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Speaker 1: Welcome to Stuff you should know, a production of iHeartRadio.

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Speaker 2: Hey, and welcome to the podcast. I'm Josh, and there's

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Speaker 2: Chuck and Jerry's here too, and this is stuff you

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Speaker 2: should know. I got nothing.

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Speaker 1: Hey, that was a sound effect in and of itself.

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Speaker 2: I guess I don't know if it really qualifies, but

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Speaker 2: I appreciate the support. Chuck.

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Speaker 1: It was Josh introing the show as he falls off

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Speaker 1: of a cliff.

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Speaker 2: You know, it's Josh in space.

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Speaker 1: Yeah that doo.

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Speaker 2: Yeah, the cliff works too.

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Speaker 1: I just I like you in space better than dying.

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Speaker 2: Thank you. I appreciate that. But I think that really

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Speaker 2: goes to illustrate just how versatile sound effects can be.

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Speaker 1: Yeah, I'm excited about this one.

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Speaker 2: I am too. This was a Dave joint. He helps

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Speaker 2: us with this, and I knew nothing about this stuff.

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Speaker 2: I mean, I knew that the people who make this

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Speaker 2: are often called fully artists when they do a specific

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Speaker 2: kind of thing, but just like the little details and everything,

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Speaker 2: and it was all new to me and it was

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Speaker 2: all super interesting. So I'm psyched to buy this one too.

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Speaker 1: Yeah, me too. So what we're talking about is sound effects.

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Speaker 1: If you haven't gathered that by now. And you know,

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Speaker 1: I never assume what people know about movie making because

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Speaker 1: I worked in that field for a little while and

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Speaker 1: you and I did a TV show, like you know

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Speaker 1: some stuff about it. But I never assume that people

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Speaker 1: know things or not. So we should say right out

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Speaker 1: of the gate, when you're watching a movie, you're watching

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Speaker 1: a TV show or something like that. And also this

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Speaker 1: stuff is for animation and video games and all that stuff,

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Speaker 1: but we're mainly talking about, you know, live action stuff.

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Speaker 1: When you see a car drive down the road or

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Speaker 1: a couple sitting in a restaurant having a conversation and

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Speaker 1: you hear all the people in the background and you

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Speaker 1: hear that car drive down the road or anything you

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Speaker 1: hear a door shut, footsteps. All of that stuff is

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Speaker 1: created in post production, either by a person doing it

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Speaker 1: a folly artist, which we're going to talk a lot about,

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Speaker 1: or it might be from a sound catalog like where

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Speaker 1: you have all kinds of recordings you can pull from right,

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Speaker 1: car door shut stuff like that, or sometimes you know

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Speaker 1: that stuff now obviously is created through the wizardry of computering.

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Speaker 2: Yeah, but there's a surprising craft that's still left that

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Speaker 2: has not been pushed out by computers. Yet that seems

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Speaker 2: like this sort of happened years ago. But the work

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Speaker 2: that the folly artists do is so intricate and so

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Speaker 2: well done. Yeah, computers just can't replicate it yet, Like, yeah,

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Speaker 2: they there's a car door. Sound sounds good, but it

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Speaker 2: just doesn't quite work. And the reason why, from what

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Speaker 2: I saw all the explanations I saw, basically said, fully

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Speaker 2: artists are there sound actors, so they're acting along with

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Speaker 2: the actors on screen to make the sounds that you

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Speaker 2: know and love and actually don't even notice, but you

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Speaker 2: would notice. So if they weren't there or they were.

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Speaker 1: Off, yeah, for sure. And two more quick points for me.

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Speaker 1: Sound is often overlooked I think by the general public

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Speaker 1: in a movie or TV show for sure, And even

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Speaker 1: as you've seen my friend on actual sets, it's half

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Speaker 1: the thing is what you're hearing. The other half is

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Speaker 1: what you're seeing. But the sound department, every sound department

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Speaker 1: I've ever worked with, is always like just they're shoved

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Speaker 1: to the side, and you know, you know, they make

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Speaker 1: room for the camera and everything in the lighting, and

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Speaker 1: then there's a boom person that's like, oh, don't worry

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Speaker 1: about me. Like I also have to stand in this room. Yeah,

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Speaker 1: do like half the sound they're always you know, just

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Speaker 1: shoved off to the side, which is incredible that it's

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Speaker 1: still sort of like that. And also, you know, getting

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Speaker 1: back to what I said before about how every sound

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Speaker 1: you hear basically that is not dialogue or music like

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Speaker 1: soundtrack stuff or unless it's diegetic sound actually screws things

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Speaker 1: up on recording out in the world. Like that's what

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Speaker 1: they try to shoot as much as they can on

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Speaker 1: a stage, because if you're out on the street, you

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Speaker 1: often hear the term houlter sound because there's a lawn

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Speaker 1: mower and they may add a lot more later to

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Speaker 1: make something more real, but they don't want the lawn

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Speaker 1: mower that's actually there or the plane flying over. They

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Speaker 1: could add all of that stuff, the birds chirping. They

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Speaker 1: add all that stuff later to make it real, but

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Speaker 1: you can't have any of that on the day while

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Speaker 1: you're shooting, so you're always holding for sound, waiting for

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Speaker 1: the car or the train or the leaf blower. And

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Speaker 1: that's why they shoot like restaurants seems like completely silent.

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Speaker 1: Everybody is miming talking in the background, and it's really weird.

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Speaker 1: When you see like a clip of it.

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Speaker 2: Oh, it's definitely where. It's also weird to be like

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Speaker 2: in the middle of it, trying to act when everybody

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Speaker 2: around you in the restaurant is silently miming.

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Speaker 1: Yeah, and it's also hard. I did an extra thing

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Speaker 1: or two. That's hard to do.

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Speaker 2: Yeah, for sure, I'm sure those are two sides of

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Speaker 2: the same coin. Yeah, so those are two great quick

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Speaker 2: points seven quick points from me. That's about how Oh

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Speaker 2: so you said a word back there a minute ago,

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Speaker 2: diagetic and that stood out to me, like what And

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Speaker 2: the reason why I didn't stop you and say, what

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Speaker 2: are you talking about, Chuck, is because I already know

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Speaker 2: what it means, so I feel like I should explain it.

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Speaker 2: Diegetic sound is the sound inside the movie's world. So

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Speaker 2: if you were one of the characters or the extras

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Speaker 2: or anybody in that movie, you would hear these sounds

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Speaker 2: like that lawn mower, that car driving by, the machine gun.

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Speaker 2: You know it's from the car driving by. That's my

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Speaker 2: best one.

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Speaker 1: Yeah. I mean a lot of times you hear it

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Speaker 1: in terms of music, like when they're playing something in

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Speaker 1: the car that they're hearing. Sure, and then a very

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Speaker 1: common sort of thing to do is then that becomes

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Speaker 1: the soundtrack. It like kind of changes the tone a

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Speaker 1: little bit. You know, yeah, it's always great.

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Speaker 2: But so that would be diegetic music. But like the

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Speaker 2: score that's just going along with it, that would be

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Speaker 2: non diegetic because the characters aren't hearing that same with narration.

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Speaker 1: Yeah, unless it's like a naked gun kind of thing,

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Speaker 1: and then they might like the strings will swell. Then

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Speaker 1: soon it will be like did you hear that?

