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They Staged A Horror Play With Real Caskets And Things Went Wrong · Tales from Incredible Tales

• 0:00
  Speaker 1: There's 2 Pochong on stage, so meaning it's her and
• 0:02
  Speaker 1: then there's someone behind her, so I'm like.
• 0:25
  Speaker 1: My name is Hafiz,
• 0:26
  Speaker 2: my name is Fa, my name is Wayne. My name
• 0:30
  Speaker 2: is Kyle, and this is Tales from Incredible Tales, inspired
• 0:33
  Speaker 2: by the classic horror series, we explore Southeast Asia's supernatural culture.
• 0:38
  Speaker 2: We have another returning guest for this episode, one of
• 0:41
  Speaker 2: only a select few.
• 0:44
  Speaker 2: Who has been with us since the very beginning of
• 0:46
  Speaker 2: Tales from Incredible Tales. Hafiz Rahman has a podcast that's
• 0:49
  Speaker 2: aptly titled The Podcast, which celebrates everything Malay while also
• 0:53
  Speaker 2: dedicating a fair amount of time to horror stories too.
• 0:56
  Speaker 2: Since 2021, he's worked with Arts House Limited to stage
• 0:59
  Speaker 2: the wildly popular horror production.
• 1:02
  Speaker 1: Sola Sola, always sola yeah lah.
• 1:04
  Speaker 2: Wait lah, let me say the name first lah. Cherita
• 1:07
  Speaker 2: Hantu, now
• 1:07
  Speaker 1: you want, uh, yeah, so you never can get tickets
• 1:10
  Speaker 1: in time. So when I, when it goes on sale,
• 1:12
  Speaker 1: just get it on the day itself.
• 1:14
  Speaker 2: But we still have
• 1:15
  Speaker 1: tickets, right? Yeah, they always get coms you guys, OK,
• 1:18
  Speaker 1: you guys are, you guys are in the list. I
• 1:24
  Speaker 2: haven't
• 1:25
  Speaker 1: finished. OK,
• 1:26
  Speaker 2: go
• 1:26
  Speaker 1: on,
• 1:26
  Speaker 2: go on. In his illustrious
• 1:28
  Speaker 2: career, in his illustrious career, in his free time, he
• 1:30
  Speaker 2: dresses up as a muck cheat for laughs, and, and
• 1:33
  Speaker 2: last season, I think it's fair to say that we
• 1:36
  Speaker 2: traumatized you slightly.
• 1:38
  Speaker 2: With our walk of courage, so we're happy that you
• 1:40
  Speaker 2: came back. Oh yes, welcome back. Thanks, thanks. Welcome back,
• 1:43
  Speaker 2: Hafiz
• 1:44
  Speaker 1: Rahman. Thank you for having me.
• 1:46
  Speaker 2: Are you, are you still traumatized?
• 1:50
  Speaker 1: Not, uh, I don't think the word is traumatized. It
• 1:52
  Speaker 1: was a very unique experience for me because I'm the
• 1:55
  Speaker 1: kind of person who would share ghost stories, and I do, um, multi-sensorial, uh,
• 2:00
  Speaker 1: horror plays, but when, when you, when you asked me
• 2:03
  Speaker 1: to do it.
• 2:04
  Speaker 1: It gets
• 2:06
  Speaker 1: It's very debilitating to my self-confidence. And then, and then
• 2:09
  Speaker 1: you walk with someone who can see things. I cannot, uh,
• 2:13
  Speaker 2: you become the caretaker, you know, that, that, that, that,
• 2:15
  Speaker 2: that video, right?
• 2:16
  Speaker 1: I just
• 2:19
  Speaker 1: held him by his head, and I went like, you OK?
• 2:21
  Speaker 1: You want to go back? I'm like, Who am I?
• 2:24
  Speaker 2: Like why I do this?
• 2:25
  Speaker 1: Yeah, the, the, the, the horrible thing was, was when
• 2:28
  Speaker 1: he said.
• 2:28
  Speaker 1: Yes,
• 2:29
  Speaker 2: ah, like, you're like, uh,
• 2:32
  Speaker 2: why, why would you say
• 2:33
  Speaker 2: yes? And then they ran out of topics to talk,
• 2:35
  Speaker 2: and they're like, got a good ching
• 2:38
  Speaker 2: like you have a cat, yeah,
• 2:38
  Speaker 2: you got a cat, right? You got a cat, right?
• 2:40
  Speaker 1: Horrible. But yeah, it was, it was, it was the
• 2:43
  Speaker 1: one and only time that I would do. So now, now,
• 2:45
  Speaker 1: now in within the Malay community there's a lot of
• 2:48
  Speaker 1: like horror walks, a lot of all this. I'm like.
• 2:51
  Speaker 2: No thanks, no thanks. That's OK,
• 2:53
  Speaker 1: it's OK. I'd rather spend my midnight timing like on bed,
• 2:57
  Speaker 1: you know, watching, watching you online, but I, I, I cannot,
• 2:59
  Speaker 1: I cannot.
• 3:00
  Speaker 2: So in this episode, we wanted to discuss what goes
• 3:02
  Speaker 2: into the making of Charita Hantu, what happens behind the
• 3:05
  Speaker 2: scene to ensure everything goes off smoothly, and of course,
• 3:09
  Speaker 2: any scary things that happen during production.
• 3:13
  Speaker 2: This episode was inspired by the classic Incredible Tales episode, Breakstage.
• 3:17
  Speaker 2: Horror and stage productions might be apparent that not many
• 3:20
  Speaker 2: people would expect, but as one article put it, quote,
• 3:23
  Speaker 2: horror-themed plays have been around as long as theater.
• 3:27
  Speaker 2: The supernatural as well as myths and monsters were a
• 3:30
  Speaker 2: central theme of ancient Greek theater, end quote. The same
• 3:33
  Speaker 2: article points out that ghosts and witches were part of
• 3:36
  Speaker 2: Shakespeare's Macbeth, while another of his plays, Titus Andronicus, quote,
• 3:41
  Speaker 2: fell out of favor in Victorian England thanks to the
• 3:44
  Speaker 2: high body count of Soviet heads, tongues, and hands, end quote.
• 3:49
  Speaker 2: And it's not just the West. Japan's Kabuki theater, thought
• 3:53
  Speaker 2: to have originated as far back as the early 1600s,
• 3:57
  Speaker 2: has been known to touch on the supernatural in their
• 3:59
  Speaker 2: places and even till today, Wayang Kule or the Shadow
• 4:04
  Speaker 2: puppet shows a medium through which ghost stories are shared
• 4:08
  Speaker 2: around Southeast Asia.
• 4:10
  Speaker 2: Hafiz, you already have a platform to podcasting to tell
• 4:14
  Speaker 2: your horror stories. Why did you want to bring the
• 4:17
  Speaker 2: supernatural to the stage?
• 4:19
  Speaker 1: Um, it never occurred to me to even do it
• 4:21
  Speaker 1: in the first place. So I was approached by Arts House, um,
• 4:24
  Speaker 1: and I think they were very interested to explore a
• 4:27
  Speaker 1: multi-sensorial piece. Uh, they, they weren't very specific about what
• 4:30
  Speaker 1: they wanted to do, but they said like if, if
• 4:32
  Speaker 1: you could make it, um, horror, it'd be, it'd be perfect.
• 4:36
  Speaker 1: So then I
• 4:37
  Speaker 1: I sat down and I thought about it. I said, OK, um,
• 4:41
  Speaker 1: I have watched uh a lot of horror movies, but
• 4:44
  Speaker 1: it's very different when you do a theater play because
• 4:46
  Speaker 1: it's everything is live, you know. There is no camera tricks,
• 4:50
  Speaker 1: there's no camera, uh, cuts and all that. So everything
• 4:53
  Speaker 1: happens on stage, so what else am I left with?
• 4:56
  Speaker 1: So I'm left with silence, which I think is the best,
• 4:58
  Speaker 1: best treatment for horror, you know, uh, the uncertainty of
• 5:01
  Speaker 1: not knowing.
• 5:02
  Speaker 1: Ah, what, what, what do I have? I have, um,
• 5:04
  Speaker 1: I need a good story. I need good actors to, uh,
• 5:08
  Speaker 1: drive that story through. Uh, that's the only way I
• 5:11
  Speaker 1: can do it. And then how do I enhance it? OK,
• 5:13
  Speaker 1: then we do, we do it multi-sensorial, fine, we will
• 5:16
  Speaker 1: explore the sense of smell, sense of taste, you know, um,
• 5:20
  Speaker 1: so we have, we have it in close proximity.
• 5:23
  Speaker 1: By audiences go through like a gamut of uh things
• 5:26
  Speaker 1: like sometimes they get salt being thrown at them, sometimes
• 5:29
  Speaker 1: they get rice being thrown at them, and then they,
• 5:31
  Speaker 1: when they come in, there's a strong smell of uh
• 5:33
  Speaker 1: frangipani in the air, that sort of sets the tone
• 5:37
  Speaker 1: for for for the pieces. Um and I've been very fortunate,
• 5:40
  Speaker 1: I've been able to do it for 5 editions.
• 5:44
  Speaker 1: Um, and each edition has got like 5 stories. Um,
• 5:46
  Speaker 1: so yeah, so, so that was, that was the whole
• 5:48
  Speaker 1: process of it, um, and I, I thoroughly enjoyed, I,
• 5:50
  Speaker 1: I enjoy writing ghost stories, uh, and in fact, all
• 5:53
  Speaker 1: the short, short stories that I've played, um, in Arts House,
• 5:56
  Speaker 1: I compiled it into compendium, you know, so people who
• 5:59
  Speaker 1: want who want to read it, they can always buy it,
• 6:00
  Speaker 1: you know, and I just, at the corner of my eye,
• 6:02
  Speaker 1: I see my my book being one of the
• 6:04
  Speaker 1: Yeah, yeah, so yay, canon of Singapore ghost studies, but
• 6:10
  Speaker 1: you know what, you know what I mean? My first
• 6:11
  Speaker 1: life has always been theater. Like I went to school
• 6:13
  Speaker 1: to study theater. I'm a drama trainer, so it was
• 6:17
  Speaker 1: very in my vein to do it, um.
