May 2, 2010

I always have a problem in communicating with people since I was young.

I lost my skills, explaining people how I feel or even who I am although I always try my best as I think itʼs important thing in life to be understood by others.

Iʼm not good in telling stories, but that is the only thing I can do to remind me that Iʼm still there.

A lot of people have been convincing and trying to stop me from being in the past, but failed.I always fail to live in the present. Only the past I could rely on. Those days are always reliable. No matter how there were, when I look back, they make me happy and guide me how to move on. I believe that Filmmaking is crazy. Itʼs not fun, but so true.

I think people who live to make a film are all a bit crazy, but they are so true. In the dark room, everything turns to be real no matter what. Watching the right film totally erases my sadness from being a person. I have two persons hidden in my body, but I believe they both are the same.

Film has only one character, but we donʼt have to look at it the same.


November 6, 2009

P a t a v e e   V i r a n u v a t

b: 1 January, 1982


m: +66844383405



2003 – 2005 – Graduated in Bachelor of Film, Film School, Bond University, Queensland, Australia

Highest Grade, Top of the Year; Dean Award – Prof.Raoul Mortley, AO for ‘Takeshi’ Fillm Project

– Undergraduate Diploma in University English Studies

2002 – 2003 – Faculty of Science & Statistic, Thammasat University ( Dismissed )

1999 – 2002 – Faculty of Engineering ( SIIT; Sirinthorn International Institute, Thammasat University ) ( Dismissed )

1994 – 1999 – Assumption College, Bangkok

1989 – 1994 – Assumption College, Sriracha


School for Life – Patavee began his career in Education area at School for Life, Chiang Mai, Thailand established by Prof.Dr.Juergen Zimmer from Free University, Berlin. As Head of International Language Department & Guest Relation Manager, Patavee emphasizes on English Studies for the children via films, musics, and poetry & in charge of Oversea Co-ordinations. Patavee established the low-budget film school in May 2009 training young children to be a filmmaker through life process, and the ownership of their own life’s stories although they materialistically own nothing. ( )

AFA 2008 – Only one filmmaker from Thailand selected to attend Asian Film Academy ( AFA ) by Pusan International Film Festival, South Korea, to make film with another sixteen Nationalities from all over Asia. Mentored by Hou Hsiao Hsien, Arthur Wong, and Brillante Mendoza. ( )

Produire Au Sud 2008 – ‘Stratosphere’ scripted & directed by Patavee Viranuvat, feature length documentary film project is one out of 6 projects selected from South East Asia, organized by Nante Film Festival. /

Co-Production Experimental Film – French Film Company ‘Le Standard’ from Paris & ‘Cinemasia’ of Nonzee Nimitbutr from Thailand. Patavee worked as Assistant Director. The film produced by Christophe Arnaud, Directed by Nigel Bennett, and has Gordon Spooner as a Cinematographer Starring Elli Medeiros, Serge Riaboukine, and Chatree Saleewong.

Pecha Kucha 2008 –  Patavee Viranuvat was selected to be one out of 20 speakers for the event. Pecha Kucha was held at TCDC ( Thailand Creative & Design Centre ) Bangkok  ( )

Co-Productin Feature Film Project – Second Assistant Director for Co-Production Film Project ( Thai Singapore Hong Kong ) directed by Ekachai Urkrongtham in ‘The Coffin’ starring Karen Mok, Ananda Everingham, Andrew Lin, Aki Shibuya, Napaka Nakpasit.

Hollywood Film Production – Crowed Dresser in ‘Shanghai’ directed by Mikael Hafstrom. Starring Gong Li, Chow Yun-Fat, John Cusack, Rinko Kikuchi, Ken Watanabe.

Bangkok Intenational Film Festival 2007 – Assistant to Mr.Chattan Kunjara Na Ayudhya the Chief Officer of Bangkok International Film Festival ( Director of International Public Relation Division). In charge of all official invitations, Flight Arrangement, and Accommodation Allotment for International Filmmakers, Juries, Celebrities. ( )

Japanese Film (2005) – Scriptwriter & Director – Takeshi film won top prizes;  ‘The Best Tertiary Drama Film Award, The David Copping Production Design Award, the Excellent in Editing Award from Queensland New Film Maker Award by Pacific Film & Television Commission. The Film was selected as the Final Official Selection, in Outstanding Artistic Ability in Film making in ‘Young Thai Artist Award 2006’, by Siam Cement Foundation, and the same year it was selected in the ‘Final Official Selection’, in Lat Pestanyee Award, by Thai Film Foundation 2006 ( )

World L.P.G. Group Co., Ltd. – Assistant Marketing Manager, in charge of Purchasing Bunker, monitoring bunker consumption for 18 International & Local Pressurized Vessels. Co-operate with Local bunker Suppliers in Singapore, Hong Kong, Vietnam, Korea, Japan, Malaysia, Philippines, and Indonesia   ( )


