When we were young, we always dreamed about impossible things. We would get together to make comic books. You could say the dream to be directors has been with us since we were children.

When we first came to Thailand, we worked in the commercial and advertising field, but we didn’t want to do that forever, so we tried making films.

Our imaginations always pushed us to make films.

We saw a lot of action movies where the killers would talk too much. We thought this was unrealistic, so we created the killer that could not talk or hear at all. It’s a very interesting character.

Re-Cycle was inspired by the news. One day we read about this new technology that could recall data from your computer that was erased five or 10 years ago. Something you forgot about long ago is actually still there. That’s the concept of this movie.

We spend a lot of time together on the script, but usually direct on alternate days.

We are not ghost movie directors. We enjoy making different styles of movies, from action and love stories to comedies. But the market right now seems to expect ghost movies from us.

Everyone is wondering what the next ghost story from the Pang brothers will be. Not many people are waiting for our love story to come out.

People like our ghost movies because they are fond of how we talk about ghosts. It’s a little different from other directors.

Our films always have actors from many countries. It’s a marketing strategy. Right now, we think, if you make a movie and focus on just one country, it’s too risky.

When we plan a new project, we always try to think globally. It’s good for the investor, too. They put a lot of money on us, so we can’t make films only to win awards.

We worked with Sam Raimi on The Messengers. This is a Hollywood movie that he produced and we directed. Raimi saw our work and contacted us to work with him.

Western and Asian viewers are not that different. Actually, they are the same.

Films are international. Language is not a problem. It’s about the concept and the script.

The remake of Bangkok Dangerous is a little different from the old version. The character is not deaf or mute anymore, but the storyline is the same.

It’s difficult to make a film that gets good reviews. If we feel some reviews are unreasonable, of course, we are upset. Sometimes they don’t even talk about the movie. But we are happy to accept sensible comments and criticism.

How did you choose this career?
My job is to make people feel more secure. I was a police officer before I volunteered to work in the K-9 unit. It’s very important for Thai society that we have a high security standard, and training canines is a part of making things safer.

Is it hard to train a dog for the K-9 unit?
Well, it’s kind of like having an 8-year-old child. You can’t discipline her too hard. Balancing rewards and punishments is essential.

And is it fun to work with dogs?
It’s fun, but very challenging.

What qualities does a good trainer have?
You must love dogs very much and be willing to dedicate a lot of time to your student. I spend more time with Frement than with my family! I’m with her seven days a week. Every day I finish work around 3pm, then I go home, take a shower and come back to see her again in the evening. You have to really know your dog—they all have different habits.

What does the training involve?
Start from the basic commands: chid (stay,) nang (sit,) mob (lay down) and koy (wait). All the behaviors must be correct first. It takes about four months to teach the basic commands. It’s very easy to force dogs to do what you want instead of really teaching them, but in the long term it’s a bad idea. That’s why all trainers have to take a course before they start training dogs.

Are female and male dogs different?
Females are generally calmer, but it’s not just about sex; each dog is unique.

Can K-9s detect every kind of dangerous thing, like drugs and bombs?
No. Each dog is trained to detect one thing only. Frement can detect every kind of bomb, but she can’t detect drugs.

When your dog finds a bomb, she sits. How can you tell if she really detects something or if she’s just tired?
I understand her.

The performance lawn has won much acclaim. Brought to you by Splinter Group, a trio which is made up of renowned Australian dancers-cum-choreographers Vincent Crowley, Grason Millwood and Gavin Webber, the show speaks of the life of an Australian living alone in Germany. Webber reveals more about lawn.

What is lawn all about?
lawn is based in an apartment in Berlin during winter. It tells the story of an Australian coping with the alienation, claustrophobia and paranoia of being alone in a foreign place. The first winter is always the hardest to take and in lawn our tenant struggles with his own perceptions of Germany, with his past, with the unknown history of his apartment and with his neighbors.

So what can we expect the show to be like?
lawn is a theatrical experience where the characters and relationships are told through movement rather than text. It is a highly physical work exploring the nature of homesickness, paranoia and xenophobia. The question arises about who is real and who is not. It is like an episode of Big Brother directed by David Lynch.

What is its overall mood?
It’s darkly comic and surreal. Every action and every movement has meaning and refers to the plot and characters.

What are some challenges you or the other choreographers faced when producing lawn?
The highly physical nature of the piece is a challenge for us. There are only three of us in the show and we push ourselves to the limits of endurance. Also the challenge lies in confronting the audience while taking them on an accessible and dramatic ride with us. The biggest challenge of all is to move people emotionally with the work.

Has lawn been performed anywhere else, and where will the show travel to next?
We have performed in Sydney, Perth, Brisbane, Berlin, Stuttgart, and Townsville. After Singapore we will be going to Lisbon, Portugal and having return seasons to Berlin and Brisbane at some time next year. Heilbronn is also on our list.