• 6:20
  Speaker 1: And, and we had a lot of fun exploring different
• 6:22
  Speaker 1: ways to elicit a response from the audience, um, and
• 6:26
  Speaker 1: it can be something like just that thing in front
• 6:29
  Speaker 1: of you or it could be things like, or you
• 6:30
  Speaker 1: hear like whispers or you see shadows and all that.
• 6:33
  Speaker 1: So a lot of it really plays with the audience's mind, um,
• 6:37
  Speaker 1: but yeah, I mean, Kyle and Wayne has been to
• 6:40
  Speaker 1: 23 times and
• 6:41
  Speaker 1: I don't know how, how was it like for you?
• 6:43
  Speaker 1: I would love to hear your, your response to it.
• 6:45
  Speaker 1: Every time when I answer it, they'd be like, we
• 6:46
  Speaker 1: really like it, but like, what, what, what stood out
• 6:48
  Speaker 1: for you? I, OK,
• 6:49
  Speaker 2: I'll go first. For me, the, the thing that hit
• 6:52
  Speaker 2: me the most the moment I stepped in was the smell,
• 6:55
  Speaker 2: the smell, that set the tone for me immediately. So
• 7:00
  Speaker 2: completely open to the, to what was going to come
• 7:01
  Speaker 2: after that because I knew, OK, lah, if he's playing
• 7:03
  Speaker 2: his senses, then this is really going to be, like
• 7:06
  Speaker 2: you said, multi-sensorial. I don't normally expect.
• 7:10
  Speaker 2: The sense of smell to be made up on the stage.
• 7:13
  Speaker 2: I've only seen it done in horror productions, right? So
• 7:17
  Speaker 2: I see seen in that in horror productions. I've only
• 7:19
  Speaker 2: seen two, literally yours and another one in the UK,
• 7:22
  Speaker 2: and both of them play up the sense of smell. Yeah.
• 7:24
  Speaker 2: So the moment you did that, I was like, OK,
• 7:25
  Speaker 2: confirm good. The stories themselves are great, but I think
• 7:28
  Speaker 2: for me what really sets it apart is that multi-sensorial experience. The, the,
• 7:32
  Speaker 2: I'm sure Carl will talk a bit, talk about it
• 7:34
  Speaker 2: as well, but the, the casket that you use, ah,
• 7:37
  Speaker 2: that one.
• 7:38
  Speaker 2: And that one wasn't even when we went in. That
• 7:40
  Speaker 2: was outside. Yeah yeah yeah we were like, huh,
• 7:43
  Speaker 2: ah,
• 7:44
  Speaker 1: that was a story about we'll get to
• 7:46
  Speaker 2: that. That was the 4th edition one if our first
• 7:49
  Speaker 2: time yeah yeah yeah yeah. So the one when we
• 7:53
  Speaker 2: saw it was like, is that a real casket? Surely
• 7:57
  Speaker 2: they can't be using a real casket. And then it
• 7:59
  Speaker 2: was a, it was a company that you were working with.
• 8:02
  Speaker 2: Yes, yes, yeah, I asked him after the show that
• 8:04
  Speaker 2: one did they, did you actually do Muslim bus? Yeah,
• 8:07
  Speaker 2: they do. They do the afterlife care kind of thing like, Whoa.
• 8:11
  Speaker 2: So that one you that that casket that the actress
• 8:14
  Speaker 2: was lying in was real. I was telling when you
• 8:16
  Speaker 2: wait later the theater that the body will come out
• 8:19
  Speaker 2: come out and then really will come out and as
• 8:21
  Speaker 2: we were, and I think what was quite peculiar was
• 8:24
  Speaker 2: the choice to play some, uh, I think religious verses
• 8:30
  Speaker 2: before and after, which I feel like.
• 8:32
  Speaker 2: It adds to the mood but also has some protective
• 8:35
  Speaker 2: element to it.
• 8:37
  Speaker 1: Yeah, it was, it was very deliberate to do that because, um, yeah,
• 8:40
  Speaker 1: so now we're getting into the horror of Arts house.
• 8:43
  Speaker 1: So Art house, um, the building itself is the oldest
• 8:47
  Speaker 1: building in Singapore. So it has gone through many lives.
• 8:50
  Speaker 1: It has gone through like a post office, it was
• 8:52
  Speaker 1: gone through like a warehouse during the Japanese occupation. It
• 8:56
  Speaker 1: has gone through jail, it was a Supreme Court at
• 8:58
  Speaker 1: one point of time, and then now it's like
• 9:00
  Speaker 1: Like a place for the arts and all that. Um,
• 9:02
  Speaker 1: and the place that we were at, uh, the Black Box, uh,
• 9:04
  Speaker 1: the playden, it used to be the Prime Minister's office.
• 9:07
  Speaker 1: So I've, I've done, I've done Traitor Hunt 2 like
• 9:10
  Speaker 1: 5 times now, right? So it's been about 5 years, um,
• 9:13
  Speaker 1: and I always tell myself nothing's gonna happen for this
• 9:16
  Speaker 1: new production because we've seen it all, but there's always
• 9:19
  Speaker 1: like new things that happen. So one incident that really
• 9:22
  Speaker 1: made me, I remembered I was very overwhelmed by that
• 9:26
  Speaker 1: edition of Chetantu because
• 9:28
  Speaker 1: Um, it was a new cast, and I didn't know
• 9:30
  Speaker 1: what was happening because it was affecting my production and
• 9:32
  Speaker 1: as a producer, you just want your shows to run
• 9:36
  Speaker 1: as smoothly as possible, right? And you don't expect, like
• 9:40
  Speaker 1: you hear, OK lah, ghost stories, killer, I mean ghost
• 9:42
  Speaker 1: ghosts are always gonna be there, but they won't really,
• 9:44
  Speaker 1: they don't really have a hand in, in messing up
• 9:46
  Speaker 1: your production. There are 3 spirits in that place.
• 9:50
  Speaker 1: OK, there is a child. The reason why there is
• 9:53
  Speaker 1: a child is because we've seen the fingerprints. OK, anyways, um,
• 9:57
  Speaker 1: so there's a child, there is, uh, an old lady
• 9:59
  Speaker 1: inside there, um, and one more, we do not know, uh, what,
• 10:02
  Speaker 1: but it's like an entity of sorts, um, and I
• 10:05
  Speaker 1: was very like
• 10:07
  Speaker 1: Even though I do horror stories, I'm always very rational
• 10:10
  Speaker 1: about things, uh, because I don't want to scare myself,
• 10:12
  Speaker 1: A and B, I always feel like there's an explanation
• 10:15
  Speaker 1: to it or sometimes it's just a coincidence.
• 10:18
  Speaker 1: So it was the 2nd Chita Hantu, I remembered it was,
• 10:21
  Speaker 1: it was done on a bigger scale. So the opening
• 10:24
  Speaker 1: of the show, we, I had one actress to play
• 10:27
  Speaker 1: uh Kaka like Punana, and she had like a um
• 10:31
  Speaker 1: cloth um to represent her baby, like, you know, to
• 10:35
  Speaker 1: become a body of a baby.
• 10:36
  Speaker 1: And then, um, but instead of a cloth, I got
• 10:38
  Speaker 1: her to, so we went to Mustafa to buy this
• 10:41
  Speaker 1: big um giant cotton wool, um, pillow, right? So she
• 10:45
  Speaker 1: just has to cover it with the with the with
• 10:47
  Speaker 1: the cloth and she has to go. So
• 10:49
  Speaker 1: The story is like this, so she goes in, she cries,
• 10:51
  Speaker 1: she says, can you feed my child blah blah blah.
• 10:53
  Speaker 1: After that, once the show starts, she goes backstage, she
• 10:55
  Speaker 1: runs backstage, she puts the um cotton wool pillow in
• 11:00
  Speaker 1: the luggage which is backstage. So the first show happened
• 11:03
  Speaker 1: and then after the show, she went, she went and she,
• 11:06
  Speaker 1: she told me, I said, um, what happened? She said,
• 11:09
  Speaker 1: that cotton ball thing is missing. I said, did you
• 11:13
  Speaker 1: put it inside the luggage? She said, Yeah, I did.
• 11:16
  Speaker 1: I said, OK, fine, so we'll find it.
• 11:18
  Speaker 1: So there were like 20 of us, right, production people,
• 11:20
  Speaker 1: and we were looking for a high and low, there
• 11:21
  Speaker 1: wasn't any. So I said, OK, I'm gonna give you
• 11:24
  Speaker 1: one more, but this is gonna be the last time. Uh,
• 11:26
  Speaker 1: if you lose this, you have to buy your own
• 11:29
  Speaker 1: lah because, you know, I have to put my foot
• 11:30
  Speaker 1: down like as an actor, you have to be responsible
• 11:32
  Speaker 1: for your props. She said, OK, OK, yeah, sure, sure.
• 11:35
  Speaker 1: So second show happened again, and she said, Hafiz, I
• 11:37
  Speaker 1: remember I put it inside the luggage, I zipped up
• 11:39
  Speaker 1: the luggage. It wasn't open. So when, when we opened
• 11:42
  Speaker 1: the luggage, it was missing. So then we went, we
• 11:44
  Speaker 1: went looking for it, we went looking for it, we
• 11:46
  Speaker 1: were looking for, we were like.