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Speaker 2: Has Ruby taken you to the new Naked Gun?

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Speaker 1: I took myself Scotty and.

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Speaker 2: I went, oh, really, how was it?

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Speaker 1: It's very very very funny.

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Speaker 2: Really, So do you know Liam Neeson and Pamela Anderson

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Speaker 2: are a couple? Now?

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Speaker 1: I wondered about that because they're both people at a

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Speaker 1: certain stage in life that are without their partners and

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Speaker 1: for very different reasons. But I kind of was like,

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Speaker 1: you know that, I kind of hoped they would get together.

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Speaker 2: Well they did, Buddy, your loves came true.

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Speaker 1: She's very funny in it. I don't know if it's

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Speaker 1: still out, but I highly recommend seeing it in a

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Speaker 1: theater with laughing with a group of people. Okay, good

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Speaker 1: to know, but it's probably too late for that.

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Speaker 2: So so you talked about how you hold for lawnmower

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Speaker 2: and all that, and that that stuff's added on later.

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Speaker 2: I think something like ninety percent. I've actually seen higher

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Speaker 2: than that of the sound you hear in the film

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Speaker 2: that's not dialogue or music is added later on and

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Speaker 2: post production. That's how important this stuff is. And like

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Speaker 2: you said, though, it just it gets treated like a

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Speaker 2: second class citizen despite how hard they work. And I

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Speaker 2: think if we get across anything in this episode, it

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Speaker 2: should be how hard and creative the people who make

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Speaker 2: sound effects are.

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Speaker 1: Yeah, for sure. And again we're going to get into

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Speaker 1: the foly stuff and mention things like sound banks of

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Speaker 1: doors shutting and wind blowing and all that stuff that

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Speaker 1: you can pull from. But a lot of times you

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Speaker 1: have sound designers that go out and make their own

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Speaker 1: recordings of that stuff. They just that they don't want

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Speaker 1: the universal catalog of car doors shutting. They want to

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Speaker 1: get their own, maybe it's a specific car. In fact,

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Speaker 1: that's that's what they should be doing, because card doors

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Speaker 1: are very specific the sound they make.

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Speaker 2: So they'll go out in the field.

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Speaker 1: There's a whole movie about that blow up. I'm Sorry.

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Speaker 1: Blowout with John Travolta, where he played a guy that

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Speaker 1: captures the sound of a car crash that ends up

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Speaker 1: being very you know, murderous.

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Speaker 2: Yeah, yeah, that was actually a pretty good movie. Great,

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Speaker 2: this is a classic, right, don't people consider a classic?

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Speaker 2: There's also so in addition to card or shutting, like

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Speaker 2: the vehicles themselves, the sounds they make those are often

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Speaker 2: like from a sound library, but I've also seen that

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Speaker 2: they'll be layered. They'll like add certain details sometimes later

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Speaker 2: on onto the sound library file called sweetening, And that's

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Speaker 2: that seems to be a pretty common thing. Even if

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Speaker 2: you're taking stuff that you're making out in the field yourself,

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Speaker 2: or you're making in the studio as you're watching the clip,

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Speaker 2: you'll probably still layer all that stuff together to get

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Speaker 2: like the most realistic, richest possible sound.

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Speaker 1: Yeah, they get really into it. It's a good nerdy

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Speaker 1: sort of line of work. You gotta have a good ear,

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Speaker 1: that's for sure. You're because you're recreating you know, punches

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Speaker 1: and slaps and every gunshot that you hear in every

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Speaker 1: movie is not what you hear on set obviously, and

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Speaker 1: then of course you know this is all stuff done.

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Speaker 1: It's like real sound effects. A lot of the things

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Speaker 1: that are created to be a computer are, but not

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Speaker 1: all of them are things that don't exist. You know,

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Speaker 1: like if you're going to do like a movie set

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Speaker 1: in out of Space, you're going to be making up

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Speaker 1: a lot of brand new sounds that have never been

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Speaker 1: made before.

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Speaker 2: Yeah, they seem to love that stuff because they have,

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Speaker 2: like Carte Blanc, to just go nuts and get creative.

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Speaker 1: Basically it's awesome.

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Speaker 2: Another one that gets left out that sounds really boring

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Speaker 2: but apparently it's really hard. Or footsteps. I'm sure there's

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Speaker 2: tons of sound effects of footsteps in libraries, but those

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Speaker 2: don't work from what I've seen, from what I've read

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Speaker 2: there essentially there because somebody put them there. People don't

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Speaker 2: use them. You have to make the footsteps based on

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Speaker 2: the actor and how they're moving, and not just in

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Speaker 2: sync with them. But a good folly artist will take

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Speaker 2: into account the weight, the height, the gait. Are they shuffle,

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Speaker 2: are they high stepping or they goose stepping. They're like,

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Speaker 2: they take all this stuff into account to make a

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Speaker 2: specific kind of walk or footfall for a particular actor.

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Speaker 1: Yeah, and a lot of times the stuff is dictated

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Speaker 1: by budget. Obviously, folly artists don't come cheap. So if

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Speaker 1: you've ever been watching a low budget movie and the

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Speaker 1: footsteps sounded kind of corny, it's probably because they're pulling

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Speaker 1: from a library.

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Speaker 2: Probably they're trying their best.

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Speaker 1: They're doing their best. They don't have the kind of

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Speaker 1: dough for that, so you know, it all just depends.

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Speaker 2: So I say, do you want to go back to

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Speaker 2: the beginning of all.

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Speaker 1: This, yeah, which is surprisingly silent movies, right, yeah.

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Speaker 2: Well, apparently because you further back than that to vaudeville

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Speaker 2: before there were even movies, people would play along on

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Speaker 2: stage to make sound effects with vaudeville act so it

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Speaker 2: was a pretty brainless transition from vaudeville stages to the

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Speaker 2: stage underneath a movie, and it was just somebody playing

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Speaker 2: a lot I think to start with like drums and

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Speaker 2: like maybe some clackers and a few different things. But

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Speaker 2: it very quickly took off as like a cottage industry

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Speaker 2: to make props for people who did this live to use.

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Speaker 1: Yeah, props or traps traps baby short for contraption, And

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Speaker 1: a lot of times it was percussionists, even if they

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Speaker 1: weren't literally playing drums, because percussionists are just good at

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Speaker 1: doing multiple things with hands and feet at the same time.

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Speaker 1: So they had these contraptions or traps, and they started

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Speaker 1: making them, Like drum companies like Ludwig started making traps

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Speaker 1: to just simulate things like this sounds. And you know,

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Speaker 1: these are early early talkies, so it's not like they

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Speaker 1: were going for absolute realism with like a barking dog

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Speaker 1: sound or a train whistle or a snore or a

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Speaker 1: cash register. But they would make these traps that were

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Speaker 1: close enough that people hearing this stuff for the first

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Speaker 1: time in a movie were like, oh my god.

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Speaker 2: Right, I never knew a dog actually sounded like that. Yeah.

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Speaker 2: There is this video of a guy named Nick White,

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Speaker 2: and he is a master of this. He has a

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Speaker 2: bunch of like vintage traps and he does live sound

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Speaker 2: effects along with like black and white talkie movies, silent movies. Sorry,

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Speaker 2: And there's a video of his called Vintage Sound Effect

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Speaker 2: Artist for Vintage Films. And it's amazing to watch him

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Speaker 2: do this in real time because, like you said, he's

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Speaker 2: doing stuff with his feet, he's doing stuff with his hands,

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Speaker 2: and then he's also probably got some sort of weird

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Speaker 2: whistle in his mouth at the same time.