What do you hope audiences will take home after seeing lawn?
We hope that the images and emotions will stay with the audience for some time. It has been our experience that it is a piece which people will have strong feelings about and leave with attachments that linger for quite some time.

If you are moved by real-life stories of human migration, check out the show Diaspora. Director Ong Keng Sen lets us in on its concept, the production process and his take on local theatre.

How will Diaspora be performed?
It’s an audio-visual show. There will be live music and video clips. You’ll hear stories. The actors Koh Pin Pin, Janice Koh, Lim Kay Tong, Nora Samosir and Rindu Malam will tell the stories—they’re like storytellers. I’ve included stories of people that I’ve interviewed in my four months of research.

And how do Zai Kuning, Ariani Darmawan, Dinh Q. Le, Navin Rawanchaikul and Tintin Wulla come into play?
The production begins from these five artists. They are part of diasporas. I’ve interviewed them, their families and their friends. I’ve invited the five of them to make short videos that will be screened at the performance.

So what’s the message behind Diaspora?
The message is of survival, dignity, the triumph of the human spirit and also about choice. We have a choice in how we want to lead our lives. And that is the most important thing.

Did you face any big obstacles in the production process?
There are a hundred artists involved. Coordinating all these different people, who are spread over Southeast Asia, Berlin, Tokyo and beyond, is the biggest nightmare. TheatreWorks has done a lot of international shows, but this is the first time we have a hundred people making a work together.

What you think of the current local theater scene?
The theater scene has been around since late ’80s, but our definition of Singapore theater is narrow. For example, is Diaspora a piece of Singapore theater? I think it is, because it’s made by many Singaporeans, even though the stories are not about Singapore. I think the scene has some issues such as weak professional training and an antagonistic press too. The scene is not there yet, but it does have staying power.

When did you start sailing?
At the age of 15.

How did you get involved in the FESPIC Games?
I’ve been to quite a number of international events. My name was submitted by the Asian Women’s Welfare Association, because I was sort of a member there and whenever they organized sporty events, I’d participate. This is the first time that the FESPIC Games will be involving sailing, so it is a good opportunity for me to race against neighboring countries for a change, as I usually race with Western nations.

Was this something that you ever thought you would be involved in at all?
Seriously, no. My parents are working most of the time, don’t have the time or opportunity to go out with me and I didn’t want to be stuck at home, so I took up sailing. Since sailing programs provide volunteers to fetch me to and fro, which gave me the chance to step out of the house and see the world more and make new friends.

How did your family react when you mentioned that you were going to sail?
My parents were quite worried because I can’t swim, even now. They do give their support though and they tell me to be careful.

Why take up sailing if you can’t swim?
That was the first sport introduced to me. I considered stopping, but if I did, I’d be stuck at home again. I thought, “Why not give it a try?” and I just got better and better over time.

What have you gained from sailing?
Sailing really changed me a lot. It gave me the confidence to speak up or ask for help. It also gave me a sense of independence. I used to be quite pampered by my parents, but when I went overseas for my first sailing trip, there were four of us and we were all disabled. There was just one coach and one volunteer, so I couldn’t be depending on them to look after all of us. We only asked for help when we really needed it.

What sort of sacrifices have you made to take part in sailing?
A lot of time and effort. When I was training for the Olympic Games, the training was tough. And at every training session, I’d sustain injuries; lots of bruises and cuts.

Any memorable incidents that you’ve encountered while training or in competitions?
We took part in the able-bodied race for the first time and won! It was encouraging. We just wanted to challenge ourselves and see if we were up to their standards.

Any particular mantra that you repeat to yourself before a competition?
Never give up, work till the end of the race, even if something goes wrong. Be determined and persevere.

What was it like working with M. Night Shyamalan?
For me, it was a master-and-commander relationship—it was the nerd and the madman. I found the process of one storyboard per hour very slow. It was an exercise in patience and understanding that he says works. I think we became good pals in the end, actually. I have incredible respect for M. Night because he has great loyalty to those he works with. He should run for mayor.

How did you like working with stars Paul Giamatti and Bryce Dallas Howard?
I was naked filming Paul in the pool. He thought it was shocking but I thought it was refreshing. But he’s a very gracious man. Bryce is a product of the system: a Hollywood family and all the positive qualities that come with that such as resilience and craft. In a couple of years we’re really going to see her blossom.

What was the most difficult aspect of this shoot?
Shooting in Pennsylvania was the hardest part. It reminded me of my middle-class upbringing and all that I ran away from. M. Night is incredible; 60 percent of the film takes place in the rain and at night. I thought, “How can I make this more Chris?” So we created La Luna—a huge light source that’s like the moon. We could shoot day and night and it would look the same. Since it’s a fairytale, time is inconsequential so the look is ambiguous. More importantly, it let us get to the bars before 2am closing time. That was the real function of La Luna.