• 11:47
  Speaker 1: Where is this cotton pillow? On the other side of
• 11:52
  Speaker 1: the theater. Uh, so there are two entrances, right? There,
• 11:55
  Speaker 1: there's an entrance, uh, into the theater, there's an entrance
• 11:57
  Speaker 1: that exits, um, to the other side. We're in the
• 12:01
  Speaker 1: middle of the show, OK, and like it's total darkness,
• 12:03
  Speaker 1: in the middle of the show. So my actors, they
• 12:05
  Speaker 1: go through a different route, so like they will exit
• 12:07
  Speaker 1: one door, they were coming in through the other door
• 12:09
  Speaker 1: just so that it seems very seamless when the scenes change.
• 12:13
  Speaker 1: So they have different entrance entrances, right? So it doesn't
• 12:15
  Speaker 1: look like a school play like.
• 12:17
  Speaker 1: Enter exit exit on the same day, right? So we
• 12:19
  Speaker 1: decided to break into that. So she comes in and
• 12:21
  Speaker 1: she's slightly older, like my, my, um, she's very OK
• 12:26
  Speaker 1: with with telling her name, um, she's Norija, Norija Sahat.
• 12:29
  Speaker 1: So she's slightly older, um, and she's very like petite.
• 12:32
  Speaker 1: So she comes to me in the middle of the
• 12:33
  Speaker 1: show and I'm waiting to get on stage because my
• 12:35
  Speaker 1: scene is coming soon and her face is pale and
• 12:37
  Speaker 1: she says, I did, um, someone is playing with the cotton.
• 12:41
  Speaker 1: I said.
• 12:42
  Speaker 1: So I said, why, what happened? He said, uh, someone
• 12:46
  Speaker 1: took the cotton ball and then make it into small
• 12:48
  Speaker 1: balls and then put a trail outside from the entrance
• 12:53
  Speaker 1: all the way into the other door.
• 12:55
  Speaker 1: I said who's doing it? I said, I don't know.
• 12:57
  Speaker 1: And she said something which like
• 12:59
  Speaker 1: Got me like really sketched it, but the size is
• 13:01
  Speaker 1: the one that you get because for Muslims when we
• 13:04
  Speaker 1: bury a body, we have to cover all whole crevices,
• 13:09
  Speaker 1: you know. So in the nose we put like two
• 13:12
  Speaker 1: cotton balls and she said, yeah, it's the same size
• 13:14
  Speaker 1: as what you put in the crops, and I'm like,
• 13:15
  Speaker 1: why would you tell me this? Like if you go
• 13:17
  Speaker 1: on stage kind of like what is happening? Like what
• 13:20
  Speaker 1: kind of messed up person you are. OK, anyways, I didn't,
• 13:22
  Speaker 1: I didn't, I didn't think much about it, so I said, OK,
• 13:24
  Speaker 1: can you just like sweep it away, um.
• 13:27
  Speaker 1: And so I so I saw, I saw the trail,
• 13:29
  Speaker 1: so we swept. So now the actress, right, the one
• 13:32
  Speaker 1: that plays the Punjana doesn't have the thing. As I said,
• 13:33
  Speaker 1: I do not know how you're gonna do it. She,
• 13:35
  Speaker 1: so she said, OK, I'm just gonna use, um, a
• 13:37
  Speaker 1: pile of clothes to make it into my baby. So
• 13:40
  Speaker 1: then nothing happened after that. I saw the trail happen again,
• 13:44
  Speaker 1: like show number 5, show number 7, show number 8.
• 13:48
  Speaker 1: So I'm like, Who is playing with this? So then
• 13:50
  Speaker 1: I actually told the art people, I said.
• 13:52
  Speaker 1: I'm pretty sure one of your staff has taken our
• 13:55
  Speaker 1: cotton ball. It's a prop. Can we not use our props?
• 13:58
  Speaker 1: So I was very angry. Can we not use our
• 13:59
  Speaker 1: props because these things cost money, you know, um, and
• 14:03
  Speaker 1: I do not want you to do this to scare
• 14:04
  Speaker 1: my actors because we are just trying to do a
• 14:06
  Speaker 1: show here and they're like, we don't know, we don't
• 14:08
  Speaker 1: know who is it, like, no, nobody, nobody, uh, stole it.
• 14:10
  Speaker 1: So they're fine. Now, on the 5th day onwards, on
• 14:12
  Speaker 1: the 5th, sorry, on the 5th show onwards, the same
• 14:14
  Speaker 1: kaka who has been sweeping the things away, I think
• 14:18
  Speaker 1: has offended this thing. So she came in and she,
• 14:21
  Speaker 1: she took a photo and she said,
• 14:22
  Speaker 1: I did, like I woke up with like blue blood
• 14:24
  Speaker 1: in my body and I said, oh, iron deficiency laa.
• 14:30
  Speaker 1: I'm like you must have hit yourself when you were asleep. Like,
• 14:33
  Speaker 1: you know how sometimes when you sleep you hit yourself,
• 14:34
  Speaker 1: she's like Tapia. She's just like when she said I'm,
• 14:38
  Speaker 1: I'm a light sleeper. Like I, however I sleep, that's
• 14:41
  Speaker 1: how I will wake up.
• 14:42
  Speaker 1: I said, nothing is wrong, it's OK. The next day
• 14:45
  Speaker 1: she came in, new blue-black. So by the end of
• 14:48
  Speaker 1: the show, she had like 4 blue-blacks on her body,
• 14:51
  Speaker 1: on her inner thigh, on her back, and on her shoulder,
• 14:53
  Speaker 1: and I'm like, what is this? And then, and then
• 14:55
  Speaker 1: she said, Is it painful cut? And she said, it's
• 14:57
  Speaker 1: not painful, but it's just there. So I do not
• 14:59
  Speaker 1: know who's been, you know, like doing that.
• 15:01
  Speaker 1: So, OK, now throughout the whole entire process that 2
• 15:06
  Speaker 1: cotton ball was not there, right? OK. So next year
• 15:11
  Speaker 1: when we went in for Traitor Hunt 23 and in
• 15:14
  Speaker 1: that one year that we were not there, Playden has
• 15:16
  Speaker 1: hosted like numerous productions, right, like maybe easily like 30-40 productions.
• 15:22
  Speaker 1: So we went to do, uh, we went to do
• 15:24
  Speaker 1: a site reki.
• 15:26
  Speaker 1: So I was with my stage manager and then he
• 15:28
  Speaker 1: went up to the um control room and he opened
• 15:31
  Speaker 1: the door and guess what he saw. He saw the
• 15:34
  Speaker 1: two cotton ball pillow just placed nicely on the lighting
• 15:38
  Speaker 1: deck and he's like, Hey, you need from last year
• 15:41
  Speaker 1: and it's untouched, you know. So then we went to ask,
• 15:43
  Speaker 1: so then the people were like, it's there and she's like, Oh,
• 15:47
  Speaker 1: how come it's there? Ah, we, we, we have not
• 15:49
  Speaker 1: seen it. I said.
• 15:50
  Speaker 1: And then you guys playing a fool with us or what.
• 15:51
  Speaker 1: So apparently then, then you can see one of the,
• 15:53
  Speaker 1: one of the staff just went like there's a supporter
• 15:55
  Speaker 1: guys in this place. So there's like a kid like
• 15:56
  Speaker 1: always um messing around, messing around with stuff, and then
• 15:59
  Speaker 1: we're like, OK lah, you will never see it lah.
• 16:02
  Speaker 1: You never see it. It was always come in like
• 16:04
  Speaker 1: different uh manifestations. No one will ever see it.
• 16:08
  Speaker 1: And then someone saw it. Um, there's one scene, this
• 16:11
  Speaker 1: is thunder #3. 1 of the actress has to be
• 16:13
  Speaker 1: wrapped up as a, as a pochong, and she has
• 16:16
  Speaker 1: to jump across the stage, right? So she has to
• 16:18
  Speaker 1: jump maybe like 7 points, so 1234567, just across the
• 16:24
  Speaker 1: stage at the back. This actress is very petite and
• 16:26
  Speaker 1: she's very slim, and she's been doing it for the,
• 16:28
  Speaker 1: for the whole entire show. I and this Kaka Norija
• 16:32
  Speaker 1: was backstage and we're just waiting for our turn.
• 16:34
  Speaker 1: And then it was a scene to go and you
• 16:36
  Speaker 1: know when your sound um has been so ingrained in
• 16:40
  Speaker 1: you that you know that it's that person and then
• 16:42
  Speaker 1: when it changes, you know, hey, it's a new person,
• 16:44
  Speaker 1: for example, ah, like the decibel of her going on
• 16:48
  Speaker 1: the stage like the the the and that's it, right?
• 16:52
  Speaker 1: So on the last show, it went. So I said, hey,
• 16:57
  Speaker 1: why is she like forcing her body on, on stage,
• 16:59
  Speaker 1: you know, like why is it forcing her body on stage?
• 17:00
  Speaker 1: That's it. So this happened on two accounts, right? So
• 17:02
  Speaker 1: I didn't know that it would happen. So she came
• 17:04
  Speaker 1: on stage. My stage manager upstairs, his mouth is, have
• 17:08
  Speaker 1: to slap one up. So he's looking at her and
• 17:10
  Speaker 1: he's doing the lights, and he's he's sque the lights
• 17:12
  Speaker 1: and he's doing the, the visuals.
• 17:15
  Speaker 1: And then he went like that, hey, why is she
• 17:17
  Speaker 1: so tall today?