2009 Translator for Malatay / Vietnam Artist Talk ( check in the flyer )

‘Uncut’ Experimental Art Exhibition; Visual Art Screening & Music Display

Chiang Mai, Thailand – Artist, Co-Producer

Co-produced & Designed with Pisithpong Siraphisut; Artist & Project Director of ‘Compeung’

Alternative Artist in Residence ( )

‘Running Time’ Film Screening – SeeScape Art Gallery, Chiang Mai, Thailand – Filmmaker

( )  Screening together with the works of Santiphap Inkongam, Sutthirat Supaparinya, Pathompon Tesprateep,  Chakkrit Chimnok, Pattree Chimnok, Chaisiri Jiwarangsan, Chatchai Suban, Pisithpong Siraphisut, Tanyanun Aoi-Aree at

2007 ‘One day, I met you. Treasure from the Past Memory’ – Sky Train Jazz Club, Bangkok, Thailand – Producer

2006 ‘That’s a really good question, When there is Blood in My Shit’ Thailand –  Artist, Curator

International Short Films, Photography, Toys, and BBQ

Including the works of Mouly Surya, Indonesia – Director ( )

Woting Cai  A.C.S. ( Cinematographer – Director ), China ( )

Tomomi Akita ( Cinematographer, Music Artist ), Japan

2005 ‘Lest We Forget’, Australia – Artist / Curator / Producer

Short Films, Paints, Poetries, Music, Fashion Show

Co-produced & curated with Indonesian Designer, Artist – Film Director; Adita Kartasasmita,

Artist / Filmmaker; Joshua Sutojo,

Indonesian DJ; Alvin Krishnandya,

Australian Comic Book Artist: Melanie Cook ( )

Light Designed by Australian Cinematographer: Matt Weston

2004 ‘Different Scene from the Vacant Soul’, Australia – Artist / Curator / Producer

Short Films, Interactive Solo-Performance, Poetries

2003 ‘Nang 7-Krabok’ Experimental Film Screening, Bangkok, Thailand – Producer, Filmmaker

2002 ‘Nang Dong’ Experimental Film Screening, Bangkok, Thailand – Producer, Master of Ceremony


2009 ‘One Night Stand’ / Digital / Color / 4.3 ( 1st Assistant Director ) – Halo Production Co., Ltd.

‘Noise from the Silent Hill’ / Digital / Color / 4:3 ( Scriptwriter / Director / Cinematographer / Producer / Editor )

( Screening at ‘Once upon the time in Bangkok’ – Produced by Viva.Bigfish )

‘Olay’ / 35 mm. / TVC / Brunei ( Production Assistant ) – Momento – Famepost ( )

2008 ‘Shanghai’ / 35 mm. / Color ( Crowd Dresser / Costume Dept. ) – Living Films

‘First Impression’ / 35 mm. / Color ( 1st Assistant Director )

Co-Pro. Le Standard, Paris & Cinemasia, Thailand

‘The Seed’ / Digital / Color ( 1st Assistant Director ) – Co-Pro. Span & Thailand

‘PaPa’ / 35 mm. / Color ( Scriptwriter & Director ) – Official Selection for Advanced Producer Forum by OCAC

2007 ‘The Coffin’ / 35 mm. / Color ( 2nd Assistant Director )

Scripted & Directed by Ekachai Urkrongtham

The Journey to Mahajanaka’ / 35 mm. / Color ( Assistant Director ) – Co-Pro. Thailand – Nepal

Sahamongkol Film International ( )

2005 ‘Takeshi’ / Super 16 mm. / Color / Australia ( Scriptwriter / Director )

‘Dolls’ / Digital / Color ( Cinematographer )

Written / Directed / Produced / Edited by Mouly Surya ( Indonesian Director )

‘Red & Yellow’ / Music Video / Digital / Color  ( Cinematographer )

Scripted & Directed by Mouly Surya ( Indonesian Director )

‘Gooseberry Jam’ / Digital / Color ( Cinematographer )

Written & Directed by Clement Beauvails ( French Director )

‘Weakness’ / 16 mm. / Color /  ( Stills Photographer / Actor )

Directed by Dominik Muench  ( )

‘Firelight’ / Super 8 mm. & Digital / B&W ( Actor )

Directed by Matthew Clayfield

‘The Killing’ / 16 mm. / B&W ( Director )

‘TV Studio Production’, Bond University, Australia ( Lighting Designer )

2004 ‘How My Next Door Neighbor Discovered Life On Mars’ / 16 mm. / Color / Australia ( Stills Photographer )

Directed by Austin Andrews  ( )

‘Dark of the Moon’ / Digital / Color / Australia ( Scriptwriter / Director / Producer / Cinematographer )