What’s your verdict on the film?
I’m proud of it. There’s an intimacy about it and it’s quite different from the other films M. Night’s done. It’s dedicated to his children. Maybe it’s not scary enough for kids and it’s perhaps too intellectual for them but I felt very much a part of it.

In your pocket:  Lucky stones.

Stupidest artist stereotype:  That you have to be poor and crazy to be an artist. I don't think you have to be poor at all!

In 20 years: I want to be healthy so I can continue to work with bigger installations and canvases.

Happiest moment: Right now!

Idol: Rauschenberg, my favorite installation artist and painter. He's dyslexic like me.

Favorite Bangkok art scene: Living in Bangkok is like living in one big art gallery. I get a lot of my inspiration from the city.

Rule for life: Never procrastinate!

(Would like to be) Remembered as: An artist, wife and mother.

Why did you develop the video editing/mixing software, VJamm?
We developed VJamm because we wanted to be able to jam with visual samples in the same way we jam with audio. Pure and simple. We needed an instrument; it didn’t exist, so we built it ourselves.

How do you see music and image merging in the future?
Sound and image…they’ve always been merged, humans are audio/visual animals. Sound and vision naturally go together, and there are lots of examples of that in the past. We’re just coming at that with a different set of techniques and a different aesthetic—more drawn from hip-hop than from Hollywood.

What was the impetus behind the name of your most recent album, Sound Mirrors?
Sound Mirrors refers to the idea that sound and music are intimately connected to human feeling and memory, and I think that’s a big part of the appeal of music and why it’s an import part of the human experience. You could almost say music is software for manipulating your moods.

Tell us about the performance at Astra.
We’ll be doing the full Coldcut live audio/visual meltdown spectacular with our MC. We’ll be performing some old and new stuff, as well as the audio/visual scratch-tastical widescreen show, which I don’t think you’ve seen before.

How did you win WarCraft III?
I worked really hard, practicing with friends and strangers online. I’ve loved gaming since I was in secondary school.

What is the most challenging part of the game?
Anticipating what the competition will do. I have to focus on my senses individually—my eyes, my hands—that gives me better control. It’s a strategy game.

How are you preparing for your trip to Italy?
After losing in Singapore to the Australian winner, I know I have to practice. I made some bad decisions, that’s why I lost. I’m going to be competing with players from 70 countries, and the international players are really good. They have a lot of experience.

Do you think foreign gamers are better than Thailand’s?
Yes, because they have a lot of opportunities. They have good Internet technology and can compete wherever and whenever they want. That’s an advantage. In Thailand, Internet technology is lacking and there is never any support.

Would you call yourself a gaming addict?
No. Some people play games that can take all day, and I don’t think that’s good. The ones I play are pretty short.

What is your advice to aspiring gamers?
Play for fun. It’s good practice, but don’t spend too much time on it. You can download the game at www.war3.replays.net.

What is your ultimate goal?
I want to be a pro-gamer but it’s not really possible in Thailand. I think I’ll work in Korea or China for a while, because there professional gamers can make US$200,000 a year. This career is more popular abroad because they have sponsors and an audience.

I was born here and this was my playground. Now I’m still playing in the same playground, only it has become a theater.

I never thought I would become a performer. When I first began, performing arts was only for certain people. My family always said it was not a secure and honorable profession.

My mother said that acting would be honorable only if you did it well and did it for charity. I think she meant, do it well and do it for society, not just for yourself.

In my university in England, I used to disappear from all but my performing arts classes. So my professor told me to go to drama school and be serious about what I liked.

I discovered that when people like to do something, they do it well. Performing arts gave me confidence. Doing that improved my ability to learn mathematics and science.

I feel like my life is on stage. When I had the opportunity to go into television, I finally stopped doing design.

People change after 35, they don’t want to be singing and swinging on a rope anymore. Your body gets tired very quickly and your bones start to crack.

I feel better being a teacher than a performer. As a performer, I’m just one person. I see thousands of performers I’ve taught and worked with to become successful and grow.

Theater is a fundamental; it’s for all human beings. People come to be trained in arts to learn how to develop the inside brain—controlling desire, emotions and concentration.

Performing arts also teaches you how to be graceful. You talk about how the young generation has bad manners; it’s because they are not graceful.

I have seen all my friends from Rajini School who had to take Thai classical dance and singing throughout their school years. Even now that they are old, they are still graceful.

Performing arts is like a first step to Buddhism. I learned from many acting and dancing masters about how important breathing is and how many of them meditate before performing.

Acting is not just about being a star, but about being a better person.

Some people say theater is a flower that invites people to goodness. They used acting in the Greek times to teach religion.

Happiness to me is using every minute of my life in a helpful way for everyone, including myself.

After all these years, I’ve realized that to be a good person we need three kinds of knowledge: art, Buddhism and science. They come together and they are all about nature, the environment and our bodies.

I’m glad that the Thai Health Promotion Foundation gives me the opportunity to pass on my knowledge to the younger generations through an educational TV channel. I try to explain difficult things through drama so it’s easier to understand.