• 17:20
  Speaker 1: It's got a thingy for you and I'm like huh, I,
• 17:24
  Speaker 1: I didn't know about this, but then, um, the lighting
• 17:26
  Speaker 1: guy was like, Shut up in the middle of the
• 17:28
  Speaker 1: show like, hey tingy because the light, the light doesn't
• 17:31
  Speaker 1: hit the face lah because it's thought what, OK, on
• 17:34
  Speaker 1: that same, uh, show a relative went to watch a
• 17:38
  Speaker 1: show and a relative went like.
• 17:41
  Speaker 1: There's two Po Chong on stage, so meaning it's her
• 17:44
  Speaker 1: and then there's someone behind her, so I'm like.
• 17:48
  Speaker 1: So then the girl just went like, uh, yeah, whenever
• 17:52
  Speaker 1: I hop hop, I always hear like another hop behind me.
• 17:57
  Speaker 1: So just things like that happen like just horrible things
• 17:59
  Speaker 1: things like that. And then there was one time, uh, OK,
• 18:02
  Speaker 1: this happened on the same show, you remember the casket?
• 18:06
  Speaker 1: So I told my friend, so he, he owns a, um, um,
• 18:10
  Speaker 1: a burial company, a service company, right?
• 18:12
  Speaker 1: So I said, hey, um, do you have any um
• 18:15
  Speaker 1: new caskets that you can loan me because I need
• 18:18
  Speaker 1: it for the show?
• 18:19
  Speaker 2: I asked.
• 18:20
  Speaker 2: I have a new one.
• 18:22
  Speaker 2: OK, yeah,
• 18:23
  Speaker 1: I have one, I have one. So he came late
• 18:26
  Speaker 1: that night to to deliver the.
• 18:27
  Speaker 1: Things and I didn't ask him anything so in my
• 18:30
  Speaker 1: head that thing is brand new, but uh he only
• 18:32
  Speaker 1: told me like on the 2nd he said Hafi, so sorry.
• 18:34
  Speaker 1: I want to tell you that it took Bukambaruta it's not,
• 18:36
  Speaker 1: it's not a new one. It's, it has been used.
• 18:38
  Speaker 1: I said for how long? I don't know, but it's
• 18:40
  Speaker 1: been inside the office because they have like 15.
• 18:43
  Speaker 1: And then like I just decided to take 11 like
• 18:45
  Speaker 1: that thing has been used like maybe 2-3 years already. OK, can. OK, can, OK,
• 18:49
  Speaker 1: whatever lah, OK lah, whatever, it's too late, it's too
• 18:50
  Speaker 1: late to return it to you, right? Um, my show is,
• 18:52
  Speaker 1: is already starting tomorrow. I cannot really, really bump in.
• 18:55
  Speaker 1: So now the scene is the preset of scene is Karija,
• 18:59
  Speaker 1: this poor lady, I always put her through hell. So
• 19:02
  Speaker 1: she has gotten blue blacks now. I asked her to
• 19:04
  Speaker 1: become a copse. So now she has to lie down
• 19:06
  Speaker 1: on the, on the, on the, on the, um, what
• 19:08
  Speaker 1: do you call that, um, the coffin la. It's like
• 19:10
  Speaker 1: a it's casket metallic, uh.
• 19:12
  Speaker 1: Casket, right? So there's gonna be a scene whereby I
• 19:15
  Speaker 1: bathe her and the water goes to the other side
• 19:17
  Speaker 1: and then so it's very real in that sense because
• 19:19
  Speaker 1: she's a preset, she has to be on that casket
• 19:22
  Speaker 1: for about half an hour because we opened the show
• 19:25
  Speaker 1: 20 minutes before. So before that for 5 minutes, she's
• 19:28
  Speaker 1: in there.
• 19:30
  Speaker 1: People come in, of course, we always start late, so
• 19:32
  Speaker 1: we always start like 5 minutes late. So like regardless
• 19:33
  Speaker 1: like sometimes she's there for half an hour, sometimes she's
• 19:35
  Speaker 1: there for like almost close to 40 minutes. On the
• 19:37
  Speaker 1: third show, again, she came to me, her face was
• 19:39
  Speaker 1: very pale. She said, uh, I don't think I want
• 19:42
  Speaker 1: to do the show anymore. I said, What do you mean?
• 19:44
  Speaker 1: We have like 13 more shows to go. I'm like,
• 19:47
  Speaker 1: someone pulled my leg.
• 19:51
  Speaker 1: In the mid, like before they start
• 19:53
  Speaker 2: in the casket, in
• 19:54
  Speaker 2: the casket,
• 19:55
  Speaker 1: I said, kaka, maybe it's just one of the naughty, uh,
• 19:59
  Speaker 1: patrons who went to watch the show. She said, no,
• 20:01
  Speaker 1: it's not a hand from outside. It's not because her
• 20:04
  Speaker 1: whole body is covered with kanbati, right? So she said
• 20:07
  Speaker 1: if someone from outside pull it, it's through the cloth
• 20:12
  Speaker 1: that covers my hand. She said, I felt cold hand
• 20:15
  Speaker 1: pull me like that.
• 20:16
  Speaker 1: And I said, Kaka, I'm so sorry, but like, can
• 20:18
  Speaker 1: you just pray your pray your fears away? We have
• 20:21
  Speaker 1: like 13 more shows like I cannot find another actress
• 20:24
  Speaker 1: to do it like like she just went like, how,
• 20:28
  Speaker 1: how I said, Can you do it or not? OK lah. Uh,
• 20:31
  Speaker 1: tomorrow we try one more time. I said, OK, OK, OK, OK, OK,
• 20:33
  Speaker 1: try one more time. OK, never mind. Nothing happened. 4th,
• 20:36
  Speaker 1: 5th show, and then it was the 2nd last show
• 20:39
  Speaker 1: and then she came and she said.
• 20:41
  Speaker 1: Maybe next year I don't want to do it anymore.
• 20:43
  Speaker 1: I said why? She said someone laughed in her ear
• 20:47
  Speaker 2: while she's in the casket.
• 20:49
  Speaker 1: She's setting and with the most messed up part is
• 20:53
  Speaker 1: that we haven't opened the doors. She was alone on stage. So,
• 20:56
  Speaker 1: so whenever
• 20:57
  Speaker 1: these things happen, I always take it with a pinch
• 20:59
  Speaker 1: of salt because I'm not the one at the receiving end.
• 21:01
  Speaker 1: I mean, I see things happen like there whatever and
• 21:04
  Speaker 1: I see people um tell me things or like I
• 21:07
  Speaker 1: hear people tell me things and I will hear the
• 21:10
  Speaker 1: the Pochong thing, but I've never seen it. So last show,
• 21:12
  Speaker 1: the one that you all watched, something happened, OK. So
• 21:15
  Speaker 1: I saw, and you know how they say like when
• 21:16
  Speaker 1: you see a spirit, you don't know it's a spirit
• 21:18
  Speaker 1: because your brain is rationalizing like it's a real person.
• 21:22
  Speaker 1: So the scene is I'm at a couch and I'm
• 21:24
  Speaker 1: doing some voodoo horrible things, right?
• 21:27
  Speaker 1: So it was a dark scene, right? So I saw
• 21:29
  Speaker 1: an audience member also I thought she was wearing like
• 21:33
  Speaker 1: a white sundress, but it wasn't like plain white, you know,
• 21:35
  Speaker 1: like got motif, and the hair wasn't that long. The
• 21:38
  Speaker 1: hair was like shoulder length, but for some weird reason,
• 21:42
  Speaker 1: I didn't see the face. I can't see the face,
• 21:43
  Speaker 1: and that's the reason, and that's the thing that we
• 21:46
  Speaker 1: Malay Muslims always tell us like whenever you see the hantu,
• 21:48
  Speaker 1: you never see the face. You always, you know, you,
• 21:52
  Speaker 1: you probably go crazy to go to the toilet, you
• 21:53
  Speaker 1: have to go around the perimeter lah, and it's a
• 21:56
  Speaker 1: black box, right? So regardless of how fast or how
• 21:59
  Speaker 1: little you open the door, the light outside will bleed in.
• 22:02
  Speaker 1: So I
• 22:02
  Speaker 1: I thought she was going to the toilet, which I
• 22:04
  Speaker 1: thought like you should have gone to the toilet before,
• 22:06
  Speaker 1: like don't, you know, whatever, maybe urgent. So I saw
• 22:09
  Speaker 1: this person go across in front of my couch and
• 22:13
  Speaker 1: I'm doing this and I see this thing going and
• 22:16
  Speaker 1: I'm like, I say like the C word and like.
• 22:19
  Speaker 1: Like I'm acting and you're doing this like person got
• 22:22
  Speaker 1: no manners and I'm like, why is no one like
• 22:24
  Speaker 1: telling her to like go the other way? So then
• 22:26
  Speaker 1: I'm like, OK, fine, whatever, like and it's a long scene.
• 22:29
  Speaker 1: So I'm like, I'm waiting for the door to open
• 22:30
  Speaker 1: because the light will bleed in. The door never opened.
• 22:32
  Speaker 1: So I'm like, Where did she go? Ah, she never
• 22:35
  Speaker 1: go to toilet.
• 22:36
  Speaker 1: Then I finished. Then I just finished the scene because
• 22:38
  Speaker 1: I have done this many times and I have come
• 22:40
  Speaker 1: to the point where I just am very honest with
• 22:41
  Speaker 1: my audience members. So during curtain call, I went to
• 22:44
  Speaker 1: look at the site and I said, Who went to
• 22:46
  Speaker 1: the toilet just now? I'm like, I need an answer.
• 22:49
  Speaker 1: Like who went to the toilet just now? That person
• 22:51
  Speaker 1: was from this side, and when I went to that side,
• 22:54
  Speaker 1: no one wore white on the, like in that place.