‘Deadly Sushi’ 16 mm. / Color / Australia ( Stills Photographer )

Directed by Nathan Ross

‘Beauty’ / Digital / Color / TVC , Australia ( Cinematographer )

Directed by Srikumrung Yukol

‘Analoxia’ / Digital / Color, Australia ( Cinematographer )

Directed by Srikumrung Yukol

‘My Bear’ / Digital / Color, Australia ( Actor )

Directed by Srikumrung Yukol

2003 ‘My World is Continuity Sound’ / Digital / Color, Thailand ( Director / Producer / Cinematographer )

2002 ‘Lost Everything in Thailand’ / 13 minutes / Experimental Documentary ( Director, Producer )

Special Prize in Outstanding Artistic Creativity by Thailand Ecotourism & Adventure Travel Expo.


2008 ‘Get Dirty Studio’ ( Creative Director )

2002 ‘Zadah Independent Drama Troupe’ ( Founder / Producer )

2001 ‘The Soul & After That’ : Community Creative Based Centre, Thammasat University ( Project Director )

‘TUMC’ # 2 ( Thammasat University Music Contest ), 2nd Winner Prize ( Vocalist )

‘TU Chorus’ ( Vocalist )

1999 ‘AC Music Contest’ ( Assumption College, Bangkok ) Project Director

Assumption College Student Parliament

Hello world!

January 20, 2009

Born in 1982, Chonburi – the East Coast of  Thailand, Patavee Viranuvat is an Independent Film Director, Screenwriter , Cinematographer, and Producer. Patavee also works in number of Film Productions, International Film Festival, and produced International Installation Art Exhibiton & Video Art Festival in Australia & Thailand.

His film works include shorts, TVC, documentaries, feature films. Patavee produces number of shorts for Award Winning Experimental Film Director, Tossapol Boonsinsukh ( Plengnan / 2008, TFJL / 2008 ). He also works as Cinematographer for numbers of acclaiming Film Directors including, Moully Surya, Indonesian Female Director ( Dolls / 2004, Red &Yellow / 2004 ), French TVC & MV Director Clement Beauvails ( Gooseberry Jam / 2005 ),  Thai Film Director Srikumrung Yukol ( Analoxia / 2004, Beauty 2004 ).

He also works as a Artistic Stills Photographer for Accomplished Film Directors like Austin Andrews ( How My Next Door Neighbour Discovered Life On Mars / 2004 ), Matthew Clayfield ( Flushed / 2004 ),  Nathan Fetzer ( Deadly Sushi / 2004 ).

Patavee Viranuvat’s first film ‘Takeshi’ (2005 / super 16 mm.), he scripted & directed in Australia won top prizes, ‘The Best Tertiary Drama Award, The David Copping Production Design Award, and the Excellent in Editing Award from QLD New Film Maker Award by Pacific Film & Television Commission.

‘Takeshi’ was selected as Final Official Selection, in Outstanding Artistic Ability in Film in ‘Young Thai Artist Award 2006’, by   Siam Cement Foundation. Also was selected in the ‘Final Official Selection’, in Lat Pestanyee Award, by Thai Film Foundation 2006.

His experimental film ‘Stalemate’ received runner up award by Chamlong Srimuang in Lollipop Film Festival 2005. Back to the first award ‘Best Creativity’ Patavee received from his 20 minutes experimental documentary from Tourism Authority of Thailand in year 2002 at Queen Sirikit National Convention Center.

In 2007, Patavee worked as Second Assistant Director for Ekkachai Uekrongtham ( Beautiful Boxer, Pleasure Factory ), ‘The Coffin’. The film had the world premiere at Cannes International Film Festival 2008, before spending a quarter as Creative Director at Graphic Design Studio, and he found himself can’t live too far from filmmaking.

Patavee Viranuvat decided to sacrifice the rest of his life into film making, no matter what happens.

” had 6 years childhood in my hometown, but later spend most of the time in Bangkok. Graduated high school from Assumption College, and completed Bachelor of Film from Bond University in December 2005.  ‘I’ve got and will have a long term attached life with film and filmmaking’

After long period of fighting, now I might be falling on the step where some people might have stood before. Since the first video camera I sat on my shoulder in the age of 14 (1996), I moved the camera around & ask my friends to throw really big rocks on the ground. Everyone moved, fell down like the earth is shaking, like in a real earthquake, but there was smile on our faces in the frame when we checked the tape.

In the same age, I played around with the red button nearby on the camera that LCD monitor wasn’t existed yet, the water level in the glass on the table behind the man who sat on that chair was decreased. After a few trials, three boys began running around in the bed room, the first one escaping into the closet, followed by the second, and the third. The hunter opened the closet door, but there is nobody there. Following by experimenting in sound on video camera. I created a Gozilla grumbling by recording the voice of the table dragging. It might be the first time in life, that the memory was recorded by something outside my brain.

