Asia Pillars Film Connection

Recently, I joined the Asia Pillars Film Connection in Bangkok as a Pillar. It was well run, open, and full of people actively working across different industries in Asia. I met producers, service providers, founders, and creatives who are shaping how projects are made and supported in Bangkok.

Events like this are useful from a production perspective. They give you a clear sense of what is being produced, who is involved, and how the industry operates on the ground. It is easy to see why Thailand has become a strong destination for international film productions. Crews are skilled, service providers are experienced, and the infrastructure works.

As an actor, the experience feels different. Most conversations naturally lean toward production rather than performance. That is not a criticism, it simply reflects the structure of the industry. Actors and directors are present, but usually in smaller numbers and often navigating the same uncertainty as everyone else.

Working as an actor in Thailand means operating within certain limits. Many international productions bring their lead talent with them, which leaves local and Bangkok based actors competing mainly for supporting roles. Casting is often informal, representation is limited, and agent fees can reach up to 35 percent without offering much long term guidance or protection.

Over time, this has shaped my own path. I realised that if I wanted to remain active as an actor, I could not rely solely on casting opportunities. I had to initiate work myself. That meant producing films, developing projects, and creating my own contexts rather than waiting to be invited into someone else’s.

Theatre has always been central to that process. It is where my passion sits most clearly. Theatre demands presence, discipline, and risk in a way that film often does not. At the same time, the international theatre scene in Bangkok is fragile. Performances happen, audiences sometimes come, but continuity is rare and support uneven. Without regular documentation, writing, and community engagement, it is difficult for theatre to grow into a sustainable ecosystem.

One contrast I have experienced is working with the French theatre community in Bangkok. Their level of organisation, audience development, and institutional support stands out. Due to directors/producers such as Yamine Boudemagh productions are promoted, documented, and supported in a way that allows theatre to exist as an ongoing practice rather than a series of isolated events.

Living and working here has slowly clarified what matters to me as an actor. This profession is never guaranteed, no matter where you are. What makes a difference is commitment to the work itself. Passion does not remove uncertainty, but it does help you find ways to continue, even in complicated spaces.