• 22:56
  Speaker 1: I'm like, there's a woman that went across the stage,
• 23:01
  Speaker 1: and like she really glided lah. I, like I didn't.
• 23:03
  Speaker 1: It didn't seem like she glided in retrospect during the
• 23:07
  Speaker 1: point of time. It seemed like, you know, like you scurry.
• 23:10
  Speaker 1: She just went like da da da da da da
• 23:11
  Speaker 1: dumb I just went like, hey.
• 23:14
  Speaker 1: Very rude, yeah. I have one last story. So it
• 23:16
  Speaker 1: happened at a building. So this, so the thing is,
• 23:19
  Speaker 1: sometimes we do not know whether it's the spirits from
• 23:21
  Speaker 1: the space itself or it's the spirit that has been
• 23:23
  Speaker 1: lingering with that thing. We believe that sometimes things latch
• 23:26
  Speaker 1: on to, uh, objects, right? One of the things that
• 23:30
  Speaker 1: I wanted to do for the latest Strahantu was outside,
• 23:33
  Speaker 1: you saw the, the, um, a tombstone, a tombstone. But
• 23:37
  Speaker 1: here's the thing, so
• 23:39
  Speaker 1: When I asked my friend to give me, uh, borrow
• 23:42
  Speaker 1: me a couple of tombstones, I want, I want it
• 23:44
  Speaker 1: to be like a, a set kind of fixture outside,
• 23:47
  Speaker 1: you know. So when people come in, they say, oh,
• 23:48
  Speaker 1: we're going through like a cemetery. He said, I'm sorry,
• 23:51
  Speaker 1: but I, I, I, I don't have that. I only
• 23:53
  Speaker 1: have cloth. I only have like the papan lung. I,
• 23:56
  Speaker 1: I don't do. So I'm like, how, how we're in
• 23:59
  Speaker 1: short of time. So one of my set people, he's
• 24:03
  Speaker 1: from Indonesia, so I said, can you buy?
• 24:04
  Speaker 1: Can you buy from Indonesia and you bring it back
• 24:06
  Speaker 1: to Singapore? I'll I'll, I'll pay for the for the courier.
• 24:08
  Speaker 1: And he said, yeah, can can can can. So I said,
• 24:10
  Speaker 1: you buy it, OK, OK, can. So he put everything together, um,
• 24:14
  Speaker 1: and it's all wood lah, so it's very light, right?
• 24:16
  Speaker 1: It's wood, very light, he brought it to Singapore. So
• 24:19
  Speaker 1: we were rehearsing, so this is all of us, ah.
• 24:21
  Speaker 1: So I said, can we put all of the props outside?
• 24:22
  Speaker 1: So he came late, his luggage was outside and all
• 24:26
  Speaker 1: the tombstone was outside. I thought it's a brand new tombstone.
• 24:30
  Speaker 1: Because he said he buy what? So like in my
• 24:32
  Speaker 1: head like he bought a new one. So then one
• 24:34
  Speaker 1: of my staff can see things ah. Hey babe, um,
• 24:38
  Speaker 1: I said, can you help us buy drinks outside? Uh,
• 24:41
  Speaker 1: there's a vending machine. I give you money, you go
• 24:42
  Speaker 1: and buy. OK, OK. So when she opened the door,
• 24:44
  Speaker 1: she just closed. So what happened? She said, there's a
• 24:47
  Speaker 1: lot of people outside.
• 24:51
  Speaker 1: Hey.
• 24:52
  Speaker 1: I'm like, oh, got, got, got D&D. I was like
• 24:56
  Speaker 1: I remember our, our rehearsal space was this building in
• 25:00
  Speaker 1: Bukit Merah, and it's very quiet. It was on a
• 25:02
  Speaker 1: Saturday afternoon and that is an office space, so of
• 25:05
  Speaker 1: course Saturday afternoon, there's no one, like literally there's no one.
• 25:08
  Speaker 1: And it was during, it was around 8 o'clock because
• 25:11
  Speaker 1: they just finished their dinner. So can we just buy
• 25:13
  Speaker 1: more water for them? Yeah. So she went outside and
• 25:15
  Speaker 1: she closed the door, and I thought she meant like
• 25:17
  Speaker 1: a lot of people outside, but then I saw her
• 25:19
  Speaker 1: eyes like a bit teary eyed, and I just went like,
• 25:22
  Speaker 1: you want me to get someone else to do it?
• 25:23
  Speaker 1: And she, yeah, yeah, yeah. And after that, I asked
• 25:25
  Speaker 1: one of the other staff to do it. And the
• 25:28
  Speaker 1: stuff is like very like anyhow it's like, my God,
• 25:31
  Speaker 1: nobody ah. I'm like, OK, never mind. So whatever, OK.
• 25:35
  Speaker 1: So I didn't know it was used until in the
• 25:37
  Speaker 1: middle of the show. So I said, hey, so we
• 25:40
  Speaker 1: were having this conversation, you know, she saw someone blah
• 25:42
  Speaker 1: blah blah, and then the guy just went like, Oh yeah,
• 25:45
  Speaker 1: I'm not surprised because it's used. I'm like, What do
• 25:47
  Speaker 1: you mean it's used? It this is in Singapore as well, OK.
• 25:50
  Speaker 1: So in Indonesia, when someone just passed away, they just
• 25:53
  Speaker 1: marked the grave with a wooden so that's a temporary tombstone.
• 25:57
  Speaker 1: So once they decide to make it, oh, I wanna
• 25:58
  Speaker 1: make it like a stone or marble or whatever, they're
• 26:00
  Speaker 1: gonna put it out. So then these people will put
• 26:03
  Speaker 1: it out, they just repaint it lah.
• 26:05
  Speaker 1: To be used for the next person, it's dollars and cents, sorry,
• 26:09
  Speaker 1: it's rupiah and sensa, you know what I mean.
• 26:13
  Speaker 2: So when we record tales from Incredible Tales, right, we
• 26:15
  Speaker 2: always make special precautions, especially when we shoot on location, right,
• 26:19
  Speaker 2: with spiritual masters on set, lah. But even then, as
• 26:22
  Speaker 2: you have experienced firsthand, weird things to, you know, happen
• 26:26
  Speaker 2: on set, which we will get into later. However, theater
• 26:29
  Speaker 2: also has its own.
• 26:30
  Speaker 2: You know, special superstitions, for example, the most famous one
• 26:35
  Speaker 2: is the aptly named ghost light, a light that remains
• 26:39
  Speaker 2: on stage right when the theater is empty. Well, there
• 26:42
  Speaker 2: are practical safety reasons for this, right, but as the
• 26:45
  Speaker 2: Shakespeare Theater Company notes, quote, the lights are said to
• 26:50
  Speaker 2: walk away mischievous spirits. However, the light also serves as
• 26:54
  Speaker 2: a guide for the ghosts that are believed to haunt
• 26:57
  Speaker 2: the theater.
• 26:58
  Speaker 2: These theater goals are not seen as malicious, but rather
• 27:02
  Speaker 2: they are goals that are be kept happy that their
• 27:05
  Speaker 2: home is lit, lah, end quote. So what sort of precautions, right,
• 27:09
  Speaker 2: do you do when you stage Charita Hantu?
• 27:12
  Speaker 1: Oh, so when we first start, um, I got a
• 27:18
  Speaker 1: lot of advice from people to just, um, say a
• 27:21
  Speaker 1: little prayer, um, and, and I did it for the
• 27:23
  Speaker 1: first two editions of Chian 2.
• 27:26
  Speaker 1: And I'm like, I don't think my prayer is working.
• 27:30
  Speaker 1: So it is gonna be there regardless, whatever lah, since
• 27:33
  Speaker 1: it's gonna be there, just, just, yeah. So that, but
• 27:35
  Speaker 1: I always tell my exes, whatever faith that you have,
• 27:38
  Speaker 1: just pray, um, just be mindful of what you say
• 27:41
  Speaker 1: of what you do. If you see anything, uh, you know,
• 27:44
  Speaker 1: weird or suspicious, don't react. I mean, just, just shut up, yeah,
• 27:49
  Speaker 1: once we finish the show, once we are out of
• 27:51
  Speaker 1: our house, then you let us know. So usually this,
• 27:53
  Speaker 1: this kind of like, you know, um, conversations happen like
• 27:56
  Speaker 1: during supper, after the show and they're like, oh my God,
• 27:58
  Speaker 1: it happened again to me, whatever, whatever.
• 28:00
  Speaker 1: Um, but yeah,
• 28:01
  Speaker 2: but the ghost like, is it true? Do you guys
• 28:03
  Speaker 2: practice the ghost slide?
• 28:04
  Speaker 1: Um, we never, of course, we never put, um, put
• 28:08
  Speaker 1: a stage on, on, on pitch black, it never goes dark,
• 28:11
  Speaker 1: not 100% dark. I mean, the, the whole idea is
• 28:14
  Speaker 1: because it's safety, you know, so like, you know, ah,
• 28:16
  Speaker 1: going black, that's, that's, that's, that's the term they use
• 28:19
  Speaker 1: going black is when everything is dark, but that only
• 28:21
  Speaker 1: happens for like special things where we want to recap.
• 28:24
  Speaker 1: Celebrate the um lights or visuals on the screen, but
• 28:28
  Speaker 1: other than that, we never, it never goes fully dark.
• 28:31
  Speaker 1: I would get freaked out if it gets fully, fully
• 28:33
  Speaker 1: dark as well. Yeah, but there's also like a lot
• 28:35
  Speaker 1: of superstitions that a lot of the people use like
• 28:38
  Speaker 1: we don't say good luck, we say break a leg.
