Pom Rasike Sukal - the name is widely known in the cinematographic circles - and is currently expanding after his recent project as an art director on the set of the film “Snap”, and having won the Suphanahong prize in 2016 for his work on the Sci-fi thriller “Motel Mist”.
Pom has been working with both local and international partners. He believes that Thailand is able to do well in international large-scales productions, supplying computer graphic designs and others to international clients.
While not directly educated in the field of cinematography, Pom graduated from the Faculty of Architecture, Chulalongkorn University and applies techniques and ideas from his training as an architect in his work. A knowledge of the history of architecture also helps to improve the background of each film he’s working on. His all-time favourite movie is “Blow Up” by Michelangelo Antonioni, which tells a story of a fashion photographer who happens to snap a shot of a crime scene, and “A Time To Live, A Time To Die” by Hou Hsiao-Hsien, a film about a Chinese immigrant family in Taiwan, told through several generations of descendants.
What is the most important step in your career?
I believe true success comes from working on a good script and with a good team. The prizes that we won are only complimentary to the films and the cast and crew. I think I’m lucky to have had the chance to work with good teams and good scripts.
What makes you change your mind about not working in the field that you studied?
I have always wanted to study films, but wasn’t that adamant to insist on it, so I got into the faculty of architecture and really enjoyed it. However, at one point I realised that I didn’t fit in with being an architect. My professor then asked me about my inspiration and advised me to make use of it in design. Now I have come to realised that telling a good story is what I enjoy doing. Imagination is what inspires me to take up this career.
What’s the job description of an art director?
It all starts from the script. We would try to build a world of image around it, which is the part I enjoy the most. The possibilities are endless, and we picked imagination. We face financial limitations all the time, but we have to work around it to produce the most satisfactory results for every party, from producers, directors to cameramen…
What were the issues you encounter while working with international teams?
The biggest one would be the language, since the work process is pretty much the same everywhere. Also, time is taken seriously, which can be both good and bad, since Thai people tend to shoot well past the working hours.