Lunsford: PEOPLE ARE OFTEN PUZZLED
THAT THIS ISN'T ALL DONE BY COMPUTER.
Stevenson: IN ORDER TO GET THE RIGHT FEEL OF A CHARACTER,
YOU NEED TO REALLY KNOW HOW THEY'RE FEELING.
Hecker: EVERYTHING THAT I CREATE ON THE STAGE IS ORGANIC,
USING PROPS, AND RECORDED PRECISELY FOR THAT FILM.
Stevenson: FOLEY IS THE ART OF PUTTING SOUND EFFECTS TO PICTURE
AFTER A FILM HAS ALREADY BEEN SHOT.
Hecker: SEE THAT BIG GUST OF WIND ON THE RIGHT?
SO, I GOT TO FOCUS ON THAT AND GET THAT PERFECTLY --
EACH LITTLE FLUTTER HAPPENING RIGHT THERE.
NOW IT'S CUT TO A HUGE CLOSE-UP.
WHEN THEY SHOOT A FILM,
THE SOUND IS CONCENTRATED ON THE ACTORS' DIALOGUE,
SO WE GO BACK AND RE-CREATE ALL THESE SOUNDS FOR DRAMA
AND DETAIL AND JUST TO BRING THE FILM TO LIFE.
[ FABRIC RUSTLING ]
Stevenson: WE PERFORM WHAT WON'T BE CUT
FROM A SOUND-EFFECTS LIBRARY -- THE LIVE SOUND EFFECTS --
ONCE THE PICTURE'S BEEN ASSEMBLED
AND HOPEFULLY WITH AS MUCH VISUAL EFFECTS.
Lunsford: USUALLY VISUAL EFFECTS IS WORKING ON THEIR CHANGES,
AND WE'LL BE GETTING THEM DAILY AS THEY'RE MAKING THEM
IF IT'S A BIG EFFECTS MOVIE.
IN TANDEM, THE SOUND-EFFECTS EDITORS
ARE IN THEIR ROOMS EDITING SOUND EFFECTS.
THE MUSIC EDITOR'S EDITING MUSIC.
IT'S GETTING SCORED.
AND THEN IT ALL COMES TOGETHER AT THE END.
SO, WE'RE ALL SORT OF WORKING AT THE SAME TIME.
Hecker: I GET THE FILM IN REELS, LITTLE 15-MINUTE CHUNKS.
THEY'RE CALLED A-B REELS.
THEN I'M GIVEN A LIST OF THE SOUNDS THAT THEY WANT ME TO DO.
Lunsford: FORTUNATELY, WE HAVE SOMEBODY
WHO SPOTS THE FOOTAGE FOR US.
"AT THIS NUMBER ON THE TIMECODE, YOU GO THERE,
AND THEY WOULD LIKE TO HEAR THIS PERSON'S FOOTSTEPS."
Stevenson: SORT OF A MAP OF THE MOVIES THAT THE SOUND EFFECTS --
THE SUPERVISOR PROVIDES FOR US.
[ CLATTERING ]
SOMETIMES WE CAN'T SEE THINGS COMING,
SO YOU'LL SEE A STREAMER,
WHICH IS THE LINE GOING FROM LEFT TO RIGHT ON THE SCREEN.
AND WHEN IT HITS THE RIGHT SIDE OF THE SCREEN
IS WHEN WE WILL MAKE OUR SOUND.
SO, A SYNC POINT.
A SMACK.
WE'RE GOING FOR THE SMACK ACROSS THE FACE.
SO, AS SOON AS IT HITS THAT --
HELPS US TO BE MORE PRECISE.
Hecker: YOU GOT TWO STREAMERS FOR THEM?
I USUALLY START WITH THE ACTOR'S FOOTSTEPS.
Stevenson: THAT WOULD BE THE MOST FREQUENTLY DONE SOUND TO ADD.
I CAN'T THINK OF A MOVIE WHERE WE DON'T DO HUMAN FOOTSTEPS.
Hecker: SOMETIMES IT GETS TRICKY,
BECAUSE THE FILM EDITING WILL CHANGE.
AND THEN YOU GOT TO STOP AND THEN PUNCH IN.
