A new decade for GDH, with many dreams to pursue under the leadership of Gina Osotsapa, the driving force behind her ambition to take Thai cinema to the global stage.

All these outstanding works originate from the same home, and on GDH's 10th anniversary, we speak with a woman at the forefront of the Thai film industry, Gina Osotsap, CEO of GDH 559 and one of Tatler's Most Influential (TMI) individuals, who is both a driving force and, at times, a "mother" to many generations of new filmmakers.

This conversation isn't just about success; it's about the joy, perseverance, sweat, and smiles involved in nurturing small saplings into mature trees that provide shade for many in the industry. It also covers the journey into a new decade, where the goal isn't just to make Thai films that Thais love, but to make the world "trust" Thai films more than ever before…

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Nestled in Soi Sawasdee Thaweesuk, the familiar large white house and green lawn evoke a warm feeling every time we visit. This isn't just a stylish office in the heart of Sukhumvit; it's a second home for over a hundred film directors, producers, screenwriters, actors, and other film professionals.

The entrance hall is adorned with framed copies of hundreds of films, spanning from the GTH era to the present-day GDH. Numerous national and international film trophies, displayed in showcases within the conference room, are a testament to the film production company's success over the past decade.

“My journey into filmmaking started when I received an opportunity. I was given a chance by P' Keng (Jira Malikul) to help realize my dream of making Thai cinema a real ‘profession’,” Gina began the conversation with a determined look in her eyes.

“All of us, including P' Keng (Jira Malikul), P' Fin (Chenchanee Sunthornsathorn), P' Sin (Yongyuth Thongkongtun), Ae (Preeyawan Phuwakul), Diao (Wichaphat Kochiew), Wan (Wannarudee Pongsittisak), and all the first-generation team members who were given opportunities by these three individuals: P' Bul (Paiboon Damrongchaitham), P' Lek (Busaba Daoreuang), and Khun Visut (Visut Poolvaraluk), in building the company together, even though it was full of trial and error, we have grown and learned everything with the goal of making quality films and making a living from it.”

"P' Keng always says that the films we have to make are those that make the audience understand the story and communicate with them, so that they feel connected to the film and our characters. And when they finish watching the film, in addition to the happiness and impression, they should also gain insights and inspiration to apply in their lives, benefiting themselves and the people around them. That means we have fulfilled the purpose of the film completely." (smiles)

Behind the scenes of every GDH film, there are numerous hurdles to overcome, including approvals from various teams—content team, production team, distribution team, management team, etc.—to ensure that the feedback truly represents all stakeholders.

Gina explained that the crucial first-stage committee, established to review the pitch decks of each film project, comprises the head of content, led by Ped Tosapol Tipthinnakorn (screenwriter of *Lan Ma*), and a talented content team that oversees the overall big idea of the film. This team includes Oh Benjamaporn Sarabua (screenwriter of *Bupphesanniwat 2*), Dieow Wichapat Kojiew (one of the directors of *Fan Chan*), Tong Banjong Pisanthanakun (director of *Pee Mak Phra Khanong*), Mays Tharathorn (director of *I Fine...Thank You...Love You*), and Pat Boonnitipat (director of *Lan Ma*), among others.

“P' Keng always tells us that making a film requires a good big idea. It has to be unique, fresh, and at least better than our previous or last film. It needs to have a mindset of wanting to surpass our previous standards, which comes at the cost of everyone working hard to level up their work to the next level.”

Once the pitch deck passes the content team's review, it moves on to other teams such as the production team, domestic and international distribution teams, corporate team, and business development team to assess the business viability of the idea, its potential audience, and the required budget. Everyone then takes this information back to do their homework.

If all parties give the "green light," the process moves to the treatment phase, a detailed summary of the story that outlines the events from beginning to end, providing an overview but without dialogue. The head of content will then discuss this with the producer or director to create a treatment, which may have several versions. Finally, it develops into a screenplay ready for filming.

“When making each film, we have to do a feasibility study to see if the film will succeed, if the various elements are strong enough, and how to prevent it from losing money. In the past, we might make decisions based on gut feeling; if the producer and director felt a project was good, we would go ahead with it. But nowadays, there are many factors involved in a film's success. It should gain both fame and a large audience, which should extend beyond just Thailand. From past experience, I can confirm that there is no fixed formula for filmmaking. Every time we make a new film, we start anew. But what we have always strived to do is ensure that everyone on the team sees the same goal and is determined to see it through to the very end… as far as they possibly can,” the head of GDH said with a smile.

The history and phenomenon of a quality film studio like GDH are well worth studying. We might need to go back to the GTH era (2004-2015), which formed a crucial foundation for nurturing many high-quality personnel at GDH in the years that followed.

“I have to go back more than 20 years ago. We were like a 'mother' building our company from scratch, starting from the very first day when we didn't know how to make films. We went through trial and error, and the first seven years were a very tumultuous period. We made a lot of films, eight a year, until we couldn't handle it anymore. We had to gradually scale down until we understood what scale we could manage, and that helped us understand the audience better. GDH slowly built its people, its teams, its directors, and worked with a promotional team that was willing to discuss and brainstorm to find the best solutions for the films. But when several films started making money consecutively, there was an event that forced the company to close down...”

Gina revealed that, although they had to start from scratch again, past experiences had given them a better understanding of many things and allowed everyone more time to be meticulous, ultimately leading to success.

