When mentioning the name Primmy Wipawee Patnasiri, many might recall her as an international-style model, a stylish actress from FAST & FEEL LOVE, or from her work in international commercials and campaigns.
But today, she is set to challenge her skills once again in the role of “Saithong” in the blockbuster film "The Miraculous Wanthong," which is currently showing in theaters.
Primmy’s journey, her newly interpreted role, and her straightforward perspective on the Thai entertainment industry—as a woman who loves acting with all her heart.
Want to get to know Primmy?
“I’m an actress, a model, and I also do some directing. I’ve actually been in the industry for a while. I acted in 'Mali Puen Rak Pitsadan,' been a model since I was 14, now I’m 29, almost 10 years. But I also went abroad to study—I lived overseas for 5 years from 19 to 25, studying film. I worked quite a bit there, mostly in fashion campaigns. Actually, people invited me to work in Thailand during that time, but I wanted to finish my studies. Since I was already abroad, when I came back to Thailand, I did some music videos.
When COVID happened, I was lucky to come back and act in P'Taew Nawapol’s movie FAST & FEEL LOVE (Speed, Fierce.. Like I’m Mad at You). P'Taew saw me from a poster in Germany and invited me. He told me he was at the Berlin Film Festival and saw my face in a Mykita eyewear store, where I had shot with photographer Marc Bolger—he’s a very prominent photographer who used to shoot for Balenciaga. When he saw my poster in the store, he remembered me from 'Mali Puen Rak Pitsadan' when I was 16 or 17. He seemed to recall me well. When he saw me back in Thailand, he invited me to audition for the film, and I got the part. I was very happy.”
Why did you want to return to work in Thailand?
“It’s tough over there, especially being Asian. I love acting more than other work. I really want to work in Thailand’s film world. Acting in English is hard—even though I speak English clearly, it’s still difficult. It’s like being a small fish in a big pond. But in Thailand, I think there are more opportunities. I believe our country makes great films—Thai films are fun—and I enjoy working here. Although I studied abroad, I’m still Thai. I love living in Thailand and its culture and want to return.”
Most people want to live abroad?
“I think if you have the chance to go back and forth, that’s great. I’m glad I studied abroad because I met and worked with many people internationally and brands. After gaining experience abroad, when I returned to Thailand, people still remembered me and invited me to work abroad again—flying to fashion jobs in Korea and New York. It gave me a diverse career with many projects. For example, I was an actor in the game Dead Island; now my face is in a zombie game.”
I appear as a character in the zombie game, playing myself fighting zombies. I was also lucky to work with Spider-Man’s director John Watt when he filmed a commercial in Thailand, also for a game. He remembered me from that work and called me back when I was in Thailand. I feel fortunate to have opportunities both abroad and in Thailand to develop and train myself.”
Living abroad wasn’t easy either—being alone, doing everything by myself. Returning to Thailand and getting to act in Thai films made me happy because people still gave me chances and didn’t see me as a foreign kid. There are opportunities abroad, but it’s harder, more difficult.”
What about the difficulties in Thailand?
“I think I might be different from this market. People see me as quite niche, not mainstream, or some Thais might think I’m foreign. But I’m not really foreign—I just studied abroad and enjoy Western films. I’m pretty chill and down-to-earth. Being seen as different might be a barrier—people may hesitate, thinking I’m a Westerner who only takes foreign jobs. But I don’t want that perception. I like all kinds of work and am open to different roles. I think it’s important to work in diverse ways.”
I love acting and now focus on being an actress. I’ve developed from a model to an actress, and people recognize me as an actress in Thailand. I want to maintain that status and continue improving. Currently, I mainly work in Thailand but recently spent four months working in New York while waiting for my film’s release. I also audition internationally. When I got my Artist Visa, I signed with an agency there, living and seeking work and connections myself, with the agency sending me to castings. It’s very hard—sometimes I attend 5-6 auditions a day. I think if I want to work in many ways across places, I have to keep trying.”
Because I might not be mainstream, not signed with a major company, and not part of the current Girl Love trend in Thailand, I believe being myself makes me stand out. I may have a unique character that brands or clients see differently. I hope there will be more opportunities beyond just Girl Love or Boy Love genres. I want people to see that individuals can have different characters and be true to themselves.”
Do you feel you have to be part of the Girl Love world?
“I’ve thought about it. People often assume I have that kind of energy, but I don’t. Some think I’m masculine or not a sweet feminine type. If a role interests me, I’m open, but I haven’t found one yet. I have wondered if joining Girl Love is the way to fame, but I haven’t found a role I like.”
Have you been offered such roles?
“Yes, but I’m someone who has to like the work I do because I get very involved. When I commit, I give my all. I don’t want to force myself into something I’m uncomfortable with. The Girl Love and Boy Love worlds are quite insular—it’s not just a film or series; there are ongoing expectations. Personally, I think I could fit in, but I’m selective.”
What about your work as a director?
“That’s art film—I’ve tried writing and directing on my own, seeking funding and working with productions abroad. It’s just practice, and the outcome is quite arty, niche, not mainstream. I wrote and made it with friends. Since I love watching films and acting so much, I thought it wouldn’t hurt to try behind the camera too, to improve myself.”
