'We watched the film many times but each time, we would cry.'
'During the editing and sound mixing, my whole team would cry.'
'When we reached the music composing stage, it happened again.'
'Our producer said it is too much to be crying so many times.'
'But we never thought the film would be such a big hit.'
Earlier this spring, a small, heartwarming Thai family drama went on to break box office records across South-East Asian countries.
Some critics have referred to director Pat Boonnitipat's debut film How to Make Millions Before Grandma Dies as a tear-jerker. Large number of filmgoers in Thailand, the Philippines, Singapore, Indonesia and elsewhere in the region were seen crying as they left the theatres. But it is the film's theme that the audience have connected to -- a family coming together in the wake of the tragedy.
In Boonnitipat's film, a 78-year-old first time actress Usha Seamkhum plays Amah, the matriarch of the family who is diagnosed with cancer. Suddenly her scheming teenage grandson M (played by actor and singer Billkin Putthipong Assaratanakul) decides to take care of his grandmother. His intent is to inherit Amah's home.
The old lady is suspicious, especially when her other adult sons also start to pay a lot more attention to her. But in time, she warms up to M and the two develop a lovely relationship.
Anyone who has cared for an ailing family member or have warm memories of their grandparents will definitely connect to Boonnitipat's sensitively made, charming film.
Until now, the director has only made television series, including the remake of the hit Thai film Bad Genius. But with How to Make Millions... he had transitioned to family drama.
How to Make Millions... is Thailand's official entry for next year'S Best International Film Oscar, and is streaming on Netflix.
Boonnitipat and his lead actress Seamkhum have a warm bond and it shows in their chat with Aseem Chhabra: "When she accepted the role, she did not know her head would be shaved off. When she learnt about it, she was afraid that her hair wouldn't grow back. I tried to convince her that it would certainly grow back. But she accepted it finally when I paid her more money!"
Pat, you directed the Thai series Bad Genius. I saw the film Bad Genius which was made before the series and now it has also been made into a Hollywood film. How did you transition from that thriller format with teenagers to a moving story about a family and its matriarch?
Pat: I always wanted to direct this kind of a movie. I find it really difficult to direct a slow-paced, natural film. It was challenging for me.
But as the director, I tried to stick to the core of the story.
You have to really listen to the story and somehow you have to create everything based on its heart. I tried not to put my signature on it.
The film has been such a huge success. I wonder when you were writing the script, working with your actors, and during the post-production time, if you realised that you had a gold mine in your hand, a film that would make audiences in Asia, especially in Thailand, cry?
Pat: This was my first feature film so I had no idea about what kind of film would win over the audiences. My crew and I just did our best.
We had to watch the film many times but each time, we would cry.
During the editing and sound mixing process, my whole team would cry.
When we reached the music composing stage, it happened again.
Our producer once said it is too much to be crying so many times.
But we never thought the film would be such a big hit.
When you directed the scenes with Amah, especially when her health deteriorates, were you moved by her performance? How did you get such a natural performance out of her?
Pat: She is really gifted. She would do so well in the emotionally intense scenes.
For instance, the scene when she is on her bed, she did it in one take. When I said cut, I noticed the entire crew was crying.
That's when we knew her performance had worked.
I know this story would resonate very well with Indians and other Asian audiences. We understand relationships of families and with the grandparents so well. But do you think this is a universal theme and that people in the West would relate to?
Pat: Right now, I am in LA promoting the film for the Oscars and we have talked to many Americans from all age groups.
Their reactions were the same as what we have witnessed back in Asia. So many people talked to me about their memories of their loved ones, parents and grandparents.
Usha, you have three daughters and four grandchildren. But how did you act out the emotions, especially when you learn your character is dying?
Usha: We must accept that death is inevitable for all of us. While playing this role, I began to imagine that my time had come.
I had to go through the complex feeling of accepting that one day I will leave my children and say goodbye to my loved ones.
So I put myself in the shoes of someone who knows that their last days are here.
Usha, you are 78 and this is your first role. Do you want to act more? Are more roles coming your way?
Usha: I want to play other roles but I am concerned if I will do as well as the role I played in this film. But I am still waiting for offers.
If anyone is interested, I am available to act.
Pat, would you cast her again in your next project?
Pat: In my next project, I will have her play in the entire film.
Usha: Will I have to shave off my head again as a cancer patient?
Pat: That is your fashion style (laughs).
This was our joke. When she accepted the role, she did not know her head would be shaved off.
When she learnt about it, she was afraid that her hair wouldn't grow back.
I tried to convince her that it would certainly grow back. But she accepted it finally when I paid her more money (laughs).
Usha, there are actually many moments when you have to work so hard. Initially, you argue with M, but then you warm up to him. Then the cancer sets in. Although there are other supporting actors in the film, you and Putthipong really carry it on your shoulders. How did you bring the natural tones in the other scenes as well?
Usha: I have two grandsons, who are twins. I am very affectionate with them.
I always hug them and kiss them when we meet.
M's character is very similar to my grandsons' in age. So for me, the feelings for M's character came very naturally.
Pat, I believe you are of Chinese origin, but you were born in Thailand. How much of the film has Chinese culture and how much of it is Thai? Is this something an outsider should know, or it is very subtle?
Pat: Thailand is a big melting pot. Being from a Chinese family, what really stood out for me was that even though we lived in a very small house, there were 30 people living there.
At all times, one would have to talk to people of different ages.
There are all kinds of belief systems.
If someone got married, and the new wife moved in, we would have to get used to her.
It was a very unique experience and I wanted to bring that to the screen.
It is difficult to define as Chinese or Thai. But that was my memory from childhood.
How did you think of the title? It's very catchy.
Pat: The first draft of the script was more of a comedy. At that stage, our script writer thought of the title.
As the script evolved, the genre changed but the title remained.
We are not very good at English and didn't know what the new title could be.
The Thai title is very simple. It translates to Grandson of a Grandmother.
But when we gave the script to our agent, he fell in love with the title How to Make Millions Before Grandma Dies and insisted on using it.
Having taken care of my mother a few years ago, I really connected to this world and the family atmosphere. The emotions were so believable. I saw the film twice and loved it both times. So congratulations.
Pat: Usha has a question to ask you.
Usha: You watched the films two times. Did you cry both times?
I didn't cry the second time as much. But I enjoyed it more the second time. There was a gap of about three months between the two viewings, so I remembered the main story. I was moved the second time as well but I noticed much more little details.
Like when M microwaves the tea for the Gods or when he goes to get fish the second time because Amah doesn't like greasy food. And by the time he comes back, Amah has eaten the greasy fish. If my grandmother had done that, I would have been mad. M looks frustrated, but he is also so patient with Amah.
Okay, Pat and Usha, thanks a lot.
The two fold their hands.
We Indians also do namaste.
Pat: Namaste!
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