We tend to play to our strengths, but it changes project by project. If there’s a unique movement, such as Doctor Strange’s cape, there will be a separate channel just for that. Once we decided this for each character, we divvied them up.įor props, Shelley will typically decide what she’s going to do and what I’ll do. For example, for Doctor Strange, Shelley and I each tested two sets of boots for Doctor Strange and then decided which boots we’d use. Shelley and I will look at the footstep cue sheets to determine sounds. Then cue sheets-the road maps from point A to point B-are created and broken down into groups: footsteps, props, and, potentially, separate movements. JOHN: We try to collectively watch either the first reel or the entire show, hopefully with the supervising sound editor. What is your process for starting a project? We can also open up a large elephant door to the outside so we can bring in vehicles or, as we did for Dunkirk, bring in an aluminum boat to dunk into the large water tank. SHELLEY: Multiple room mics give Scott options based on where John and I are working in the room. For example, the water tank area is set up so we have a large tank, a smaller one, and then a ramp off of that that allows us to dam up the water so we can go from a little bit to a splashy area. It contains some elements that hadn’t been previously engineered together on another stage because Foley artists designed it. As far as I know, it is probably one of the better stages in the world. JOHN: I designed it with the help of some key people: a partner from many years ago, people at Skywalker, and Foley artist friends. What makes your custom Foley stage special? Over time, our shared respect and focus evolved into a creative and fun environment of exploration We quickly established a trust and a means of communication. In fact, I like his methodology even more than what I had been doing! SHELLEY: We had worked with one another at different facilities however, this was the first time we were a team. JOHN: My methodology previous to Scott was a little different, so he and I needed to fit together. So there was a bit of a process in the beginning trying to figure out each other’s sensibilities. Since you knew one another from a previous company, did the team gel quickly? When I began performing Foley for several student film projects, a sound supervisor friend encouraged me to pursue it as a career. Through its LA program, I secured an internship at an independent postproduction sound house in Hollywood. SHELLEY: I was a cinema-and-photography major at Ithaca College. I eventually found myself on a Foley stage, and I realized that my recording experience could apply to sound effects, so I started mixing and editing. I went to San Francisco State for broadcasting and moved to LA after graduation. I kept getting asked to do more Foley, and here I am, thirty-nine years later. Serendipitously, somebody there asked for my help with Foley sounds. JOHN: I made a film at New York University, which opened doors to the American Film Institute. How did you get started in the entertainment industry? With over 850 credits between them, Skywalker Sound’s Archives Foley team-artists John Roesch and Shelley Roden, and mixer Scott Curtis-is one of the world’s leading producers of this cinematic craft.
#MOVIE MAGIC DISCOVERY CHANNEL TV#
If ever I felt like the franchise were in good hands, this would be the time.You can’t make a Hollywood blockbuster, a TV episode, or a video game without the Foley team, which creates the many subtle sound effects such as footsteps. I love it because it really nails down the fact that Tunnicliffe has been a part of the franchise for decades and now he’s directing Hellraiser: Judgment. It’s a fascinating episode that gives horror fans a sneak peek into the magic of practical FX.Ī great moment in the episode is when it focuses on Gary Tunnicliffe and the work he did for the Hellraiser films. One of these episodes focused specifically on horror effects and featured interviews with people such as Wes Craven ( A Nightmare on Elm Street), Tom Savini ( Dawn of the Dead), Clive Barker ( Hellraiser), Robert Englund (Freddy Krueger), and more. The show’s purpose was to highlight the creation of special effects in movies and television, giving viewers a look into what it takes to make some of the most incredible visual moments in entertainment. Back in the early 90’s, the Discovery Channel had a show called “Movie Magic”, which lasted for several seasons.