Lunsford: AND PEOPLE DON'T ALWAYS REALIZE WE'RE WALKING IN PLACE.
Stevenson: AND WE HAVE TO CONTROL OUR BREATHING
SO YOU'RE NOT HEARING MY FEMALE BREATHING
WHILE I'M DOING A HEAVY MAN RUNNING FOR BLOCKS.
Hecker: I DID A TRACK MOVIE, AND IT WAS ABOUT PREFONTAINE.
I'M LOOKING AT THE SCREEN GOING, "NO WAY."
'CAUSE I HAD TO DO HIM,
AND THEN I HAD TO DO THE OTHER RUNNERS, TOO.
SO, I WAS RUNNING TRACK THE WHOLE DAY. [ CHUCKLES ]
Stevenson: THESE SHOES I'M GONNA WEAR
BECAUSE THEY HAVE A NICE, DEEP, RESONANT, AUTHORITATIVE SOUND,
AND HOPEFULLY MENACING.
[ FOOTSTEPS ]
IT ALL DEPENDS ON THE SHOES YOU'RE WEARING.
Hecker: THIS IS LIKE A GIRL'S HIGH HEEL.
LISTEN TO YOUR EAR. YOU'RE GONNA HEAR HOW CLICKY IT IS.
[ HEEL CLICKS ]
SO, THEN IF I WAS DOING ARNOLD SCHWARZENEGGER,
I COULDN'T DO HIM IN THESE SHOES.
YOU GOT TO GO THROUGH 50 PAIRS OF SHOES, TO BE HONEST WITH YOU,
TO FIND ONE PAIR OF SHOE THAT SOUNDS GOOD FOR THAT CHARACTER,
AND THEN I HAVE DIFFERENT SHOES FOR DIFFERENT CHARACTERS.
DIRECTOR MIGHT HAVE CERTAIN SOUNDS
THAT HE WANTS TO HEAR, AS WELL, IN THERE.
LIKE, ON "DJANGO," HE WANTED TO HAVE THOSE SPURS CRYSTAL CLEAR.
THIS IS REALLY HARD TO FIND,
'CAUSE IT HAS A MAGIC RING AND IT'S MADE FROM THE 1800s.
YOU CAN SEE THE METAL.
[ SPUR JANGLING ]
THIS IS COFFEE GRINDS, AND WHAT THIS DOES
IS JUST ADDS A LITTLE BIT OF GRIT TO THE SURFACE HERE.
[ CRUNCHING ]
Stevenson: I THINK IT IS ACTING.
ARE THEY SAD? ARE THEY ENERGETIC? ARE THEY --
-Lunsford: ARE THEY DRUNK? -Stevenson: ARE THEY DRUNK?
Lunsford: YEAH. ARE THEY STUMBLING?
ARE THEY CAUTIOUS? ARE THEY...
Stevenson: SEXY?
Lunsford: TRYING TO BE QUIET. TRYING TO INTIMIDATE.
Stevenson: WHEN I'M WALKING A CHARACTER,
I IMMERSE MYSELF INTO THAT CHARACTER,
AND IT HELPS ME TO ANTICIPATE WHAT THEY'RE GONNA DO.
SO, I THINK IT HELPS MY PERFORMANCE.
IT'S ALSO FUN TO DO ALL OF THE OBJECTS THAT THEY MIGHT HANDLE.
Lunsford: WE'LL GO ON TO FINISH ALL THE FOOTSTEPS THROUGH THE MOVIE,
THEN WE'LL GO ON TO THE PROPS,
WHICH IS EVERYTHING THAT THEY TOUCH, THEY MOVE,
THAT THEY WALK OVER, THEY STUMBLE ON --
PRETTY MUCH EVERYTHING THAT IS TOUCHED THAT MAKES A SOUND.
Stevenson: FLOWY, BILLOWY CURTAIN.
HOPEFULLY IT BRINGS YOU INTO THE REALITY OF THE FILM
AND NOT TAKES YOU OUT OF THAT EXPERIENCE.
[ CLATTERS ]
Lunsford: THE PHYSICAL ASPECT OF THE JOB, I THINK, IS SO FUN.