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Speaker 1: Too. Yeah, and it's funny. Dave mentioned him later in

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Speaker 1: the article, but I was going to bring him up anyway.

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Speaker 1: This guy, Josh Harmon is a very fun Instagram account

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Speaker 1: to follow because he does it to old cartoons. Yeah,

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Speaker 1: and he has really blown up. He's like got fourn

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Speaker 1: of close to five million Instagram people now wow, and

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Speaker 1: has had like some famouses on there that take part.

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Speaker 1: And the delight of Josh Harmon stuff is not only

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Speaker 1: watching him squeeze a balloon to make it sound like

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Speaker 1: somebody like Porky Pig is trying to get through a door,

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Speaker 1: but the delight he gets at the end of the clip.

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Speaker 1: He just always lights up with this wonderful smile and

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Speaker 1: like one of my life goals is to sit in

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Speaker 1: and do a thing a sesson with do Harmon. Nice man,

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Speaker 1: I've asked, oh have you asked? Well, just on Instagram, like, hey,

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Speaker 1: I know I'm not Nick Jonas, but like I got

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Speaker 1: a few people who listen to me. Can I get

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Speaker 1: in there and and a bunch of stuff. You should know.

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Speaker 1: People are like, yeah, get Chuck, get Chuck, but he

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Speaker 1: you know it didn't get through.

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Speaker 2: No, Well keep trying, Chuck.

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Speaker 1: I'm gonna maybe this will get to him.

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Speaker 2: It could attention Josh Harmon do this.

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Speaker 1: What about slapstick though I didn't know that even.

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Speaker 2: Uh yeah, the term is actually, you know, slapstick is

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Speaker 2: like physical silly comedy made up with pratfalls. And the

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Speaker 2: reason it's called slapstick is because there was a trap

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Speaker 2: that people used to use that was a slapstick. I

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Speaker 2: think I can imagine. It's like two wooden duck bills

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Speaker 2: that you smacked together, okay as a clacker. Yeah, and

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Speaker 2: they used that when somebody had a pratfall, like when

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Speaker 2: they tumbled and fell or something like that. They would

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Speaker 2: use this slapstick where the name came from. So now

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Speaker 2: you can go forth and tell everyone you ever meet

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Speaker 2: where the origin of the term slapstick is from.

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Speaker 1: I love it. Uh maybe yeah. Here, let's finish up

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Speaker 1: with the Jazz Singer and then take a break. What

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Speaker 1: do you say?

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Speaker 2: Mm hm?

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Speaker 1: Well, the Jazz Singer, as we've mentioned in other episodes,

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Speaker 1: was the first sort of widely released successful talkie, right,

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Speaker 1: And I know we've talked about the vitaphone before, So

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Speaker 1: did we do one on silent movies or was it

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Speaker 1: just the birth of the movies or something like that.

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Speaker 2: I don't know, I don't I don't know, I don't know.

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Speaker 1: Well, Warner Brothers had developed something called the vitaphone, and

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Speaker 1: that was a separate machine that would sync the audio

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Speaker 1: along to the projector while there, while they're playing it.

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Speaker 1: And it was it was basically like a record they

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Speaker 1: recorded on Chalac discs like an LP. And once the

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Speaker 1: jazz singer came out, a whole new industry was born

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Speaker 1: from silent movies.

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Speaker 2: Right, like throwing a light switch, like silent movies were

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Speaker 2: out and talkies were in. Like, this is an enormous

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Speaker 2: innovation for sure. Yeah, so yeah, I say, that's a

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Speaker 2: great setup for where we are in history with the

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Speaker 2: sound effects.

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Speaker 1: All right, so we're just gonna walk away. Clip clop,

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Speaker 1: clip clop clap.

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Speaker 2: Wait wait, oh no, we'll be right back.

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Speaker 1: You do a great machine gun and I have to

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Speaker 1: say you and Scott Ackerman both do great machine gun

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Speaker 1: sounds with your mouth.

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Speaker 2: That is from years and years of playing with M

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Speaker 2: sixteen's in the woods.

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Speaker 1: What is that horrible instinct that little boys have.

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Speaker 2: I don't know, it's weird. I'm glad it It usually

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Speaker 2: gets it gets left behind or shed as you get

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Speaker 2: older typically, But.

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Speaker 1: Let's pick up that stick and go.

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Speaker 2: Yeah.

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Speaker 1: See that was terrible.

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Speaker 2: No, that was pretty good. That was a modified sixteen.

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Speaker 1: All right? How about this bullet? Bullet bullet? Is it good?

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Speaker 2: Did I ever tell you about the time I was

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Speaker 2: playing laser tag and if we didn't, It was like

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Speaker 2: at like ten thirty in the morning on a Tuesday

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Speaker 2: for some reason, and we didn't have enough of us

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Speaker 2: in a group to make it like even teams.

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Speaker 1: Yeah.

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Speaker 2: So the guy who worked there is other kid. He

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Speaker 2: played with us, and he caught me in a corner

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Speaker 2: and got me and then he just stood there and

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Speaker 2: shot me like every time, like my, my, youven get

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Speaker 2: out of there. Reset. He kept just shooting me and

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Speaker 2: killing me, and finally I shouted him like stop, and

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Speaker 2: he just laughed and walked away. But he killed me

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Speaker 2: probably like ten times in just you know however long

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Speaker 2: it took to reset.

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Speaker 1: Oh, since you mentioned that, and we're doing this today.

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Speaker 1: I had my very first laser tag at Ruby's birthday

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Speaker 1: party this summer. Nice. I had never done it before,

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Speaker 1: and I was the only adult in there with all

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Speaker 1: the kids. I was on the boys team, and I

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Speaker 1: was like listen, guys, they're gonna be running around and

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Speaker 1: screaming and shooting. I was like, everyone, find a position

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Speaker 1: and stay there, not probably higher ground. And I feel

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Speaker 1: kind of bad because we dominated, and I specifically dominated.

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Speaker 1: I beat it. It was like I had like ten

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Speaker 1: times the points is the next highest person.

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Speaker 2: That's awesome against kids though.

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Speaker 1: Yeah, so I just I got in a high spot

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Speaker 1: and was just picking them off as they came up.

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Speaker 2: You're like Billy Madison, plane dodge in Billy Madison.

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Speaker 1: Oh. And not only did and I feel bad, I

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Speaker 1: got a lot of satisfaction.

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Speaker 2: Of all Batman. Yeah, it was fun, all bat instead

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Speaker 2: of bullet did you go laser laser laser?

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Speaker 1: I did?

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Speaker 2: Well, that's our laser tag. Anecdotes everybody, all right, we.

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Speaker 1: Got to talk about a legend named Jack Foley, and

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Speaker 1: this guy's story is pretty great.

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Speaker 2: He was there at the beginning, like where we left

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Speaker 2: off with the release of The Jazz Singer in nineteen

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Speaker 2: twenty seven, so he was there at the transition to

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Speaker 2: talkies and he was doing all sorts of stuff. He

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Speaker 2: wrote a monthly column in Universal Studios like essentially Company magazine.

