Moving Thailand’s film and series industry forward requires comprehensive support and improvements across the spectrum, including education, sufficient development time, and funding, according to Nottapon Boonprakob, the renowned Thai film and series director and screenwriter.
The push for a creative sector, partly driven by the government’s efforts to identify new engines that could help revive Thailand’s economy, emerged as a buzzword in Thailand in 2023 when the Thai-led government took office. The administration’s signature policies were closely linked to the “soft power” creative industries of the country. More than 10 subcommittees were formed under the National Soft Power Strategy Committee, covering areas such as film, documentaries, animation, and series. At the time, the government introduced several initiatives and established the Thailand Creative Culture Agency (TCCA).
The current government led by the Bhumjaithai Party has expressed support for the continued growth of creative industries, but has yet to introduce any major measures or initiatives to directly support the creative industries. Meanwhile, a working group to develop Thailand’s visitor economy and creative economy, led by former tourism and sports minister Weerasak Kowsurat, has been announced.
“To move the industry forward, human resource development is crucial,” Nottapon stated. Several components are essential for developing quality film and series, including education, research institutions, media, and freedom of thought and expression, along with government support for arts and culture. He noted that talent development is crucial for nurturing talent.
The government should fund short and independent films, which Nottapon described as a sandbox where filmmakers can experiment before moving into larger productions, such as feature films. These smaller projects would allow filmmakers to demonstrate their abilities, build their portfolios, and attract studios that could help them develop larger projects.
Government funding for independent films should be given to creators, providing them with an opportunity to develop their ideas and pitch their work on alternative pitching platforms. Even if a creator’s project is not selected for government funding, they still have the opportunity to present their work on pitching platforms. Priority should be given to nurturing and supporting the development of new projects from concept to completion. In contrast, supporting films or work that is already internationally recognized should not be the primary focus.
“The real challenge lies in transforming an abstract idea into a finished film, especially for first-time filmmakers,” Nottapon said. “Securing sponsorship to showcase completed works at international film festivals is not difficult.”
To support the industry, adequate development time and budgets for screenwriters are important, as a screenplay is like a project that affects project deliverables. He encourages studios and funders to provide adequate development time and budgets for screenwriters.
There is no universal formula. The process involves reaching a compromise that suits the market and budget. The process, he described, is a push-and-pull negotiation, often involving trial and error, to determine the appropriate time and resources needed for a team to produce a script that meets quality expectations. Nottapon expressed hope that this would help establish industry standards for negotiation, including a legal framework and funding structure. The Thai Screenwriters Guild, launched earlier this year, could help establish industry standards for negotiation, including a legal framework and funding structure.
Personal projects and studio-commissioned projects generally fall into two categories: personal projects and studio-commissioned projects. For personal projects, the creator often refines the screenplay after receiving an idea, and if the project is rejected, the creator typically refines the screenplay before presenting it again. He noted that some personal project screenplays can take up to 10 years to develop because creators want to perfect their craft as much as possible.
In contrast, studio-commissioned projects face strict development timelines based on a budget. He said that screenplay development typically takes one to four years per project. For example, “Evil Lawyer,” created by Jakkarin Phongsa, a co-director and writer, and Nottapon Boonprakob, who was the director and writer, went through about four years of screenplay development by a team of creators.
Certain studios, such as 559 HDG, prioritize screenplay development unless the script meets their standards. These platforms provide a sandbox to test new types of Thai content with audiences. Beyond employing local professionals, these platforms have created new opportunities for Thai series and films, thanks to the rise of streaming services like Netflix.