Stevenson: THERE ARE INJURIES, THOUGH.
PEOPLE HAVE GOTTEN SOME SERIOUS INJURIES.
Hecker: I TORE MY KNEE, CUT MYSELF, BURNED MYSELF,
HIT IN THE KNEES WITH BASEBALL BATS.
[ THUDDING ]
WHEN I'M CREATING A SOUND,
I'M ALWAYS THINKING OF HOW TO PROJECT THAT SOUND
OR HOW TO MAKE THAT SOUND
JUST A LITTLE COOLER THAN IT IS IN REAL LIFE.
THESE TUBES ARE GONNA FREEZE.
THAT'S HOW I GOT IT. THERE'S NO SOUND THERE.
I HAD TO COME UP WITH THE SOUND OF ALL THESE WATER AND FREEZING.
THE MIXER'S GONNA PITCH ME DOWN
AND MAKE THIS LIQUID SOUND THICKER.
[ SPLASHING ]
[ CRACKING ]
[ SQUEAKING ]
I ALSO USE MY VOICE A LOT.
[ WHOOSHING ]
I'M JUST GONNA CARVE WITH MY VOICE
WHERE THE WATER APEXES AROUND DIFFERENT REGIONS.
THAT'S JUST GONNA GIVE IT JUST ANOTHER DIMENSION.
[ WHOOSHING ]
OKAY.
HEY, RANDY. BURY THAT DOWN IN WITH THE WATER AND STUFF, OKAY?
Singer: OKAY. WE'RE GONNA PLAY BACK.
Hecker: HERE'S WATER, THE CRACKLING, AND THEN MY VOICE.
[ WHOOSHING, CRACKLING ]
I HIDE MY VOICE UNDERNEATH THESE SOUNDS,
AND I LAYER DIFFERENT THINGS WITH MY VOICE
THAT ARE ALTERED BY MY MIXER.
RANDY'S BACK THERE. I COLLABORATE ALL DAY WITH HIM.
Singer: GARY LIKES TO PUT HIS OWN SPIN ON THINGS,
AND IT'S KIND OF EXCITING FOR ME,
BECAUSE IT GIVES ME THE OPPORTUNITY TO ENHANCE THE SOUND
BY USING PLUG-INS AND OUTBOARD EQUIPMENT.
Hecker: HE'S USING HIS AUDIO GEAR
TO ENHANCE MY SOUNDS AND MAKE THEM BIGGER THAN LIFE.
SO, A FOLEY MIXER IS VERY, VERY IMPORTANT TO MY PROCESS.
Lunsford: PEOPLE SOMETIMES THINK
THAT MIXERS ARE JUST RECORDING UP THERE,
BUT HE'S THINKING, HE'S CREATING,
HE'S LOOKING THROUGH HIS VAST AMOUNT OF PLUG-INS,
AND HE KNOWS WHAT THEY DO AND, "WHAT IF I COMBINE THESE?"
AND WHERE THEY'RE GONNA FALL IN THE CHAIN
MAYBE AFFECTS HOW THE SOUND COMES OUT.
HE'S AN EQUAL MEMBER OF THE TEAM.
IT'S REALLY FUN. IT'S LIKE BEING IN A BAND.
YOU GET TO KIND OF BOUNCE IDEAS OFF OF EACH OTHER.
AND BEFORE YOU KNOW IT, THE DAY'S GONE.
[ METAL RINGS ]
Hecker: YOU'RE NOT JUST PULLING A SOUND FROM A SOUND LIBRARY
THAT'S BEEN SITTING THERE FOR A LONG TIME, USED ON MANY MOVIES.
IT'S ALL FRESH AND ORGANICALLY CREATED ON A STAGE.
[ FABRIC RIPS, CLANG ]
[ CRACK, CLANG, SHATTER ]
Stevenson: I THINK IF YOU NOTICE FOLEY,
THEN WE HAVEN'T REALLY DONE OUR JOB.
Lunsford: YOU WANT TO SHOW THEM HOW WE DO KISSES?
-Stevenson: OKAY. -Lunsford: OKAY.
[ BOTH SMOOCHING ]
[ BOTH LAUGH ]