AK controlled the whole operation from an outside OB van. Following the floorplan and the outside feed he had to not only direct the pranks, the actors, the movement of the technical team but also the art department who had to run and reset all the pranks while the actors swapped position. There were four locations including an interview room, while the makeup, art department and agency could watch the VT in a central hub where the sound operator was stationed to play sound effects through all the 20 something speakers that were hidden around the hospital.
The beds which the victims clung to for dear life were positioned to make the whole experience even more uncomfortable. AK passionately explains one of the setups: ‘In the morgue there were two rooms. The back room had all the fridges, and the one fridge was still working, even though there were no actual dead bodies in there anymore (good to know guys). And it led into another room. In this room, instead of having the victim face the fridges, we turned his back to the fridges, which our actors could access, and the TV in front of him. Thus creating a constant feeling that something was behind him. And it was the same with the passage. We positioned the victim with an open dark ward behind them and then to their right there was this long dark passage.’
If you’re still not sure how crazy this night was, listen to this snippet of AK demonstrating what directing from the OB van was like.
Executive Producer and founder of Spitfire Films, Liesl Karpinski, explains why AK was the best director for the job: ‘AK is a true creative and he’s very versatile without having to sacrifice the creative and I think that’s his gift. He problem-solves and can see through all the bullshit. He’s got a bit of a producer mind really and is technically savvy but is also able to get performances and go with the flow. And well, we like shitting ourselves…’