How the Sounds From Your Favorite Movies Are Made | WIRED

Summary

John Rush, a seasoned Foley artist at Skywalker Sound, shares his intriguing journey of crafting unique sounds for iconic movies like 'ET' and 'Interstellar'. His studio, resembling a treasure trove of props, plays a crucial role in creating the most genuine sonic experiences that align with on-screen visuals. From reconstructing the sound of large swords in 'Braveheart' to using quirky items like feather dusters for unique effects, each prop has a distinct purpose. Despite the challenges, John finds immense joy in ensuring audiences are transported into the film's universe through realistic soundscapes.

Highlights

• John Rush has a fun yet challenging job as a Foley artist, turning everyday items into movie magic. 🎥
• The Skywalker Sound studio boasts unique features like a splash pool, aiding in creating authentic sounds. 🌊
• There's a playful element to Foley work, using unexpected items like a kid's glove for character footsteps. 👟
• Foley artists play an essential role in enhancing the movie-watching experience by crafting immersive sounds. 👂
• Despite its complexity, Foley work is a joyful pursuit of bringing films to life through sound. 🎶

Key Takeaways

• John Rush has crafted sounds for over 40 years, working on movies like 'ET' and 'Interstellar'. 🎬
• Foley artists use everyday items creatively, like feather dusters for bird sounds, to create movie magic. 🪶
• The unique studio architecture at Skywalker Sound enhances sound effects, with features like a water splash pool. 💦
• Foley artistry is rarer than being an astronaut, showcasing its unique niche in the film industry. 🚀
• Creating realistic soundscapes is crucial for audience immersion and enjoyment. 🍿

Overview

John Rush has spent nearly 40 years as a Foley artist, crafting the magical sounds that elevate the cinematic experience. Working at Skywalker Sound, he's been part of creating audio landscapes for iconic movies such as 'ET' and 'Interstellar'. His work is a fascinating intersection of creativity and technical skill, where everyday objects become tools for sound production.

The studio where John works is a marvel in itself, designed specifically for the demands of Foley artistry. It features a unique structure that includes a floor extended down to earth for authentic thuds and a splash pool for water effects. This careful design allows for the creation of lifelike soundscapes that are integral to storytelling in film.

John's work is akin to a sonic puzzle, where he combines various sounds to match what's happening on screen. From using a feather duster to mimic bird sounds to repurposing a scooter for a skateboard sound, his job requires both ingenuity and a deep understanding of sound. This art form, though less common than becoming an astronaut, is crucial to making films an immersive experience for audiences worldwide.

Chapters

• 00:00 - 00:30: Introduction to John Rush and Foley Artistry The chapter introduces John Rush, a seasoned Foley artist who has been in the industry for about 40 years. John has worked on numerous notable films, including ET and Interstellar, and currently operates at the prestigious Skywalker Sound studio. The narrative emphasizes the enjoyment John derives from his work, highlighting his expertise in creating unique sound effects. An example is provided of using a large sword from Braveheart to produce specific auditory experiences.
• 00:30 - 01:00: Creating Authentic Soundscapes The chapter 'Creating Authentic Soundscapes' focuses on the importance of achieving sound that complements the visual element in filmmaking. The narrator describes the objective of making the most honest sonic representation of what is portrayed on screen. They emphasize the need to translate the sounds imagined in their head to actual recordings. The process may appear chaotic, like a 'hoarder's garage,' but every element serves a purpose in creating the desired soundscape.
• 01:00 - 01:30: The Unique Setup of a Foley Studio The chapter discusses the unique design and features of a Foley studio, emphasizing how the building itself caters to the specific needs of creating sound effects. It mentions the specialized flooring that allows for realistic thuds and footsteps, and a large splash pool used for creating aquatic sounds. Additionally, the chapter highlights the creative and unexpected use of props, like a little kid's glove being repurposed for unique character footsteps in video games, illustrating the innovative approach in Foley work.
• 01:30 - 02:00: Innovative Use of Props This chapter explores the innovative use of props in Foley artistry, highlighting how everyday items like feather dusters can creatively mimic other sounds or objects. It introduces Lita, a renowned artist from Helsinki, showcasing her unique art form. The chapter emphasizes the fun yet challenging nature of being a Foley artist.
• 02:00 - 02:30: International Influence and Favorite Props The chapter discusses the rarity of Foley artists compared to astronauts in the world, highlighting the unique and creative work they do in filmmaking. The narrator reflects on personal favorite props, such as the robot feet and the scooter that is transformed into a skateboard in 'Back to the Future'. Emphasis is placed on the immersive experience that excellent sound design in movies can provide, allowing viewers to become lost in the film.
• 02:30 - 03:00: The Magic of Sound in Film The chapter 'The Magic of Sound in Film' explores the immersive role of sound in the movie-going experience, underscoring the transformative power of music and audio. It emphasizes how sound can captivate audiences, allowing them to escape into different worlds, and showcases the unique blend of art and emotion that sound brings to films.

How the Sounds From Your Favorite Movies Are Made | WIRED Transcription

• 00:00 - 00:30 [Music] John Rush makes weird sounds all day long it's his job and he's been doing it for nearly 40 years uh yeah it's true this job is a lot of fun he's worked on everything from ET to Interstellar John is a Foley artist at Skywalker sound and this is his amazing Sonic Studio this is from Braveheart this is one of the swords that we utilized it was a very large sword which You' Ed two hands on so we
• 00:30 - 01:00 want to make sure what we're doing had that same sound so with this I can I can make it sound big detail is our business we want to make sure that whatever we see on that screen we are making the most honest representation thereof sonically when I look at a scene I hear the sounds on my head so all I have to do is figure out well okay that sound I hear in my head how do I actually get that down on tape if you will the place may look like a hoarder's garage but every everything has a purpose even the
• 01:00 - 01:30 building is important it was constructed just for the demands of Foley it has a floor that goes all the way down to earth for solid thuds and footsteps and a splash pool that holds hundreds of gallons of water just the thing to make aquatic sound effects now we're in the back room this is where all props are stored and there is a method to the madness believe it or not it's funny you see this as okay A little kids glove right well actually we used this in a video game recently for a footstep of a weird character so what you see is not
• 01:30 - 02:00 necessar what you get again that's the trick feather dusters right just feather dusters well not necessarily let's see quiet guys thank you it could be a bird and this is all the way from Helsinki Finland from hiyi the most famous Foy artist in Finland it's called Lita and well I'll have her sing to you now you ready first and foremost Foley is one of the most fun jobs there can be and yet of course it's the most difficult called
• 02:00 - 02:30 good evening there are more astronauts in the world than there are Foley artists but who would have thought robot feet this is one of my favorite props in Back to the Future Marty borrows a scooter pulls part of it off and turns into a skateboard uh when I go to a movie if if the sound job is is wonderful I get lost in the film in fact that's what we all want you know we want go just have the
• 02:30 - 03:00 popcorn to sit back and be taken away whatever aspect we are and that's that's a wonderful thing that's what I love about this [Music] business