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Speaker 2: I guess, huh he did that for decades. He was

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Speaker 2: a great illustrator. He was an insert director, where like

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Speaker 2: if you showed one of the Three Stooges, like grabbing

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Speaker 2: a paintbrush out of a bucket, and you just saw

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Speaker 2: their hand, that's an insert, and then they would edit

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Speaker 2: that in later. The director who directed the whole thing,

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Speaker 2: like the Stooges probably didn't actually take that or get

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Speaker 2: that shot. Somebody like Jack Foley did, and somehow, some

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Speaker 2: way he ended up becoming a sound effects guy. I

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Speaker 2: don't know how he got his first chance. I think

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Speaker 2: he was just hired on as one of the people

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Speaker 2: doing it, and he became so good at it and

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Speaker 2: so legendary that still today anything that has to do

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Speaker 2: with creating sound effects in a studio is called folly.

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Speaker 1: Yeah. His name became an adjective, a verb, and an

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Speaker 1: art form and a department yeah, which is I don't

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Speaker 1: know many people that can say that so. And I

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Speaker 1: also think he got hired because he was just around

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Speaker 1: doing all kinds of stuff. So it was one of

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Speaker 1: those things like Jack Foley can probably do it right.

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Speaker 1: So after the jazz singer, you know, everyone was like,

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Speaker 1: oh my gosh, this is the new thing we have

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Speaker 1: to have our talkie. And Universal had already gotten the

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Speaker 1: movie Showboat in the can as a silent film, right,

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Speaker 1: and they said, we want to change this to a talkie.

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Speaker 1: So Jack Foley goes over to Stage ten at Universal

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Speaker 1: Studios with an orchestra and started working his magic, which was,

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Speaker 1: you know, fairly limited stuff at first, like audience is

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Speaker 1: cheering and water and the sounds of the steamboat and

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Speaker 1: stuff like that. But you know, he's kind of saved

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Speaker 1: the day.

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Speaker 2: Yeah, And the thing is, so there's this live orchestra

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Speaker 2: playing along with this, and there's no retakes. You did

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00:20:25,080 --> 00:20:27,960
Speaker 2: this whole movie in one take because it was being

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Speaker 2: recorded directly to that vitaphone record, right, So it went

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Speaker 2: out with the film like that was it. So this

399
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Speaker 2: orchestra's playing and he's making these sound effects as it's

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Speaker 2: happening on screen. It's just mind boggling what he was doing.

401
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Speaker 2: And he got really good at it. Apparently he could

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Speaker 2: do a reel of film which I saw ten minutes.

403
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Speaker 2: I think it probably varies a little bit, but somewhere

404
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Speaker 2: around there, let's say ten minutes of film, several scenes

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Speaker 2: he could do the sound effects live in one take.

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Speaker 1: Yeah, it's amazing that he started assembling his props and stuff,

407
00:21:05,800 --> 00:21:07,840
Speaker 1: and they got him a room and it became known

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Speaker 1: as Foley's room, and then eventually that would just become

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Speaker 1: the Foley Room on every studio. I don't know how

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00:21:15,400 --> 00:21:18,320
Speaker 1: quickly they adopted his name as an adjective and a

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Speaker 1: verb and all that stuff, but I do know that

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Speaker 1: it was pre credit because he was not even getting

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Speaker 1: a credit for this, because there was no such thing

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Speaker 1: as a Bowley artist till after him.

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Speaker 2: No, his first movie, like you said, was Steamboat, which

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Speaker 2: I think came out in nineteen twenty eight, and his

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Speaker 2: last movie was Spartakiss in nineteen sixty. He did scores,

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Speaker 2: probably hundreds and hundreds of movies and yeah, never once

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Speaker 2: got an on screen credit, which is nuts.

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Speaker 1: Yeah, I mean the credit is named after him, like

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00:21:49,520 --> 00:21:50,480
Speaker 1: he invented a credit.

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00:21:50,800 --> 00:21:53,520
Speaker 2: Yeah, for sure. By the way, I think it was

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Speaker 2: the early sixties and Desilu was the first studio outside

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Speaker 2: of Universal to call their folly room.

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Speaker 1: A folly room. Amazing.

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Speaker 2: What year was that, like sixty one or something like that, So.

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Speaker 1: Kind of right after it was done he got the honor.

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Speaker 2: Yeah, I guess that's amazing. Yeah, that does earns Man.

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Speaker 2: He really he was a class act.

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Speaker 1: I did a shoot on the Lucy stage one time.

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Speaker 1: It was pretty cool.

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Speaker 2: Oh yeah, is she buried there?

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Speaker 1: No? No, no, it was just where they shot it.

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Speaker 2: Oh okay.

435
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Speaker 1: Like I would always ask anytime you're shooting at one

436
00:22:25,520 --> 00:22:28,160
Speaker 1: of the old Paramount Ladder Universal and I would always

437
00:22:28,480 --> 00:22:30,840
Speaker 1: kind of ask the old timers like, hey, what was here?

438
00:22:30,880 --> 00:22:32,880
Speaker 1: And you know, one time it was Happy Days, one

439
00:22:32,880 --> 00:22:34,440
Speaker 1: time it was Lucy. It was always kind of.

440
00:22:34,359 --> 00:22:38,040
Speaker 2: Neat right, Han's moment goes, I'm only thirty one years old.

441
00:22:41,240 --> 00:22:43,119
Speaker 1: I had a couple of books ago, I think three

442
00:22:43,160 --> 00:22:46,040
Speaker 1: books ago. I read a really great dent Stanley Kubrick

443
00:22:46,080 --> 00:22:50,160
Speaker 1: book and he talked about this fact which was in Spartacus.

444
00:22:50,760 --> 00:22:54,240
Speaker 1: He didn't like the audio recording of the Roman Army marching,

445
00:22:54,359 --> 00:22:57,280
Speaker 1: so he was trying to bring in a big, fairly

446
00:22:57,320 --> 00:23:01,439
Speaker 1: expensive two day shoot to redo that. And Jack Bowley

447
00:23:01,600 --> 00:23:03,119
Speaker 1: was like, no, no, no, I think I've got this,

448
00:23:03,800 --> 00:23:06,439
Speaker 1: and on the spot went and got car keys and

449
00:23:06,600 --> 00:23:09,960
Speaker 1: was able to recreate the sound of like the armor

450
00:23:10,040 --> 00:23:13,520
Speaker 1: kind of clanking such that even Stanley Kubrick approved.

451
00:23:13,119 --> 00:23:16,359
Speaker 2: Of yeah, which is really saying something Yeah. But it

452
00:23:16,400 --> 00:23:20,280
Speaker 2: went from potentially flying back to Spain and re hiring

453
00:23:20,440 --> 00:23:23,760
Speaker 2: thousands of extras and reshooting these two days just for

454
00:23:23,880 --> 00:23:27,280
Speaker 2: the sound. To know, check out these keys. I just

455
00:23:27,320 --> 00:23:31,160
Speaker 2: saved your movie so much money. So just I mean

456
00:23:31,160 --> 00:23:34,120
Speaker 2: that was his last one too. That was a great

457
00:23:34,119 --> 00:23:34,840
Speaker 2: way to go out.