• 28:40
  Speaker 2: I think theater is, there's a lot of superstition involved
• 28:44
  Speaker 2: in theaters and more than film production. I feel like
• 28:47
  Speaker 2: there's a lot of things and rules that are that
• 28:49
  Speaker 2: are untold happen like recently I, we did a shoot
• 28:53
  Speaker 2: in Pulau Bin, it's for, it's about this Topekong that
• 28:56
  Speaker 2: is there, they were celebrating their like I think I
• 29:00
  Speaker 2: don't know how many years anniversary. So they had the play,
• 29:02
  Speaker 2: the Chinese opera, and then I was talking to uh
• 29:05
  Speaker 2: one of the, the patrons that were, that were taking
• 29:08
  Speaker 2: care of the place, right.
• 29:09
  Speaker 2: And then she was saying that, you know, there's this
• 29:11
  Speaker 2: play at this time, 7:30, we always do one. Then
• 29:15
  Speaker 2: I think you do it for what we do it
• 29:16
  Speaker 2: for the spirits, is to appease the spirits that this
• 29:19
  Speaker 2: particular play is about a person trying to vanquish like
• 29:23
  Speaker 2: evil spirit and it's to like appease them lah. They say,
• 29:27
  Speaker 2: see what happens if you don't play, so we don't
• 29:28
  Speaker 2: even think about it, we do it irregardless.
• 29:31
  Speaker 2: It is, it has to be like, like it's very Asian, Asians,
• 29:36
  Speaker 2: we are, we, we, I mean the things are similar
• 29:39
  Speaker 2: in that sense there's certain superstition that I think we
• 29:41
  Speaker 2: all kind of share just different ways of doing it.
• 29:45
  Speaker 2: So I was like wow, that's very interesting.
• 29:47
  Speaker 2: And, and, and furthermore, you know, Pulau Bin is, is
• 29:50
  Speaker 2: a bit more interesting, more close to the forest and jungle, yeah,
• 29:55
  Speaker 2: you know what's funny, like I do horror content almost
• 29:58
  Speaker 2: every day, right? And then like I do night walks
• 30:00
  Speaker 2: and whatnot, right? I still get creeped out by his story, like,
• 30:05
  Speaker 2: like it made me like not want to go to
• 30:07
  Speaker 2: his play.
• 30:09
  Speaker 1: No, but like, OK, so, so about the jump scare,
• 30:11
  Speaker 1: so I was very clear with Asa. I said I
• 30:13
  Speaker 1: do not want this to be a caricature of a
• 30:15
  Speaker 1: horror show. It doesn't elevate the experience of a theatergoer,
• 30:19
  Speaker 1: you know, when you, when you want to introduce theater
• 30:21
  Speaker 1: to someone, it needs to be of a certain
• 30:24
  Speaker 1: You know, like, must, must think a bit more la,
• 30:26
  Speaker 1: you know, think a bit more deep lah, you know,
• 30:27
  Speaker 1: don't make it very literal. The scares will come from
• 30:31
  Speaker 1: being unnerved, the scare will come from being uneasy. The
• 30:35
  Speaker 1: scares sometimes might come from, yeah, I mean there's shock
• 30:38
  Speaker 1: factor here and there, but it's always with intent. It's
• 30:41
  Speaker 1: not just to rile up the audience.
• 30:43
  Speaker 1: Just to scream and then how happy and then nothing
• 30:45
  Speaker 1: happened like it doesn't serve the story.
• 30:47
  Speaker 2: So you've mentioned
• 30:47
  Speaker 2: that the stories in Trita Hantu are based on true
• 30:50
  Speaker 2: stories shared by others. You've had some experiences of your own, obviously,
• 30:54
  Speaker 2: including what happened to you during last season's Walk of Courage. Yeah.
• 30:58
  Speaker 2: So for anyone who missed it, could you please briefly
• 31:01
  Speaker 2: recall what you and Ideal went through and what you
• 31:05
  Speaker 2: experienced in Golden Mile Hour.
• 31:06
  Speaker 1: So yeah, um, I was paired with Ideal. So Ideal
• 31:10
  Speaker 1: is one of those people who are able to see.
• 31:13
  Speaker 1: Um, nothing happened actually. Actually nothing happened. I'm trying to,
• 31:18
  Speaker 1: so we just went up to the route or whatsoever.
• 31:21
  Speaker 1: So we went through this alley of, um, where all
• 31:23
  Speaker 1: the old offices are, and there's condensation on the floor.
• 31:27
  Speaker 1: Do you guys have experienced that? There's condensation. Nope,
• 31:29
  Speaker 2: nope. I was with.
• 31:34
  Speaker 1: So the floor is wet with condensation. So I thought, well,
• 31:39
  Speaker 1: because it's cold and then the aircon has been switched off,
• 31:41
  Speaker 1: so there's condensation.
• 31:42
  Speaker 1: So when you walk it's like that sound right? So
• 31:46
  Speaker 1: I'm I'm walking with ID. I say let's just go
• 31:48
  Speaker 1: through the other end of the corridor, OK? And then
• 31:50
  Speaker 1: we go out, OK, OK. Halfway through the corridor, I went,
• 31:55
  Speaker 1: yes me.
• 31:57
  Speaker 1: I'm like,
• 31:58
  Speaker 1: Huh? What happened? I said, no, no, no, no. I
• 32:02
  Speaker 1: heard my wife calling my name. I said,
• 32:06
  Speaker 1: Sorry, I'm very frustrated whenever I talk about this. I'm like,
• 32:08
  Speaker 2: why you have
• 32:08
  Speaker 1: to put me through this mental torture,
• 32:11
  Speaker 2: xia.
• 32:13
  Speaker 1: Your wife calling you. So I just was like, so
• 32:16
  Speaker 1: how you want to go back, huh? Go
• 32:18
  Speaker 2: back.
• 32:21
  Speaker 1: So
• 32:21
  Speaker 2: I
• 32:21
  Speaker 1: walk.
• 32:21
  Speaker 2: I go to the lift.
• 32:22
  Speaker 1: So I look at him. I'm like, you OK? Are
• 32:24
  Speaker 1: you OK? And he said, Yeah, yeah, I'm fine, fine.
• 32:26
  Speaker 1: So I thought it would end there. OK, walk, walk out,
• 32:29
  Speaker 1: walk out of the lift. OK. This fella, all 20
• 32:33
  Speaker 1: m away only, you know, at the other side. We
• 32:35
  Speaker 1: were walking. He just went,
• 32:37
  Speaker 2: No, no, before that, he said something.
• 32:40
  Speaker 2: We were walking right then it was quite quiet. Then
• 32:42
  Speaker 2: he just turned to you, actually quite OK straight away.
• 32:46
  Speaker 2: I saw it. I saw it in my own eyes.
• 32:49
  Speaker 2: Then I straight away I said,
• 32:50
  Speaker 2: Why are you actually,
• 32:50
  Speaker 1: actually like it's OK. I like,
• 32:54
  Speaker 2: then he
• 32:55
  Speaker 2: said, Hey, no. Then he's like, Somebody pushed me. Somebody
• 32:57
  Speaker 2: push me.
• 32:58
  Speaker 1: What happened? Somebody
• 32:59
  Speaker 2: pushed
• 33:00
  Speaker 1: me. I'm like.
• 33:03
  Speaker 1: What
• 33:03
  Speaker 2: I'm
• 33:04
  Speaker 1: like, I'm done. That's it,
• 33:07
  Speaker 2: yeah,
• 33:07
  Speaker 1: but it was something that wasn't featured that that I
• 33:10
  Speaker 1: wanted to share with you guys was something that happened
• 33:12
  Speaker 1: before we even started recording. So it happened during my
• 33:15
  Speaker 1: group time. So we're all getting ready for it to
• 33:17
  Speaker 1: get dark, right? We were all like looking, remember there was,
• 33:19
  Speaker 1: we were all looking at the loan, uh, thing that's
• 33:22
  Speaker 1: on the road, and the cars were like going over
• 33:23
  Speaker 1: it and like, hey, hit, hit, you know, like these
• 33:26
  Speaker 1: kids are like this, you know, mind their own business.
• 33:29
  Speaker 1: So we were just having I think dinner and then
• 33:31
  Speaker 1: we were preparing for it to get dark. It was
• 33:34
  Speaker 1: around 7 o'clock at at one of the time.
• 33:37
  Speaker 1: My car
• 33:38
  Speaker 1: Switched on by itself, but it didn't switch on by itself.
• 33:42
  Speaker 1: Not only did it switch on by itself, the bonnet
• 33:44
  Speaker 1: opened by itself.
• 33:46
  Speaker 2: Like yeah, I
• 33:47
  Speaker 2: was, I was like minding my own business. I look back,
• 33:49
  Speaker 1: yeah,
• 33:49
  Speaker 2: like,
• 33:50
  Speaker 1: yeah, and I didn't realize, you know, I was just talking.
• 33:53
  Speaker 1: We don't have a conversation after that someone said, Hey,
• 33:55
  Speaker 1: your car is open. I said, my car is open.
• 33:57
  Speaker 1: Those weird things lah. Did you
• 33:58
  Speaker 2: press it by accident? No,
• 34:00
  Speaker 2: cannot.
• 34:01
  Speaker 1: My car keys not with me. I put it on
• 34:03
  Speaker 1: my back. It's
• 34:04
  Speaker 2: a motion
• 34:04
  Speaker 1: sensor,
• 34:06
  Speaker 2: yeah, it's a motion sensor. You can you can.
