[crunching]
[pounding]
This is the classic first fight scene
in "Kill Bill: Vol. 1."
[whacking]
[glass breaking]
Now, look at this scene again, but without sound.
Foley sounds tend to go unnoticed,
but you realize just how important they are
when they're gone.
Shaun Brennan, a Foley artist for movies, TV,
and video games, showed us what kinds of sounds
can really make a fight scene pop.
Foley sounds are created practically and based on
a character's movements and interactions with the world.
Naturally, they're a big part of fight scenes.
Brennan has done Foley sounds for a variety
of fight scenes.
We met with him at Parabolic in New York.
Brennan: It depends on what's going on in the scene.
If it's a real quiet moment, I try to make it sound
as natural as possible.
But if you're in a fight
and there's a lot of noise going on,
I will go over the top.
Narrator: Foley isn't used for every single sound
in a fight scene.
Certain sounds need to be created digitally,
but there are a few crucial elements to every fight scene
where the Foley artist's work is necessary.
Brennan: With the hand-to-hand stuff,
sometimes I'll go home covered in bruises.
Narrator: For the most part, the sounds of
hand-to-hand combat are made exactly as you would expect.
Brennan: So, when doing punch sounds,
I'll always do, like, a real natural-sounding punch.
[pounding]
Got that, or
[slapping]
punch in the arm.
Or sometimes then after that, I'll beef it up.
[thumping]
Narrator: A pair of gloves can add some extra thud
to a punch.
These sounds can work on their own
or be layered together,
meaning just one single punch can contain
three separate sounds,
and, in some cases, even more than that.
We'll get to layering a bit later.
Even a sound as simple as a punch
can involve some thinking outside the box.
Brennan: In this case, we have a flank steak.
A piece of steak like this is just,
it's very similar to a human cheek, you know.
Narrator: This helps create a fleshier punch effect,
perfect for a face punch.
Plus, it doesn't just sound like a character is simply
punching their own hand.
And, of course, you can't have a fight without
a few solid kicks.
[pounding]
And, who knows, maybe you'll even have to kick
a door down.
[kicking]
Just don't go into a fight empty-handed.
Some of these sounds, like bullets flying through the air,
which involve no human interaction,
will be created separately by a sound editor.
But somebody still has to handle a gun.
Brennan often uses a door lock
and puts it against a rifle.
[clattering]
When it comes to weapons,
using the real thing is typically the best option.
Brennan: Well here's some good-looking swords.
[swooshing]
[clanking]
But the problem is they're decorative, so.
There's a lot of plastic on here;
they don't sound great.
[clanking]
But any hits...sounds cheap.
So, having something heavier, some metal stuff,
sounds much better.
[clanking]
Get these kind of sounds.
[clanking]
Narrator: Usually, one Foley artist will make
sound for both sides of a given fight.
Using the real weapons creates the most realistic sounds.
To get that iconic sound of swords whooshing in the air,
Foley artists will typically use wooden dowels.
[whooshing]
[laughing]
Brennan: Not very realistic at all,
but it sounds great in the film.
It's still a human element, just...
you've heard that before,
say, if a baseball flies by you or something.
Narrator: The dowels also work well for
kicking and flying through the air.
But some of the most complex, eye-popping sounds
don't have anything to do with weapons,
but rather the injuries.
When creating the Foley sounds for injuries,
things can get a little messy.
Food especially comes in handy here.
Brennan: Celery's really good for bone cracks.
Say you break an arm.
[cracking]
Give it a nice little [makes crunching sound].
Gives it more impact.
[crunching]
Narrator: And if you wanna get a good stomp in there,
then you'll have to step on a few apples.
[crunching]
Meanwhile, other foods, like raw chicken and melon,
can also give you good, fleshy sounds.
Smashing a watermelon can give you an exploding head.
And while not edible, a wet leather towel
sounds just as gruesome.
[pounding]
A lot of these sounds could end up being drowned out
in the final cut.
Yet, some of the most important sounds Brennan must capture
for a fight are the ones you would least expect,
like the rustling of clothes.
[rustling]
Brennan: And so, when the actor goes to punch,
I just follow the arm.
[rustling]
Narrator: This is yet another sound the audience
is familiar with, and therefore one that can
help bring them into the scene.
These raw sounds are likely not the only
thing you'll hear in the final product.
There's an extensive process that follows
in which sounds are edited and layered together.
Combining all the different layers of the punch sound
we heard earlier really brings it to life.
Vinny Alfano: So, here is just the regular punch.
[pounding]
And then here's with the glove.
[pounding]
And, you know, right now they're not really mixed together,
but already you can start to feel it being heavier
as far as the impact.
[pounding]
It can get pretty gross.
[laughing]
Narrator: So, sure, your fight scene can have
the coolest moves and feature the fiercest warriors,
but it will be nothing without the right sound.
Brennan: See ya, sucker!
[laughing]