I didn’t know what film is, and didn’t even know what the story is like or why people hang the camera on their necks. Most of Filmmakers in my age, have their childhood experiences in cinema, but I don’t. I wasn’t allowed to go to see the film in the theatre when i was child. My father kept saying many times that the cinema is dirty, and not suitable for young people.

At the age of 20, my stories were boiling enough to be dragged out.   In those days, the technology for young, poor, wannabe-filmmaker was far beyond our accomplishment. Although I was pressured under the limited financial condition & not having the right access to good mentors, I found that I grew up in the era where young artistic heart’s owners can sacrifice their lives for everything they love.

For me, it’s only to tell my stories.   My family don’t like the way I am at all. They notice film theory text books on my desk, sneaking in and read my diaries. They found a bad sign of my future, and getting seriously worried about what I planned to do in life.

I remember I first ask my Mom 5,000 thai bath to buy the external hard disk ( while I studied in Faculty of Engineering at Thammasat University / SIIT ), she glanced at me ‘Are you sure you really want to go that way?’, I didn’t answer, and say ‘You don’t have to give me money if you don’t like what I do, this is what I am, and it is important’. She asked me ‘Do you know what will be left after the film is done?’, my heart was pumping with curiosity, ‘The Print & The Poster’ my mom said.

A few months after the conversation I was kicked out from Thammasat University ( after spend 3 years ). I learned I wasn’t good enough for them, I then decided to be away from home & reset my life with what I believed in film school at Bond University.

For 3 years in film school I found it an ideal life.  It is a dream, a real & existing dream. I was taught to be a filmmaker there. Being a good filmmaker doesn’t require time to watch a lot of weird & old films, talking with weird people, and travel alone all the time. I found out that I just need to breath in a bit deeper, concentrate and try my best to get what my heart is whispering, then just follow what heard. Having a yellow skin being among western people wasn’t that easy. I originally believed that western people in general are more kind & mind opened but remember the tough time when I had to go through those eyes. The eyes from those who didn’t believe in the taste of Asian, the way we are in nature. Yet I didn’t spend too much time on that, my mission is to gain most, and move on, meet the right film crews and make the best film, and tell the world my stories.

After graduating from film school ( End of 2005 ), I spent a year & 1/2 in my family business company ( World L.P.G. Group co., Ltd. ), and ran away from my house to live in Mae Hong Son province – the North of Thailand. I thought it could erase all complication & break the wall between me & my parent’s expectation.

Then started working as AD for Prof.Banchong Kolsalwat, in one film project of Sahamongkol, spent 6 months. I was called to be PA for Chattan Kunjara Na Ayudhya, for Bangkok International Film Festival 2007, with a reasons that my application to work sounds positive weird. Some people told me I was out of track to work for the film festival, but I didn’t agree. Ingo Petzke was totally happy in my decision, as it’s the great chance meeting all good people & experienced filmmakers in the real industry. However, I realized the existence of my appear might mean worthless without the right impression. Scott Knight told me once ‘Every single story has its own value, and the film existence doesn’t depend on how many people you show your film to, but the kind of people do’. There is always those people out there who are seeking for the stories they want to hear, and pictures they want to see. Ingo Petzke, Scott Knights, Bruce Mouly, Simon D. Hunter, Judy Hamilton, Ridley Williams, always warned me about having 5 years plan, especially when we start working as a real independent filmmaker as it is one of the most challenging ways to live & survive in reality, and it’s worse when I am Thai, not-developed countries, considering in terms of fund raising to make a film outside the studio system or mainstream film market. ‘Keep making a good film, and screen it’ might be a simplest statement from myself and it might be really similar to a lot of young film makers who have the same passion in filmmaking. But what could be better than that? Actually there is, but it might occur with others. I think in a different industry there are different kinds of people. They live in all different places, having different kind of conversations, smoking different cigarettes, sleep & work in a different shift. But things go together as one. One can’t grow without another, I believe. 
 Once I heard a really interesting story from Stephen Cremin, “You might not know how many wonderful films are being made in every single day on earth. The shooting is completed, post-production is done, and it gets to screen in the theatre only once, before disappears”. I found it’s kind of sad, but re-considering it again, nothing could be more beautiful than the moment when something magical like film is discovered in the place where you never ever imagined. One day Film industry in Thailand must be better. I say ‘must’, because it is a ‘must’. If I say it will be, it will. It doesn’t have to be in my generations, might be after me or whenever is fine, as long as people get to see the imaginary era of Thai Cinema before the next flood & earthquake occur. I think my country need more aggressive people to bring it out. I always believe in the identity & what every single country, society, a person owns. What I can do is to keep making a good film, either one or two or twenty before I reach my own death, but only a good film I could make. I might sell the clothes I wear to exchanged with food, but my soul has been locked up.