• 34:07
  Speaker 2: Open with your unlock the car first. You need to
• 34:10
  Speaker 2: unlock the car first for it to work. If not,
• 34:13
  Speaker 2: everybody can just open the bonnet, right? That goes to
• 34:16
  Speaker 2: show
• 34:17
  Speaker 2: the ghost
• 34:18
  Speaker 1: so I wasn't ventilating, ah,
• 34:20
  Speaker 2: the
• 34:20
  Speaker 2: ghost high tech, the ghost, yeah, no, but I need
• 34:23
  Speaker 2: to ask you because we didn't get the chance to
• 34:24
  Speaker 2: ask you after we finished that that shoot, uh.
• 34:29
  Speaker 2: Something kind of happened to us. The remain because I
• 34:31
  Speaker 2: was with the crew. Y'all, y'all went to uh a
• 34:34
  Speaker 2: place to, to Wangwei wait for us, Makan, right? Then
• 34:37
  Speaker 2: we were packing up. Then there was a huge gust
• 34:39
  Speaker 2: of wind. The crew were packing up. One of the
• 34:42
  Speaker 2: light tubes just pumped.
• 34:45
  Speaker 2: F no, just like that.
• 34:47
  Speaker 2: Yeah, wind. There was a gush of wind and boom,
• 34:51
  Speaker 2: but you could argue that the, the light tube wasn't
• 34:54
  Speaker 2: put properly, but like it was there for like 5
• 34:56
  Speaker 2: minutes and then it didn't drop. Then suddenly the wind comes,
• 34:59
  Speaker 2: then it dropped. Hm, yeah, then it's like, OK, lah,
• 35:02
  Speaker 2: time to go already la. It was like 1212 plus,
• 35:04
  Speaker 2: and then the master was there to help us cleanse us,
• 35:07
  Speaker 2: and then we, then we tell. Then I didn't get
• 35:10
  Speaker 2: the chance to ask you about, um, like you guys
• 35:13
  Speaker 2: were talking about it. Did anything else happen after that? No.
• 35:16
  Speaker 2: Uh, on the way to Banghui, nothing happened, I think,
• 35:19
  Speaker 2: because they, they were talking about it,
• 35:21
  Speaker 1: yeah, but, but, yeah, but because, because it was, um,
• 35:24
  Speaker 1: Nakia and husband, both of them can see that, so they,
• 35:26
  Speaker 1: they were, they were.
• 35:27
  Speaker 1: Talking about stuff like, you know, but I, I, I,
• 35:30
  Speaker 1: I just listened to it like, like,
• 35:31
  Speaker 2: like what was the what did he follow you guys? No, no, no,
• 35:34
  Speaker 1: they didn't follow.
• 35:36
  Speaker 2: By the way, just to clear things out, it's really
• 35:38
  Speaker 2: not a gimmick, I guess. It's not a gimmick, it's
• 35:40
  Speaker 2: not we plan things no, no, no, no, no. It's like, uh, yeah, we,
• 35:44
  Speaker 2: we saw, we don't, we did, we don't fake things
• 35:47
  Speaker 2: and if, if I was to fake it, I would.
• 35:49
  Speaker 2: They shot the door opening. Then they were telling me,
• 35:51
  Speaker 2: I think I was doing something else. Then they're telling,
• 35:53
  Speaker 2: you know, the door opening really I didn't see that, yeah, but,
• 35:57
  Speaker 2: but
• 35:57
  Speaker 1: the thing that that that really was bothered me is
• 35:59
  Speaker 1: like the stickiness of the floor. No one expected that
• 36:02
  Speaker 1: was condensation
• 36:03
  Speaker 2: because that's what we were talking about when,
• 36:06
  Speaker 1: because you know why there's footprints
• 36:09
  Speaker 2: I can hear.
• 36:11
  Speaker 2: Oh
• 36:11
  Speaker 1: right.
• 36:12
  Speaker 2: No, no, I said I can, I understand,
• 36:14
  Speaker 1: you know what I mean? I can hear that
• 36:15
  Speaker 2: sound, but we heard footsteps behind us, and then the
• 36:19
  Speaker 2: second part we like, we were halfway,
• 36:22
  Speaker 1: could it be an echo thing?
• 36:23
  Speaker 2: Yeah, but, but that's the thing,
• 36:23
  Speaker 2: it's very strange. I really thought it was like a
• 36:25
  Speaker 2: reverb like it sounded like reverb because I stopped. Then
• 36:29
  Speaker 2: he said, Why you stop? Then I see you heard it.
• 36:32
  Speaker 2: He said, Yeah, yeah, I know what you mean. I
• 36:33
  Speaker 2: know what you mean. Then we continue. Yeah, I really
• 36:35
  Speaker 2: thought it's a reverb thing. No, because after he stopped, right,
• 36:37
  Speaker 2: the full set gone.
• 36:39
  Speaker 2: Because we continue walking and then the footstep gone already.
• 36:42
  Speaker 2: Cannot be what, right? Cannot, cannot be like somebody walked
• 36:44
  Speaker 2: behind us, then we stop. Then we walk again. It
• 36:47
  Speaker 2: should come back, right, if it's a river, but it stopped.
• 36:50
  Speaker 2: So that means the thing I know they know. And
• 36:52
  Speaker 2: then you caught the door moving and then the, I,
• 36:56
  Speaker 2: I heard, sorry, I really forgetful one. I heard the
• 36:58
  Speaker 2: cough sound, right? someone cough, yeah, but the ham with
• 37:02
  Speaker 2: the ham, yeah, and then he went to check. Then
• 37:05
  Speaker 2: he saw the door move
• 37:06
  Speaker 2: a bit.
• 37:08
  Speaker 2: No lah, he's doing it. I said I don't want.
• 37:11
  Speaker 2: I don't want you go you go during our outro,
• 37:15
  Speaker 2: is it the, the, we want to end things and
• 37:17
  Speaker 2: we were standing at the back on the left a
• 37:20
  Speaker 2: lot of things.
• 37:21
  Speaker 2: Did you see?
• 37:23
  Speaker 1: I can't see.
• 37:23
  Speaker 2: It was behind me because I remember I was beside Nakia.
• 37:26
  Speaker 2: Then you will be like yeah yeah and the two
• 37:30
  Speaker 2: of them were in the middle.
• 37:31
  Speaker 1: They also was very disorientated after that, after that, but what, what?
• 37:36
  Speaker 1: What
• 37:37
  Speaker 2: did you guys see? I, if I remember correctly, I
• 37:40
  Speaker 2: heard like footsteps at first because I, I thought the
• 37:42
  Speaker 2: crew was like tearing down the set, you know, and then, um,
• 37:45
  Speaker 2: every now and then I would see like, you know,
• 37:48
  Speaker 2: like the corner of your eye you can see like.
• 37:50
  Speaker 2: Things moving right. I look behind it. No, and then
• 37:52
  Speaker 2: I asked, uh, I think after the shoot, I asked Iy.
• 37:55
  Speaker 2: I said the same thing also. He heard like footsteps.
• 37:58
  Speaker 2: He saw like someone, but actually no one there. None
• 38:01
  Speaker 2: of the crewing down the set because we were doing
• 38:03
  Speaker 2: the piece to camera to end the war of courage.
• 38:05
  Speaker 2: That's the last thing that we shot them. So then
• 38:08
  Speaker 2: you're saying that there are things behind me and Ala, right? I, I,
• 38:12
  Speaker 2: I didn't feel anything.
• 38:13
  Speaker 2: I, I, I always thought that that corner quite creepy.
• 38:16
  Speaker 2: It is the end, the end of the car park
• 38:18
  Speaker 2: that corner is the most creepy and it's quite like, um,
• 38:21
  Speaker 2: lack of better words like quite dirty also, right, like
• 38:24
  Speaker 2: very no, my, uh, the, the master that was with
• 38:28
  Speaker 2: us that day, he's not master, he's master's colleague, and
• 38:31
  Speaker 2: he's he's not, not Singaporean, so he don't know about
• 38:34
  Speaker 2: Golden so even he was like.
• 38:36
  Speaker 2: Well, it feels off the energy here, he said. I
• 38:39
  Speaker 2: think this and this place right is far worse than Changi.
• 38:42
  Speaker 2: It's the least expected place. I didn't expect it to
• 38:46
  Speaker 2: be to to experience those, those sort of things there, honestly.
• 38:50
  Speaker 2: We brought the client Danny.
• 38:52
  Speaker 2: I always have to go uh do the walk of
• 38:55
  Speaker 2: courage first for to test it. So we tested it
• 38:57
  Speaker 2: at about, yeah, that's why I wasn't there for the
• 38:59
  Speaker 2: door thing. I went with him about 6:30. We did
• 39:02
  Speaker 2: the whole run of just the two of us. We
• 39:04
  Speaker 2: got freaked out. He got freaked out. He don't, you know,
• 39:06
  Speaker 2: scared one. He got he said can we, can we faster.
• 39:10
  Speaker 2: It's like a very creepy, creepy. It's a very back room,
• 39:14
  Speaker 2: very like liminal space kind of feeling. It feels like
• 39:17
  Speaker 2: it never ends and it's just like the vibe is
• 39:19
  Speaker 2: off that place, yeah,
• 39:21
  Speaker 2: yeah,
• 39:23
  Speaker 2: I think, yeah. This question is for everyone here and
• 39:25
  Speaker 2: those watching at home. Mallow the musical, a Play St
• 39:29
  Speaker 2: in Kuala Lumpur, quote, retells the harrowing story of the Pontianak,
• 39:34
  Speaker 2: end quote.
• 39:35
  Speaker 2: Which other Southeast Asian supernatural creature do you think deserves
• 39:40
  Speaker 2: not only a stage play, but a big budget musical
• 39:44
  Speaker 2: like Wicked?
• 39:45
  Speaker 1: One thing that I I wanted to achieve in Tritantu
• 39:47
  Speaker 1: that I cannot do it because I don't have the means, no,
• 39:50
  Speaker 1: not the means, as in there's no, it needs to
• 39:52
  Speaker 1: be very stylized. It's I'm very interested in the whole
• 39:55
  Speaker 1: idea of the Panangal, like just seeing a head fly
• 39:59
  Speaker 1: across the stage like.
