[metal clinks]
[lid clicks]
[metals clink]
Tara Blume: Every Foley stage probably has a machete.
I'm not sure that every Foley artist
actually has a machete at their house...
[laughs]
[lid thuds]
Joe Avella: So, to start off,
can you please introduce yourself?
Tara: My name Is Tara Blume, and I'm a Foley artist.
[boards break]
[rag squishes]
[wood scratching]
Normally in a Foley session, they'll roll the beeps,
and then the picture will follow,
and then we will perform in sync with the picture.
[plastic crinkles] [metal clatters]
Tara: I picked "Evil Dead II,"
the chainsaw build.
[fabric rustles]
[metal clanks]
Ash: Groovy.
Tara: Mostly because I figured that I could replicate
what's in that video.
Like, not very precise,
and, like, the sound quality was not very good.
First off, I muted the sound,
and then watched it a couple times silently,
'cause what I was trying to do is match picture.
That's normally how we get a project,
there is no sound.
[metal clangs]
I knew I wanted to use the machete
just to give a blade sound for the chainsaw.
When I was first performing it,
I was imagining closing this on itself,
so, like, we're getting, like, an insert sound of it.
But it wasn't really,
sorry, sorry! [wheel screeching]
Joe: No, that's fine, that's OK. [laughs]
Tara: It wasn't really giving me an insert sound,
so as I was performing it,
I ended up just going with picture.
[metals clink]
So, you can hear how the cavity of it
is giving you, like, an insert sound,
and then just the blade ricocheting at the same time
was giving me the blade sound.
I'm not actually looking at picture while performing.
That was the biggest challenge to me.
[latch clicks]
[chain rattles]
[door squeaks]
[door bangs]
[latch clicks]
[chain rattles]
[door squeaks]
[door bangs]
The gate outside my door, I took from my neighbor
'cause they left it out for trash.
I was gonna change it into, like, a succulent wall. [laughs]
[hinges squeak]
[gate thuds]
[hinges squeak]
[gate thuds]
The other think is a plantar fasciitis,
like, a foot fascia roller.
[wood squeaks] [rolling taps]
Like, the first wood squeak that happens.
Like, I have always noticed the squeak on that thing.
[wood squeaks] [rolling taps]
The only chain I have is a bike-lock chain.
[chain rattles]
Like, I know how certain things sound in my kitchen,
and, I don't know, yeah,
I think it's just because of the nature of the job.
[lightbulb chain clicks]
[metals clank]
I don't have real lightbulbs at my house.
They're all energy-saving,
and they don't sound like lightbulbs, so.
[metals clink]
I ended up putting, like, an old lantern
that I have and a chain on it,
but if I had a lightbulb
it would have probably sounded better. [laughs]
[metals clatter]
[metals thud]
[drill scratches]
[metal thuds]
[metal thuds] [metal clatters]
[metals clank]
[metals scratch]
I just grabbed a bunch of different metal objects
that I have just to create different metal rattles.
[metal rattles]
In the visual, it's, like, running on screws and stuff,
so you can, like, see a bunch of different metal rattling.
[metal rattles]
There's, like, brackets that get thrown down,
one after the other.
[metals thud]
The closest thing I have to that are spurs.
The screwdriver we typically wouldn't cover,
but I just figured that I should do something,
'cause this is a Foley exercise,
so I just used a screw on the machete.
[screw scraping]
Every Foley stage probably has a machete or two.
I'm not sure that every Foley artist actually
has a machete at their house...[laughs]
but I do.
I also have a full-sized ax.
And this crowbar, which is extra big.
[lid clicks]
[metals squeak] [lid clicks]
So, I just wanted to provide, like, a metal squeak,
and then, like, a closure sound.
And I'm holding it with my foot
because I also didn't want to edit it
and I wanted it to happen just like the visual happens, so.
[lid clicks] [wheel squeaks]
[chains rattle]
[fabric tightens]
[chains rattle]
[fabric tightens]
You have to, like, really be precise with your action,
so that became kind of difficult
just because it had to be right in sync
and I wasn't really watching the picture.
[fabric rustles]
So, I actually built that prop, the leather straps,
for "Westworld," for the samurai character,
which you can't hear very much of, but it's in there.
That take was pretty hard to do,
because I was fighting the level of the metal
on the table to the leather.
The metal was overtaking the leather sound.
[chain rattle] [fabric rustles]
I added a piece of cloth underneath
the piece of metal I was grabbing.
The leather harness that tightened...
[fabric tightens]
[fabric rustles]
I would have done, like, a rope-grab kinda sound,
and then I would have also done
a leather creak on top of that,
[fabric tightens]
but having to do it simultaneously
was definitely a challenge.
[latch clicks]
[metal thuds]
The Crock-Pot was right in front of me,
so my mind immediately was like,
what can I stuff in there
that's gonna give me, like, a sound
that something is going into something?
[metal thuds]
Also I was recording in this space.
I was worried about it, 'cause it's obviously super live,
the ceilings are really high and the floor is wood,
and it actually worked out.
Honestly, when I chose this room,
it was because of this surface.
[wood thuds]
Use this as, like, a base of sound...sorry.
Joe: No, it's OK [laughs]
[chainsaw cocks]
[metal clang]
[chainsaw cocks]
[metal clang]
[chainsaw starting
That is an actual handsaw.
[handsaw clicks]
That was just giving me, like, a large,
plastic kind of chainsaw-body kind of thing.
The other thing is actually an airsoft handgun.
[gun cocks]
I obviously needed the sound of
the chainsaw starting, like the cable pull.
[wire scratches]
I would have used something
way different on the Foley stage.
I probably would have used a chain
up against, like, a big body of plastic or something.
But this worked pretty well!
I just used the body of a bucket.
[wire scratches]
And it's actually almost comical because of the visual,
because it doesn't work.
You hold it, it, like, dies out,
and she, like, expels air.
[chainsaw starts]
[chainsaw revs]
That's actually a sound effect.
Foley of a chainsaw would be the handling of a chainsaw.
The grab of the cable,
and then running of a chainsaw is an effect sound,
not Foley.
So for, like, a gun, a gunshot would be an effect,
and then the movement of the gun would be Foley.
[gun whooshes]
[whooshing]
This is actually a garden, you know, trellis stick.
[stick whooshes]
Those whooshing sounds are always made by a doily.
A doily is just a thin stick,
when thrusted through the air
creates a high-pitched "whoosh" sound.
[doily whooshes]
The different shapes of different sticks
make different, lower whooshes or higher-pitched whooshes,
kind of interesting.
[wood squeaks] [rolling taps]
[chain rattles]
[hinges squeak] [gate thuds]
[metals clank]
[metals thud]
[metal scratches]
[objects clank]
[lid clicks]
[metal clicks]
[fabric rustles]
[metals click]
[metals clank]
[wire scratches]
[handsaw cocks] [chainsaw idles]
[chainsaw roars] [clang]
[handsaw cocks] [chainsaw idles]
[doily whooshes]
[gun cocks]
Ash: Groovy.
Joe: Why didn't you just do the sound effects on your own
and then in edit try and, like, match it up?
Tara: Because I'm an artist, not an editor. [laughs]
So it was way easier for me to just perform it
right in sync than for me to edit it.
[laughs]