“At that time, we knew we needed to rebuild the entire team. We got seven new directors to make seven films. Senior directors like P' Keng, Wan, Tong, and Bas came down to help as producers, assisting the new directors. We believed that the younger generation is capable and works quickly because they can bring new creative ideas to improve their work.”

"The important thing in today's work environment is that even if we strive for meticulous craftsmanship, speed is crucial. Before, we might have thought that the best quality was the priority, and that would be fine as long as it arrived. But now, what we consider the best might become outdated due to rapidly changing trends. Therefore, our mindset needs to change as well. We must be willing to learn new things and give opportunities to future generations."

However, the picture of success and a bright future was almost immediately replaced by a new normal. The closure of movie theaters due to COVID-19 and the entry of various streaming platforms into Thailand presented a major challenge, forcing the entire team to adapt.

"Looking back, these were incredible opportunities. Opportunities to learn, adapt, and move forward. Otherwise, we might never have gotten to where we are today."

Gina explained that the first thing is that the platform gives GDH, as professional filmmakers, opportunities. "They take our films to a wider audience, in territories or countries we couldn't reach ourselves. That support also extends to when we want to create really high-quality content, on par with international standards, like the series 'Mad Unicorn (2025),' directed by Kai Natthaphol Boonprakob. Without a platform like Netflix, we wouldn't be able to do it ourselves due to the enormous production costs."

Furthermore, the platform connects GDH's work with talented individuals around the world, leading to further collaborations.

“Many people, after seeing our films, want to invite us to develop various projects together. Importantly, it's an opportunity for us to learn world-class working methods, from negotiation techniques and work experience to discussions and exchanges between our producers and their producers. For me, it's a great opportunity, and if we make the most of this chance, I believe we'll receive more opportunities in the future.” (smiles)

One significant phenomenon that has offered hope to the Thai film industry in recent years is the success of several Thai films in international markets. This includes Bad Genius (2017), which was a massive box office success in China and grossed nearly 2 billion baht worldwide, and most recently, Lan Ma (2024), which not only made history as the first Thai film to be shortlisted for Best Foreign Language Film at the Oscars but also grossed over 2.5 billion baht globally.

"Actually, Thai films have already been traveling internationally, but mostly only within Southeast Asia. But when 'Bad Genius' achieved success in China, it created a ripple effect, making people in the industry realize that, in reality, if a film tells a story with universal themes, it can transcend cultural borders. So I've always thought that one day we want to take Thai films to the world stage, which isn't just an opportunity for GDH, but for the entire Thai film industry."

GDH decided to create a Business Development (BD) team with the goal of taking Thai films further… beyond simply “selling” or “screening” them. This culminated in the small-scale family film “Lan Ma Chok Dee” becoming a viral sensation, resonating with audiences and successfully breaking down language and cultural barriers in many countries.

"I feel like, 'Hey, we still have a long way to go. There are so many more places we haven't explored yet.' We want to meet people who are more talented than us, investors, production houses, or studios that are better than ours, and who will give us the opportunity to join them, to work with talented people from various countries, to learn from them, so that they can take us to bigger places, to areas we've never been before."

“Right now, we have the film 50 First Dates (2026) that we're making with Sony Pictures, as well as projects being developed with world-class partners like Miramax and iQIYI. There are also many other projects currently under development. We want to do our best to improve our skills, gain more recognition for our work, and proudly showcase Thai films to the world.” (smiles)

A decade passed, and we all became little children again, starting a new chapter in our lives. Gina shared that the good thing about childhood is its purity, its courage to think and act, but most importantly, it's about receiving opportunities and trust.

“I believe everyone has potential, and if we gain trust, we can fully utilize our potential. Going forward, this household will need leaders of a new generation. They will build their own teams, and we will have to step back from the role of 'mother' and become 'grandmother' (laughs), providing care and support to make them feel secure.”

Gina recounted her impressions during the consideration of the film project, "Lan Ma," which featured one of the new generation of directors, Pat Boonnitipat, in his first feature film, co-writing the script with Ped Tosapol Thipthinnakorn.

“Back then, when we read the script, even though we knew this type of film probably wouldn't make money, everyone agreed that we'd be crazy not to do this project. It was such a great story. When we read the final script, we cried. And when we saw the final cut, we felt even more strongly that we would regret it if we didn't help make this film a success, because everything about it was so good. I remember it was such a feeling of exhilaration, a feeling of pride that we wanted to show off our 'child,' just like we felt with 'My Girlfriend' (2003), 'Seasons Change' (2006), and many other films.”

"What makes me happy is that so many people have come to thank GDH for making this film and for allowing them to reconnect with their grandmothers in real life. It's a small thing, but it has a huge impact on us filmmakers – the feeling of knowing that one film can help people and create such a big ripple effect in society." (smiles)

Tatler wanted to know how GDH's leadership wanted people to remember them in the new decade.

“We want to be a film production company that people trust. Because once you trust us, you will receive trust in return—trust that we work diligently and wholeheartedly in every process, and that we won't let you waste your time or money in exchange for something unknown. We want GDH's work to reach a wider audience and offer a diverse range of stories, so that people can watch good Thai films that are right for them, and we also want to have the opportunity to take our work beyond just Thailand.”

Jina likens GDH's growth to the company logo: an image of a small sapling on the first day, which, after ten years, has grown into a large tree and continues to grow, providing beautiful shade for the Thai film industry and a shade that is expanding to a global level in the near future...

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