• 40:00
  Speaker 1: So good. Like
• 40:01
  Speaker 2: see, see the head detached from the body. Oh,
• 40:03
  Speaker 1: that's amazing. Or like see like a spurt of fire
• 40:07
  Speaker 1: go across the stage. I've wanted to do that for
• 40:10
  Speaker 1: for the longest time but house has got its own
• 40:11
  Speaker 1: limitations like no naked fire, like no um putting of
• 40:15
  Speaker 1: things um because of the the fact that the skeletal
• 40:18
  Speaker 1: that's holding the lights is very light. So if you
• 40:21
  Speaker 1: put things that it moves. So there's a lot of
• 40:24
  Speaker 1: things that I wanted to do. So like there's a
• 40:26
  Speaker 1: lot of things that sometimes me and the production manager like.
• 40:29
  Speaker 1: Can do. Can, OK, you know, so like it's a
• 40:32
  Speaker 1: challenge lah, but I would love to see a full
• 40:35
  Speaker 1: fledged play of Penangal with like 5 years. Yeah,
• 40:38
  Speaker 2: I think that that would be amazing, you know, I
• 40:41
  Speaker 2: can imagine you can play
• 40:42
  Speaker 2: like,
• 40:43
  Speaker 1: you know what I mean, the
• 40:44
  Speaker 2: fire,
• 40:45
  Speaker 1: and then you say hate flying with the intestines and
• 40:48
  Speaker 1: then it goes to the audience.
• 40:49
  Speaker 2: I actually wanted to say Panangal as well just because
• 40:51
  Speaker 1: I want to do a cover of
• 40:52
  Speaker 2: Defying Gravity.
• 40:54
  Speaker 1: Ah love.
• 40:59
  Speaker 2: I, I don't know. I really don't know.
• 41:04
  Speaker 2: But Pong
• 41:05
  Speaker 1: which has been done,
• 41:07
  Speaker 2: I'm like a big budget musical,
• 41:10
  Speaker 1: a
• 41:10
  Speaker 1: big budget musical.
• 41:14
  Speaker 2: Like what can you do with Pong? I'm so sorry.
• 41:16
  Speaker 2: Pong big budget musical hip hop themed.
• 41:22
  Speaker 1: Yeah, musical, yeah, I would love to do like a
• 41:23
  Speaker 1: musical like, uh, Asian horror, but like through the decades
• 41:27
  Speaker 1: kind of thing. Oh, that would be the evolution. I
• 41:30
  Speaker 1: mean like it goes through the decades, the stories, but
• 41:33
  Speaker 1: then each decade has got a different hantu.
• 41:36
  Speaker 2: Oh,
• 41:37
  Speaker 1: OK, nice
• 41:39
  Speaker 2: for, for me, I actually kind of want to do
• 41:41
  Speaker 2: like either hantu tete or or can or orang bunyan
• 41:45
  Speaker 2: can see when I do it.
• 41:47
  Speaker 2: I've always been saying el elongated personalities. I don't know
• 41:50
  Speaker 2: I just try lah. So, so like, like uh I
• 41:54
  Speaker 2: want because they are always viewed in like a very,
• 41:57
  Speaker 2: you know, overly even for aura because they are beautiful.
• 42:01
  Speaker 2: Then like maybe the musical can be about them. I'm just, I'm,
• 42:03
  Speaker 2: I'm more than my personality. I, I'm a person. I have,
• 42:07
  Speaker 2: I have hopes and dreams. Yeah, so something like that,
• 42:10
  Speaker 2: then kind of like a bit like Grease.
• 42:13
  Speaker 2: 00, Greece,
• 42:15
  Speaker 1: then you should have what I mean
• 42:16
  Speaker 2: yeah.
• 42:19
  Speaker 2: I, I, I, I don't want, I
• 42:21
  Speaker 1: don't want to risk lightning. You see a man just
• 42:25
  Speaker 1: dripping in like carousel you know
• 42:27
  Speaker 2: finding I thought about it.
• 42:29
  Speaker 2: I was like, OK lah, he will be too controversial
• 42:32
  Speaker 2: already at the end.
• 42:37
  Speaker 2: Rocketman, we shall, we shall bring this episode to a close,
• 42:41
  Speaker 2: but before we bring the curtains down, Kyle, please share
• 42:44
  Speaker 2: with us our morbid fact of the day. Sometimes our
• 42:46
  Speaker 2: morbid fact of the day is more weird than our
• 42:48
  Speaker 2: morbid la, but this one is definitely dark lah.
• 42:52
  Speaker 2: So in 1883, right, a show held in Victoria Hall
• 42:55
  Speaker 2: Theater in Sunderland, England, offered a free toy giveaway at
• 42:59
  Speaker 2: the end of the show. This giveaway, however, led to
• 43:02
  Speaker 2: a stampede. According to a BBC article, quote, hundreds of
• 43:06
  Speaker 2: youngsters pushing against an inward opening door at the bottom
• 43:10
  Speaker 2: of the staircase meant that it could not open and
• 43:13
  Speaker 2: unfortunately they were all crushed and suffocated, end quote.
• 43:18
  Speaker 2: Uh, a total of 183 children died that day. Wow,
• 43:24
  Speaker 2: that's kind of, that's kind of dark. This is like
• 43:28
  Speaker 1: because of, because of the free gift,
• 43:30
  Speaker 2: because of the
• 43:30
  Speaker 2: free gift, yeah, OK, kind of like scalping but in
• 43:34
  Speaker 2: a really bad way. Yeah. What, what, what free toy
• 43:39
  Speaker 2: is worth your life? Yeah, no, no, stop thinking about it, bro, if,
• 43:45
  Speaker 2: if it's worth millions.
• 43:47
  Speaker 1: No, like,
• 43:48
  Speaker 2: came on or
• 43:49
  Speaker 2: giveaway, you know, like a mega art, you know,
• 43:53
  Speaker 2: your
• 43:53
  Speaker 2: life. So, so what you would go find, you will
• 43:57
  Speaker 2: try to find a PSA 10 Chariza if I told
• 43:59
  Speaker 2: you it was in Akikahara, but you need, you can
• 44:02
  Speaker 2: only go at night and you can only find it
• 44:04
  Speaker 2: at night. Would you do it?
• 44:06
  Speaker 2: OK, how much is it worth first? I think right
• 44:08
  Speaker 2: now 300,000 not not anything higher.
• 44:13
  Speaker 2: I cannot believe you're weighing this out.
• 44:17
  Speaker 1: Everything is money.
• 44:18
  Speaker 2: So you see,
• 44:19
  Speaker 2: I always tell him every, every, everybody has a price.
• 44:23
  Speaker 2: What is your price? OK, let's say we have a
• 44:25
  Speaker 2: $1 million like $1 million dollar dollar can retire, bro.
• 44:30
  Speaker 2: Can you sure not in Singapore, not in Singapore, lah,
• 44:33
  Speaker 2: but not that big, ah, like you
• 44:34
  Speaker 1: don't in, in within the confines of Akihara, but not
• 44:37
  Speaker 1: that
• 44:37
  Speaker 2: big, ah, if you like you, you like maybe like a,
• 44:40
  Speaker 2: like not that big of a space, if not like
• 44:43
  Speaker 2: it will take forever to find the card, right? No, bro,
• 44:45
  Speaker 2: you can only find at night, OK.
• 44:48
  Speaker 2: All right, thank you again, Hafiz for joining us.
• 44:50
  Speaker 1: Thank you for having
• 44:50
  Speaker 2: me and thank you to all of you for tuning
• 44:53
  Speaker 2: into Tales from Incredible Tales. New episodes go online every
• 44:56
  Speaker 2: week on MeWatch, Millis, YouTube, Spotify and Apple
• 44:59
  Speaker 2: Podcast.
• 45:00
  Speaker 1: My name is Hafiz,
• 45:02
  Speaker 2: my name is Wayne.
• 45:03
  Speaker 2: My name is Kyle, my name is F, and we'll
• 45:06
  Speaker 2: see you next time. Tales from Incredible Tales was hosted
• 45:09
  Speaker 2: by Far Anwar, Wayne R and Kyle Ong with special guest,
• 45:14
  Speaker 2: Hafiz Rahman, directed and produced by Kyle Ong.
• 45:19
  Speaker 2: Written by Wayne Gray, Assistant Director, Chin Chin Wei, director
• 45:24
  Speaker 2: of photography, Shervin Chua, Gaffer, Jonathan Chan, art director, Jolene Lim,
• 45:31
  Speaker 2: sound recordist, Audrey Lee. Behind the scenes footage shot by Ella.
• 45:36
  Speaker 2: May Walker, Hair and makeup by Bino Lim. Production assistance,
• 45:41
  Speaker 2: Aishwarani Durias Singam, Ella May Walker. Post-production by Fudge Studios.
• 45:47
  Speaker 2: Assistant editor, Ella May Walker. Motion graphics by Jolene Lim.
• 45:53
  Speaker 2: Camera support by Nikon Singapore, lighting support by Amaan, smoke
• 45:59
  Speaker 2: support by PMI gear, monitor support by Desview and DC
• 46:02
  Speaker 2: Pro Private Limited. Special thanks to Danny Kurdy from Midicorp.
• 46:07
  Speaker 2: Tales from Incredible Tales is a production of Hantu and
• 46:11
  Speaker 2: Media Corp. Follow the podcast on the Millicent app, Spotify,
• 46:14
  Speaker 2: Apple Podcast, Google Podcast and YouTube. Thank you for listening.