458
00:23:34,920 --> 00:23:38,639
Speaker 1: I think, Oh, absolutely great movie. There are about one

459
00:23:38,680 --> 00:23:42,560
Speaker 1: hundred folly artists working today in the United States, which

460
00:23:42,840 --> 00:23:46,280
Speaker 1: you know, that's not a lot. I was sort of

461
00:23:46,280 --> 00:23:48,960
Speaker 1: surprised it was that high, given sort of the digital

462
00:23:49,040 --> 00:23:52,600
Speaker 1: takeover of a lot of things in Hollywood. But you know,

463
00:23:52,640 --> 00:23:54,680
Speaker 1: they call them artists because they are true artists. They

464
00:23:54,680 --> 00:23:56,879
Speaker 1: have their their obviously, you know mentioned earlier. They have

465
00:23:56,920 --> 00:24:00,320
Speaker 1: great ears. Apparently Dave found that some of them have

466
00:24:00,400 --> 00:24:03,800
Speaker 1: to wear ear plugs and movies and concerts and things

467
00:24:03,840 --> 00:24:05,800
Speaker 1: like that because their ears are just so kind of

468
00:24:05,840 --> 00:24:08,719
Speaker 1: tuned in and sensitive, right, And they had their own language.

469
00:24:08,720 --> 00:24:12,040
Speaker 1: You know, they don't say they may say clip clop

470
00:24:12,080 --> 00:24:15,399
Speaker 1: of a horse, but they definitely make words up as

471
00:24:15,680 --> 00:24:18,439
Speaker 1: sounds like you know, I need it to make a

472
00:24:18,480 --> 00:24:21,240
Speaker 1: scritchy sound, or it needs to sound poofy, and they

473
00:24:21,280 --> 00:24:23,160
Speaker 1: just sort of know what they mean when they're talking

474
00:24:23,160 --> 00:24:23,960
Speaker 1: to each other, right.

475
00:24:24,000 --> 00:24:26,679
Speaker 2: Oh, they definitely do. There's this really great profile in

476
00:24:26,720 --> 00:24:30,679
Speaker 2: the New Yorker where I think that hundred working fully

477
00:24:30,760 --> 00:24:33,560
Speaker 2: artists came from. One one of the fully artists profiled

478
00:24:33,800 --> 00:24:36,400
Speaker 2: said there was probably a hundred. But they, I mean

479
00:24:36,480 --> 00:24:39,160
Speaker 2: just the different words that they use for these sounds,

480
00:24:39,240 --> 00:24:42,560
Speaker 2: or like they they immediately know what the other one

481
00:24:42,640 --> 00:24:45,800
Speaker 2: is talking about. And just even more than that, they

482
00:24:45,880 --> 00:24:50,840
Speaker 2: can point to some chain or block and tackle just

483
00:24:50,880 --> 00:24:53,480
Speaker 2: hanging in a junk yard and say that'd make the

484
00:24:54,280 --> 00:24:58,440
Speaker 2: swaying chink sound or something like that, and they, sure

485
00:24:58,560 --> 00:24:59,920
Speaker 2: enough they could go up to it and make it

486
00:25:00,080 --> 00:25:03,120
Speaker 2: it sound exactly like what they were just describing. So

487
00:25:03,560 --> 00:25:08,320
Speaker 2: it's like a really niche group of people who work

488
00:25:08,359 --> 00:25:11,480
Speaker 2: in this really niche art. It's like you said before,

489
00:25:11,480 --> 00:25:14,840
Speaker 2: it's an art form and it's it's just fascinating to

490
00:25:14,880 --> 00:25:17,800
Speaker 2: read about, let alone talk about. I'm fascinated right now

491
00:25:17,840 --> 00:25:21,000
Speaker 2: if you can't tell.

492
00:25:19,800 --> 00:25:23,960
Speaker 1: Well, and just the the ability to disassociate sound from

493
00:25:24,000 --> 00:25:28,960
Speaker 1: object is key and just like super impressive, like you mentioned,

494
00:25:28,960 --> 00:25:31,560
Speaker 1: like to be able to look at a thing and

495
00:25:31,600 --> 00:25:34,320
Speaker 1: not see the thing, but see the sound you know,

496
00:25:34,640 --> 00:25:36,680
Speaker 1: or hear the sound I guess in your head. For sure,

497
00:25:37,080 --> 00:25:41,200
Speaker 1: potentially it's it's super cool. I love it. Like when

498
00:25:41,200 --> 00:25:45,440
Speaker 1: I was a kid, I remember seeing videos of fully

499
00:25:45,520 --> 00:25:47,520
Speaker 1: artists at work with a split screen of what's going

500
00:25:47,520 --> 00:25:50,480
Speaker 1: on on screen, and I was just like wrapped.

501
00:25:51,000 --> 00:25:53,680
Speaker 2: Yeah, so that's that's how they do this. So usually

502
00:25:53,760 --> 00:25:57,160
Speaker 2: they work in pairs because there's like in a given scene,

503
00:25:57,160 --> 00:26:00,640
Speaker 2: there's probably frequently more going on than one person could

504
00:26:00,680 --> 00:26:05,840
Speaker 2: possibly handle. I know Jack Foley pioneered using canes with

505
00:26:06,040 --> 00:26:09,520
Speaker 2: shoes attached to the bottom to make multiple people walking

506
00:26:09,560 --> 00:26:11,560
Speaker 2: at the same time. It's a lot easier just have

507
00:26:11,640 --> 00:26:14,240
Speaker 2: another person in there, so you have like a fully

508
00:26:14,320 --> 00:26:17,600
Speaker 2: partner that you work with. And then there's the fully mixer.

509
00:26:18,000 --> 00:26:21,040
Speaker 2: And apparently they don't really see what the folly artists

510
00:26:21,080 --> 00:26:24,280
Speaker 2: are doing because they're keeping an ear out to see

511
00:26:24,320 --> 00:26:27,280
Speaker 2: if it matches what they think it should on the screen.

512
00:26:27,320 --> 00:26:29,840
Speaker 2: They're making a lot of the final decisions on how

513
00:26:29,880 --> 00:26:33,359
Speaker 2: it gets like what sound gets made, how it gets

514
00:26:33,680 --> 00:26:37,959
Speaker 2: sweetened or tightened or like tweaked or whatever. Yeah, and

515
00:26:38,000 --> 00:26:40,720
Speaker 2: then if you step back and watch, like like you said,

516
00:26:40,720 --> 00:26:43,040
Speaker 2: they're there in front of this giant screen or even

517
00:26:43,080 --> 00:26:47,200
Speaker 2: a TV sometimes and they're just acting along with the actor,

518
00:26:47,280 --> 00:26:51,440
Speaker 2: but making the sounds with stuff that you know, you

519
00:26:51,520 --> 00:26:55,359
Speaker 2: just would never say, like, yes, this is obviously. This

520
00:26:55,520 --> 00:26:58,359
Speaker 2: salary is obviously what you would use to make the

521
00:26:58,400 --> 00:26:59,959
Speaker 2: sound when somebody falls down and breaks a bit.

522
00:27:00,880 --> 00:27:03,520
Speaker 1: Yeah, they SELLAR snap is pretty good.

523
00:27:03,640 --> 00:27:07,199
Speaker 2: Yeah, it definitely works. It's an industry wide vegetable.

