Foley Artistry Quotes

I have been dubbing since 2006.

I did sound for a number of years, so I know the pain of the sound mixer on a set where everybody was talking.

With bad movies, I have this image in my head of the director and the editor in the editing room watching a scene that is not happening, looking at each other and saying, 'Put some music in there.'

I'm there to tailor something very precisely and something very subtly to dialogue and the actor's energy. I'm there to bring out something that isn't spoken. 'King's Speech' is the perfect film to do it.

All the sounds on 'Trapped in the Closet' - the knockin' on the door, when I grab the keys, when I walk down the stairs, the car horns - we sampled all of those things around my house.

The secret to writing sound effects is having a room you can be alone in, trying to make the sounds yourself, and seeing what comes out. It's similar to if you're writing a character talking with their mouth full: the only way I know to transcribe that is to stuff my fist in my mouth and write down what sounds I make when I try to talk.

When we were making KONG, I went into the sound room and made an aria of horror sounds. I was in charge of it; there was no one there to listen to me. I was totally in charge of what I wanted to do.

In video games and animation, you find that the toughest things to make different are the things that aren't words: grunts, groans, gasps.

After school, my mom would pick me up and I would just go to visit my dad in the recording studio, and I would see him working with Mark Hamill or hear him doing the 'Transformers' or a 'G.I. Joe' or the 'Rugrats.'

The dubbing of the music and effects is really incredible today. You're feeling gun shots. I mean, it's not the way people say it is, but the gunshot sounds real. And cars sound real. Among the many things in the evolution (of movies) is to make the sound in the movie incredible. That's what you feel.

'Twenty Thousand Hertz' investigates the role of audio professionals in our daily lives, from the engineering that ensures a car door closes with that reassuring finality to the Foley artists of Hollywood who synthesise the sounds of marine life using old kitchen equipment gathered at the pound shop.

One thing I'm doing on the new Titanic recording is actually bringing in different acoustic spaces.

You can do a lot of impromptu in dubbing. You can bring in different characters and different accents.