How do you view the Thai film industry?
“I want Thai people to go to cinemas more. Nowadays everyone watches on platforms. I think films need to be seen in theaters to grow the industry. But many don’t go to cinemas, which is a pity. I want to see more film variety. I think Thai filmmakers are talented—'Homestay' made it to the Oscar Top 15, and some horror films won at Cannes. There’s a blend of art and Thai films growing here. I want to see Thai cinema develop more genres. Now, there aren’t many varieties—mostly horror and action. I miss the era of romantic films like 'Hello Stranger' and rom-coms that drew people to theaters.”
Do you want to pursue directing seriously?
“Maybe not yet. I want to focus on acting now. Directing is a long-term thing—it doesn’t have the same timestamps as acting. It’s something to develop gradually. If in the future I’m older or no longer acting, I’d like to try working behind the scenes. But for now, acting is my main focus.”},{
What do you think about the acting career path in Thailand?
“It’s tough. I feel that being only an actress is very hard. But I’m lucky to have work both abroad and in Thailand.”},{
Regarding your role in Wanthong, who do you play?
“I play Saithong, a slave of Wanthong’s family. She is the second wife of Khun Phaen, but in this story she’s Wanthong’s nanny. In the original tale, Saithong was a famous woman in Ayutthaya who had many admirers, but director P'Muk reimagined her as Wanthong’s caretaker. She is a woman with sex appeal, and P'Muk uses this aspect as a key point in the storytelling.”
How was the casting process?
“At the time, I was abroad and got a call at 4 a.m. Someone invited me to act in a movie. I said I’d talk after I woke up. I was working overseas and wondered if they really wanted me for a period film. People often complain I have an English accent and unclear Thai. That annoyed me when acting—I didn’t want people to see me that way. I’ve worked hard to improve my Thai. When I auditioned, it wasn’t a strict period piece; it had fantasy and modern elements, which was interesting. I don’t know how they cast, but they wanted the character to have beauty and sexiness appropriate for that era. I didn’t cut my hair but wore a wig to look like an Ayutthaya woman with short hair, chewing betel nut—the beauty standard of that time.”
After reading the script, did you see Saithong’s traits in yourself?
“Regarding the character, working with P'Muk involved a lot of discussion about who Saithong is. She’s a strong woman who’s fought hard in life, having been a slave bought into Wanthong’s family and rising from slave to nanny. That relates to me because I value freedom and being true to myself—I’m a working woman who takes care of herself. I feel that P'Muk is a similar woman. So, there are aspects of both me and P'Muk that relate to this character.”
How much does the story differ from the original?
“The storyline is similar, but the tone is different. In the original, Wanthong was beheaded for loving two men. In this version, it’s about a woman who doesn’t want to love anyone or perhaps loves both but focuses on fighting for herself, discovering and loving herself. That is the film’s core message—about women choosing to love themselves and what pure love really means.”
What message does Saithong convey to modern women?
“The strength and endurance of women in their roles as caretakers, and Saithong’s kind of love. I can’t define it precisely, but it’s a very pure love. That’s the storyline in the film. When I read the script, I saw she’s a person whose love differs from that of Khun Phaen or Khun Chang.”
How was working with the senior cast?
“It was fun and funny. At first, I was a bit tense. During the workshop, we stayed in separate groups and were a bit shy meeting everyone. I had acted before but wasn’t as big a name as the others, so I felt a bit awkward. It was funny because everyone was a little uneasy—the cast and I.”
Who were you most nervous about?
“At first, P'Mak, because we had close scenes and he’s handsome. I’d never done anything like that before and told him so. He said he hadn’t either. But with teacher Rom’s guidance, we rehearsed.”
P’Ink became like a sibling since we spent a lot of time together. Gluff is quiet but funny once you get to know him. I’ve known P’Fay a long time; we knew each other before. He’s very serious at work.”
Were you worried about your accent since it’s a period film? Was it as hard as you expected?
“I did a lot of homework and asked P'Muk for a Thai language coach to help with the Ayutthaya accent, which is a bit nasal and uses ancient Thai vocabulary—not normal modern sentences. I wanted to pronounce clearly for realism and to show that I could do it.”
Actually, my Thai isn’t that unclear. I went abroad since childhood, so my accent is influenced by English. I think I’m clear, but for work, they thought otherwise, so I had to practice.”
Why should people watch The Miraculous Wanthong?
“This version offers a different interpretation of the Khun Chang Khun Phaen tale from a woman’s perspective, focusing on love and relationships. It has humor, fantasy, and fashion. I think this is another major Thai blockbuster this year. Everyone is excited to see it, including me as an actress. We spent two years working on it because of extensive CGI. Filming took 4-5 months, then the clips were sent to Korea for CGI work. Please support 'The Miraculous Wanthong,' which opens on 3 September in all theaters across Thailand. It’s a fun film with tears, laughter, and action. Please love Saithong, and I hope everyone enjoys it.”
