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Writer

James Thoo

James Thoo resides in Singapore with his wife and their two daughters, who play within sight of where he writes.

He has had more than two decades of professional experience in screenwriting, excluding his stint as a professional boxer when he was 27.

He has sold multiple feature screenplays to large Hollywood production companies including Ravenwood Studios, Phoenix Productions and Bruise Productions, who were hugely impressed by his acerbic sensibilities, idiosyncratic characters, and very funny plots. His compelling memoir about his fight to become a dad, Palooka: 12 Rounds To Fatherhood (Brango), was published in 2020 to raves in The Edge Singapore, The Straits Times and Lianhe Zaobao. The raw account of he and his wife Alicia’s journey to parenthood addresses male vulnerability, exposing an excruciating encounter with cookie dough, as well as his wife Alicia’s near brush with death in the course of trying to conceive.

Biography

Some of the things I have done...

Work

2021

Hurt

Bruise productions

2021

The Service

Writer/Director

The Service

2020

Palooka: 12 Rounds To Fatherhood (Brango)

A book of confronting self-doubts, male identity and infertility

Palooka

2019

The Jugular Vein

The inaugural production of The Haque Collective

The Jugular Vein

2017

Stool Pigeon

Thomas Pang’s theatre company, Room to Breathe

2015

Sonata

No.1 on Scriptshadow’s annual best unproduced screenplays in Hollywood

2008

Jarum Halus

Malaysia

Jarum Halus

2006

The Rude Mechanical

Ravenwood Films, Los Angeles

Writing Coach

2019 - Current

The Writers Room

THE WRITERS ROOM (Singapore) is a professional script coverage and screenwriting academy designed for professional screenwriting development in Singapore. It was founded by the very writers who, through working with James, got their stories professionally produced.

In operation since 2019, it is today a creative community of like-minded individuals keen to improve their script writing abilities, and shape ideas for features, serials and plays.

To find out more about our next cycle, or for a customised course for your organisation contact James here or visit our Facebook page for more information: The Writers Room

Screenwriting

Writing, for the screen - screenwriting...

James Thoo’s style has been lauded for originality and irreverence. His stories tackle serious subjects, with levity and honesty, brought to life through scenes that seem deceptively messy… until they’re not.

Before he became a playwright and author, he was editor of the industry-leading film website, Joblo.com, and was published in global media channels including The Huffington Post and the New York Times.

After he transitioned to screenwriting, he worked on several full-length features.

His contribution to Singapore’s arts scene began when he settled here with his wife, Alicia, in 2017.

Between writing and caring for his family, he enjoys great pancakes, rap music, New Balance 990v3s, combat sports and, of course, movies. If he had to be a character in a movie, it would be Doc Holliday in Tombstone.

In addition to undertaking independent film projects, he coaches writers to conceptualise and create works. He taught at the Haque Centre of Acting and Creativity (2018 - 2021), and was a founding member of The Haque Collective, before leaving for other pursuits. He currently teaches screenplay writing at The Writers Room Singapore.

FAQs

Questions I may have answered once upon a time...

Shooting the shit...

Why did you begin writing in the first place?

That’s a tough question. I guess that communication is always something that I have been interested in. My mother was a very social and expressive person, but my father communicated mostly through paper plates taken from his petrol kiosk that he told me were frisbees he had bought for my birthday (this meant he loved me, or something), or grunts that may as well have been scribbled over the first drunk Egyptian’s attempt at hieroglyphics (this means anything from he was hungry, to well, literally anything).

No, as in why did you begin writing this FAQ in the first place?

Oh. That’s easier. I guess it was decided that this site was edging fairly close to being quote unquote extremely fucking bland, and it was thought that some personal, irreverent content might help spice it up a bit.

And how do you think this is going?

Not, well, if I’m being totally honest. Martin Amis said that stream-of-consciousness was now effectively extinct as a prose style, so I don’t know why I thought I — ward of the penis joke and herald of the mildly amusing footnote — might be the one to prove him wrong, or resurrect it.

Shall we say absolutely anything that someone might find remotely interesting, if for no other reason than to reward their having made it this far?

Sure: Thomas Edison was so upset with his son’s ineptitude, that he paid him $35 a week to use a different name, which he did, using the name Thomas Willard. I find this is both interesting and thematically relevant, as it is a thought I often return to when I reflect upon my father’s impression of me. Hey, at least it wasn’t that bad!

Well, to be fair your father didn’t have as much money as Edison did to throw around. And also, he was notoriously frugal.

That’s true. And also, fuck you FAQ.

How about something interesting related to writing?

I mean, that is to do with my writing, which if I keep at anything on any topic long enough tends to devolve much more often than not into a bit about my father considering me a disappointment.

Guilty pleasures are fun.

Gone In Sixty Seconds. Nic Cage version, not the original. I dunno what it is because I don’t even like cars. In fact there are few things I care less about on this planet than cars. I do love Nic Cage though. Still. And a great soundtrack, and an underrated Delroy Lindo performance. And I do like how Nic Cage has to step in to save his hot-head brother and become his surrogate father because his actual father is nowhere to be found and ok yeah there it is again.

Contact

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