst of Thailand’s political unrest in the 1970s. Most of the incidents happened in and around my university.

The unrest made me change my studies from international relations to mass communication. I realized that the information from inside the university was completely distorted when it was reported by TV stations or the radio.

I realized the media are so powerful. They can change what people think. After working in the mass media for more than 30 years, I now know that there is no other profession where you can say something and have millions of people listen to you. This is the influence of the media. If you are a diplomat, you can only talk to a certain group of people.

I was self-trained in directing stage plays while working at AUA [American University Association Language Center]. Back then the stage play circle was very small. Shows would only get 10-20 people turning up to watch.

Kru Lek [Patravadi Meechuthon] asked me to join her team. She wanted to make lakorn for Channel 3 where actors had to remember their lines instead of relying on staff to whisper the words to them. That’s soulless acting.

I continued working on my stage plays as director until Gai Warayoot Milintachinda, my senior friend at Channel 3, asked me to direct a lakorn.

I turned him down for three years. The last time he asked, I thought “Should I give myself a chance?” and finally agreed. I promised myself that I would do my best, then when it was a failure I wouldn’t have any doubts.

I really loved my first lakorn Sai See Plerng because the leading female character was a real bitch. It was new for audiences that the nang-ek is bad. It turned out to be one of the most successful. We got so many awards.

I did a lakorn about corruption ruining a country, a love story called Prakasit Ngerntra. The National Anti-Corruption Commission (NACC) liked it because it was telling people about the vileness of corruption. They asked me to join them, and I’ve worked with them for nearly 10 years now.

We’re trying to make a new generation abhor corruption. To see it as a disgusting thing that the older generation has created.

Corruption is the worst crime in this country. It doesn’t matter how much you take from others, even if it’s just one baht, it means you are corrupt.

We have laws; you have rights to speak out about corruption. We are taxpayers so we have the right to monitor our money. Everyone should speak out as this crime hurts our country. That’s why we created a competition to make short films about corruption [www.nacc-shortfilm-contest.com], to highlight the need to speak out.

I felt being a director wasn’t fun anymore, so, in 2001, I decided to move from Channel 3 to work at Channel 7. I wanted to be a producer. I didn’t want to be a boat staying safe in the calm water. I wanted to explore the ocean and discover new horizons.

If Channel 7 didn’t want me, I would go back to the thing that I love most, stage plays. I will do that until I die. Fortunately, Channel 7 accepted me.

I directed a movie Likitrak Katjaimae, which flopped, but it’s fine, at least I tried.

The lowest point of my life would be when my lakorn was put on hold for 10 months. I had to pay all my bills and my employees salaries. I had to work other jobs, directing stage plays and teaching in university to survive.

Lakorn or movies would be nothing without editors. You film them in a random order, jumping from scene to scene. They have to put it all together.

The charm of directing is getting to know new people. When I read a script I want to understand the characters as if they are real human beings.

I love directing stage plays because they are alive. You have real people on the stage, real flesh and blood, the audience can watch them. It is not like lakorn, which is watching the past of those actors’ lives. Watching a stage play means you’re alive, too.

I might stop directing in a couple years; I now feel I need to give back. I am now lecturing at universities, teaching mass communication and acting. It’s the happiest job for me now.

I want to study drawing and singing. I’ve never sung well in my life.

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