524
00:27:07,920 --> 00:27:11,879
Speaker 1: It is. They start with a spotting session, which is

525
00:27:12,000 --> 00:27:15,359
Speaker 1: essentially just sitting down with the director and all the

526
00:27:15,400 --> 00:27:19,080
Speaker 1: sound department and fully department and just making a huge list.

527
00:27:19,119 --> 00:27:20,520
Speaker 1: You go through the movie and you just have a

528
00:27:20,600 --> 00:27:23,720
Speaker 1: huge list of every single scene, every single sound you

529
00:27:23,760 --> 00:27:27,680
Speaker 1: need to make. It's not the same thing as ADR,

530
00:27:27,720 --> 00:27:30,600
Speaker 1: which is additional dialogue recording, which is a lot of

531
00:27:30,600 --> 00:27:33,560
Speaker 1: times actors will have to come in. We had to

532
00:27:33,560 --> 00:27:35,840
Speaker 1: do this we're own TV show a little bit, Yeah,

533
00:27:35,880 --> 00:27:37,840
Speaker 1: and you have to restate your lines for one reason

534
00:27:37,880 --> 00:27:39,400
Speaker 1: or another and try and match it up and we're

535
00:27:39,400 --> 00:27:42,880
Speaker 1: watching the screen. But they do use the same technique

536
00:27:42,880 --> 00:27:44,720
Speaker 1: called looping, which is just playing the thing on a

537
00:27:44,760 --> 00:27:47,720
Speaker 1: loop over and over and over to try and sink

538
00:27:47,760 --> 00:27:48,760
Speaker 1: it as close as you can.

539
00:27:49,400 --> 00:27:51,720
Speaker 2: Yeah, and it's amazing that anybody can do that because

540
00:27:51,720 --> 00:27:53,159
Speaker 2: it's really hard.

541
00:27:54,280 --> 00:27:59,760
Speaker 1: Yeah what ADR fully ADR well both yeah, yeah, yeah, yeah, adr.

542
00:27:59,760 --> 00:28:01,679
Speaker 1: I felt kind of dumb when I had to do it,

543
00:28:01,720 --> 00:28:05,000
Speaker 1: because it was, you know, you're trying to even though

544
00:28:05,000 --> 00:28:06,800
Speaker 1: we were bad actors, like we were trying to conveyce.

545
00:28:07,240 --> 00:28:09,439
Speaker 1: You're always trying to convey some sort of emotion with

546
00:28:09,600 --> 00:28:12,399
Speaker 1: everything that you're saying, even if it's just normal or

547
00:28:12,400 --> 00:28:15,280
Speaker 1: bored that is. And just to do that in a

548
00:28:15,400 --> 00:28:19,359
Speaker 1: room looking at yourself like with no experience, it was.

549
00:28:19,440 --> 00:28:20,119
Speaker 1: It was tough for me.

550
00:28:21,000 --> 00:28:23,000
Speaker 2: I blamed Brian for all of those.

551
00:28:23,160 --> 00:28:27,520
Speaker 1: Oh no, so you'll hear this, by the way.

552
00:28:27,359 --> 00:28:29,600
Speaker 2: So oh yeah, I know I'm hoping you will.

553
00:28:30,000 --> 00:28:30,840
Speaker 1: Yeah, yeah, I knew it.

554
00:28:30,920 --> 00:28:32,760
Speaker 2: One of the other very classic things you'll see in

555
00:28:32,800 --> 00:28:36,280
Speaker 2: a Foley studio is the floor will basically have like

556
00:28:36,320 --> 00:28:40,040
Speaker 2: a raised section and it'll be divided into like squares,

557
00:28:40,080 --> 00:28:42,400
Speaker 2: and one square will have like a concrete pad, another

558
00:28:42,440 --> 00:28:45,959
Speaker 2: square will have pebbles, another square won't have you know,

559
00:28:46,120 --> 00:28:49,520
Speaker 2: parquet fleets. Yeah, leaves, although I saw that they don't

560
00:28:49,560 --> 00:28:53,600
Speaker 2: usually use leaves. They use like old magnetic reel to

561
00:28:53,680 --> 00:28:56,680
Speaker 2: reel tape. Yeah yeah, and pull it out and crinkle

562
00:28:56,720 --> 00:29:00,120
Speaker 2: it and that makes a better leaf sound than a leaf.

563
00:29:00,160 --> 00:29:02,640
Speaker 2: Somebody figured that out along the way that leaf sounds

564
00:29:02,640 --> 00:29:04,920
Speaker 2: don't really make a good leaf sound. Isn't that crazy?

565
00:29:05,080 --> 00:29:08,640
Speaker 2: That's how manipulated we are when we watch movies. Uh.

566
00:29:09,080 --> 00:29:11,040
Speaker 1: True. But I have seen them go in the field

567
00:29:11,160 --> 00:29:13,440
Speaker 1: for like forest walks and stuff. So there's a mix

568
00:29:13,480 --> 00:29:15,240
Speaker 1: of everything. There's not like just one way to do things.

569
00:29:15,280 --> 00:29:15,880
Speaker 2: That's true.

570
00:29:16,440 --> 00:29:19,600
Speaker 1: And they all know share stuff like whoever came up

571
00:29:19,640 --> 00:29:22,520
Speaker 1: with the celery is probably regarded as a as a

572
00:29:22,560 --> 00:29:25,320
Speaker 1: you know, a genius in the field for sure.

573
00:29:25,400 --> 00:29:26,520
Speaker 2: Yeah, I'm sure they're They're.

574
00:29:26,400 --> 00:29:28,680
Speaker 1: Using carrots before that, right.

575
00:29:29,160 --> 00:29:32,680
Speaker 2: I also saw there was in that New Yorker profile

576
00:29:33,040 --> 00:29:36,320
Speaker 2: one of the Folly artists talks about a Halloween mask

577
00:29:36,400 --> 00:29:39,200
Speaker 2: of the tin Man that got handed down from her

578
00:29:39,360 --> 00:29:43,600
Speaker 2: former Folly partner when he retired, and she was like,

579
00:29:43,760 --> 00:29:46,400
Speaker 2: nothing will ever make this sound. It's like a shit

580
00:29:46,760 --> 00:29:50,840
Speaker 2: like it's described as a yawning chit sound. I can't

581
00:29:50,840 --> 00:29:52,120
Speaker 2: even wrap my mind around that.

582
00:29:52,400 --> 00:29:54,040
Speaker 1: But what sound is it supposed to be.

583
00:29:54,080 --> 00:29:56,960
Speaker 2: A yawning chill sound? I don't know. I think it used.

584
00:29:57,000 --> 00:29:58,560
Speaker 1: It's like, what's it used for?

585
00:29:58,720 --> 00:30:01,680
Speaker 2: I don't know. Okay, if you wait a little bit,

586
00:30:01,720 --> 00:30:04,920
Speaker 2: I can look her up and call and ask, oh.

587
00:30:04,760 --> 00:30:06,480
Speaker 1: No, no, no, that's all right. I just wondered if

588
00:30:06,480 --> 00:30:08,480
Speaker 1: you were like, and that's the sound of a pot

589
00:30:08,520 --> 00:30:09,320
Speaker 1: going on a stove.

590
00:30:09,400 --> 00:30:12,880
Speaker 2: How about this, Let's edit this in the sound of

591
00:30:12,920 --> 00:30:14,200
Speaker 2: a pot going on the stove.

592
00:30:14,520 --> 00:30:16,840
Speaker 1: Okay, perfect, But she was she.

593
00:30:16,880 --> 00:30:19,000
Speaker 2: Was pointing out like I think they even said, like

594
00:30:19,080 --> 00:30:22,840
Speaker 2: she ordered a new one online and it came and

595
00:30:22,880 --> 00:30:24,840
Speaker 2: she was like, this doesn't sound anything like it. It's

596
00:30:24,880 --> 00:30:28,920
Speaker 2: made of different materials, so like it's so nuanced. I

597
00:30:28,960 --> 00:30:31,560
Speaker 2: saw a quote from David Fincher, the director, who is

598
00:30:31,640 --> 00:30:36,800
Speaker 2: like a huge fan of foli art artists, and he

599
00:30:36,920 --> 00:30:41,080
Speaker 2: basically was like, where we're looking at like the like

600
00:30:41,400 --> 00:30:44,320
Speaker 2: a scene of some people having a meeting in a

601
00:30:44,400 --> 00:30:47,400
Speaker 2: lawyer's office, and he's like, what is the what does

602
00:30:47,440 --> 00:30:50,040
Speaker 2: the nauga hide or the leather on the sofa sound like?

603
00:30:50,480 --> 00:30:50,680
Speaker 1: Yeah?

604
00:30:50,720 --> 00:30:53,320
Speaker 2: Yeah, like is it is it fake? Like is this

605
00:30:53,600 --> 00:30:56,600
Speaker 2: a strip mall lawyer's office or is it like a

606
00:30:56,640 --> 00:30:59,800
Speaker 2: really well healed lawyer's office, so it's real leather Like

607
00:31:00,120 --> 00:31:03,360
Speaker 2: that kind of attention to detail, Yeah, fully artists make

608
00:31:04,400 --> 00:31:09,320
Speaker 2: like that's what makes a movie like engrossing or you know,

609
00:31:09,480 --> 00:31:12,400
Speaker 2: at the very least extremely realistic, like that level of

610
00:31:12,440 --> 00:31:13,840
Speaker 2: attention to detail.

611
00:31:14,080 --> 00:31:18,200
Speaker 1: Yeah, or if you're not paying attention to detail like that,

612
00:31:18,320 --> 00:31:20,520
Speaker 1: it makes something stand out as and you may not

613
00:31:20,600 --> 00:31:24,600
Speaker 1: even recognize it, but subconsciously it may just a sound

614
00:31:24,680 --> 00:31:26,240
Speaker 1: may sit wrong if they don't do it right.

615
00:31:26,320 --> 00:31:28,480
Speaker 2: Yeah, like if somebody sits on a leather couch and

616
00:31:28,480 --> 00:31:31,840
Speaker 2: it makes a yawning sound, right, you're gonna be like,

617
00:31:31,880 --> 00:31:32,920
Speaker 2: what was that?

618
00:31:32,920 --> 00:31:34,240
Speaker 1: That's a tidman helmet? Right.

619
00:31:34,280 --> 00:31:36,760
Speaker 2: You wouldn't believe them if they told you that's right.

620
00:31:37,240 --> 00:31:39,040
Speaker 1: So the you know, the Fuly stage is amazing. They

621
00:31:39,040 --> 00:31:41,600
Speaker 1: have that floor. It's just riddled with props and weird

622
00:31:41,640 --> 00:31:44,160
Speaker 1: things that they all. They don't call it by the thing,

623
00:31:44,360 --> 00:31:46,040
Speaker 1: you know, they call it by the sound it makes.

624
00:31:47,080 --> 00:31:49,680
Speaker 1: Like you don't say give me those coconuts, you say

625
00:31:50,440 --> 00:31:52,960
Speaker 1: give me the hoofs, although they don't use coconuts. It's

626
00:31:52,960 --> 00:31:57,000
Speaker 1: a little bit of a money python reference there. But yeah,

627
00:31:57,200 --> 00:31:59,560
Speaker 1: it's a fun looking room. Like I encourage everyone to go,

628
00:31:59,600 --> 00:32:02,800
Speaker 1: like see some like YouTube video of a Folly artist

629
00:32:02,840 --> 00:32:05,120
Speaker 1: and work in their little kind of cool air conditioned

630
00:32:05,160 --> 00:32:08,000
Speaker 1: dark room. There's water like that. There's usually like a bathtub,

631
00:32:08,400 --> 00:32:12,000
Speaker 1: there's usually a working toilet, uh, and just all manner

632
00:32:12,080 --> 00:32:13,760
Speaker 1: of props that people.

633
00:32:13,600 --> 00:32:16,840
Speaker 2: Use you wanted to take a break and come back

634
00:32:16,880 --> 00:32:19,680
Speaker 2: and talk a little more about sound effects.

635
00:32:19,960 --> 00:32:45,040
Speaker 1: Let's do it. Show me open my door.

636
00:32:48,320 --> 00:32:51,040
Speaker 2: And then look out, Chuck grown out again.

637
00:32:51,840 --> 00:32:54,560
Speaker 1: All right, So Dave kind of dug up some fun,

638
00:32:54,760 --> 00:32:59,880
Speaker 1: classic uh folly tricks from famous movies, and we're gonna

639
00:32:59,880 --> 00:33:02,239
Speaker 1: talk about those and more because we're going to get

640
00:33:02,280 --> 00:33:05,360
Speaker 1: into Star Wars as well, because everyone loves talking about

641
00:33:05,360 --> 00:33:06,120
Speaker 1: Star Wars.

642
00:33:06,560 --> 00:33:09,640
Speaker 2: Well, the guy who was the fully artist and I

643
00:33:09,680 --> 00:33:13,840
Speaker 2: guess sound designer for Star Wars, Ben Burt, just changed

644
00:33:13,880 --> 00:33:15,880
Speaker 2: the industry from what I could tell. He's a really

645
00:33:16,240 --> 00:33:17,520
Speaker 2: interesting creative guy.

646
00:33:18,280 --> 00:33:20,959
Speaker 1: Yeah, we talked about him before he was the Wilhelm

647
00:33:21,040 --> 00:33:21,560
Speaker 1: Scream guy.

648
00:33:22,040 --> 00:33:25,480
Speaker 2: Yes, yes, did you see the Wilhelm Scream thing I sent?

649
00:33:26,880 --> 00:33:27,240
Speaker 1: I did not?

650
00:33:27,720 --> 00:33:30,640
Speaker 2: Oh? Got I know the story of the Wilhelm Scream.

651
00:33:30,680 --> 00:33:31,280
Speaker 2: You want to hear it?

652
00:33:31,920 --> 00:33:33,560
Speaker 1: We did a whole episode on it, didn't we.

653
00:33:33,920 --> 00:33:36,160
Speaker 2: No, we just mentioned it and then Jerry put the

654
00:33:36,200 --> 00:33:36,760
Speaker 2: wrong one in.

655
00:33:37,560 --> 00:33:39,800
Speaker 1: Oh, I thought we did a whole short stuff on it.

656
00:33:40,200 --> 00:33:41,880
Speaker 2: On the Wilhelm Scream. I don't think so.

657
00:33:42,280 --> 00:33:45,120
Speaker 1: I thought we did well. Either way, Just go ahead.

658
00:33:46,080 --> 00:33:48,520
Speaker 2: All right, if we have then we'll edit this part out.

659
00:33:48,720 --> 00:33:51,520
Speaker 2: But Essentially, the Wilhelm Scream was a scream that they

660
00:33:52,560 --> 00:33:56,480
Speaker 2: they think was recorded by a guy named chev Woolley,

661
00:33:56,640 --> 00:33:59,120
Speaker 2: who was an actor and musician who's known for the

662
00:33:59,160 --> 00:34:02,400
Speaker 2: song people Eater. He's the guy who's saying that, And

663
00:34:02,440 --> 00:34:05,920
Speaker 2: it was in a movie called Distant Drums. And I

664
00:34:05,960 --> 00:34:10,120
Speaker 2: think we can play the Wilhelm scream right here, right.

665
00:34:10,520 --> 00:34:12,160
Speaker 1: But I mean I thought we could the first time,

666
00:34:12,160 --> 00:34:12,799
Speaker 1: and it didn't work.

667
00:34:12,880 --> 00:34:15,040
Speaker 2: Well, let's try again. So this is what we're talking about.

668
00:34:15,080 --> 00:34:20,680
Speaker 2: This is the very famous Wilhelm scream. Okay, so apparently

669
00:34:20,680 --> 00:34:24,080
Speaker 2: Shebb Woolley recorded that for Distant Drums, but it didn't

670
00:34:24,120 --> 00:34:28,440
Speaker 2: become kind of, I guess a thing or iconic or

671
00:34:28,480 --> 00:34:31,600
Speaker 2: well used two until two years later there was a

672
00:34:31,640 --> 00:34:34,240
Speaker 2: movie called The Charge at Feather River and a character

673
00:34:34,320 --> 00:34:37,640
Speaker 2: named Private Willhelm gets shot in the leg by an arrow,

674
00:34:37,920 --> 00:34:41,279
Speaker 2: an he screams the Wilhelm scream. Still wasn't called the

675
00:34:41,280 --> 00:34:45,680
Speaker 2: Wilhelm scream until Ben Burt came along for Star Wars

676
00:34:46,000 --> 00:34:49,040
Speaker 2: and he'd seen just tons of Westerns as a kid,

677
00:34:49,280 --> 00:34:51,960
Speaker 2: and that Wilhelm scream showed up in almost all of them.

678
00:34:52,200 --> 00:34:56,279
Speaker 2: So he sought out that scream and found it in

679
00:34:56,400 --> 00:34:59,960
Speaker 2: the charge at feather River Sound Library and used it.

680
00:35:00,320 --> 00:35:02,800
Speaker 2: The first time it shows up is when Luke shoots

681
00:35:02,800 --> 00:35:05,560
Speaker 2: a stormtrooper and the stormtrooper falls off of something or

682
00:35:05,600 --> 00:35:09,200
Speaker 2: other I can't remember where exactly, and he adopted as

683
00:35:09,239 --> 00:35:11,759
Speaker 2: a signature sound, and it just became kind of an

684
00:35:12,239 --> 00:35:15,480
Speaker 2: iconic in joke among sound editors since then.

685
00:35:16,520 --> 00:35:19,319
Speaker 1: Yeah, you know, it may have been movie crush. That

686
00:35:19,400 --> 00:35:21,960
Speaker 1: makes sense where I covered that. Yeah, totally makes sense.

687
00:35:21,800 --> 00:35:23,799
Speaker 2: And I think it was all that's interesting. So it's

688
00:35:23,880 --> 00:35:26,200
Speaker 2: been in over four hundred films.

689
00:35:26,960 --> 00:35:32,000
Speaker 1: Amazing. Yeah, the ET sound. They needed ET to sound

690
00:35:32,080 --> 00:35:35,439
Speaker 1: a certain way when Et walked around, because they needed

691
00:35:35,520 --> 00:35:38,759
Speaker 1: him to sound like an ET but also not be

692
00:35:38,960 --> 00:35:42,879
Speaker 1: like gross. They wanted people to like ET, so they

693
00:35:42,960 --> 00:35:46,759
Speaker 1: used like jello wrapped in a damp T shirt and

694
00:35:46,920 --> 00:35:49,760
Speaker 1: raw liver apparently just for this sort of squishy walking sounds.

695
00:35:49,800 --> 00:35:50,520
Speaker 1: That's pretty good one.

696
00:35:50,560 --> 00:35:53,480
Speaker 2: Yikes, what about Titanic? This is a good one.

697
00:35:55,080 --> 00:35:57,520
Speaker 1: No spoilers are going to spoil the end of Titanic.

698
00:35:57,640 --> 00:35:59,759
Speaker 1: Oh come on, so you can dial out now if

699
00:35:59,800 --> 00:36:01,640
Speaker 1: you want to. But at the end of Titanic, Kate

700
00:36:01,680 --> 00:36:04,480
Speaker 1: Winslet is floating on a door or a piece of

701
00:36:04,520 --> 00:36:07,440
Speaker 1: wood or something. I think it's a door and she's

702
00:36:07,760 --> 00:36:11,440
Speaker 1: freezing cold, and they used apparently frozen lettuce to recreate

703
00:36:11,920 --> 00:36:13,840
Speaker 1: her the sound of her hair movie.

704
00:36:13,880 --> 00:36:17,879
Speaker 2: Yeah, which was perfect because I remember that sound effect.

705
00:36:18,239 --> 00:36:20,600
Speaker 2: I don't think I was like that crispy hair sounds

706
00:36:20,600 --> 00:36:22,920
Speaker 2: crazy at the time, but when I read about it,

707
00:36:22,960 --> 00:36:26,840
Speaker 2: I remember that it made some sort of impact on me. Yeah,

708
00:36:26,880 --> 00:36:30,680
Speaker 2: to prevent anybody from emailing in. Apparently it's not a door.

709
00:36:30,760 --> 00:36:33,480
Speaker 2: Everybody says it's a door, but some people on Reddit

710
00:36:33,880 --> 00:36:38,880
Speaker 2: found the piece of the staircase that it was taken from,

711
00:36:39,400 --> 00:36:42,560
Speaker 2: So James Cameron's film was so accurate that you could

712
00:36:42,600 --> 00:36:45,440
Speaker 2: determine that she was floating on a piece of staircase

713
00:36:45,480 --> 00:36:48,359
Speaker 2: that is shown earlier in The Titanic before it sinks.

714
00:36:49,040 --> 00:36:49,879
Speaker 1: I think it was a door.

715
00:36:50,200 --> 00:36:52,759
Speaker 2: That's fine. I just wanted I knew somebody who's going

716
00:36:52,840 --> 00:36:54,800
Speaker 2: to email in, and I wanted to burst their bubble

717
00:36:56,200 --> 00:36:56,759
Speaker 2: fight club.

718
00:36:56,800 --> 00:36:59,360
Speaker 1: You know, if you've ever heard of fistfight in real life,

719
00:37:00,440 --> 00:37:03,600
Speaker 1: A I'm sorry, because that's a really dumb thing to do,

720
00:37:03,760 --> 00:37:07,560
Speaker 1: is to punch somebody. But a punch to somebody's face

721
00:37:08,040 --> 00:37:10,719
Speaker 1: in real life, to their body doesn't sound anything like

722
00:37:10,760 --> 00:37:14,080
Speaker 1: it sounds in the movies. It's a fairly boring sound,

723
00:37:14,520 --> 00:37:17,399
Speaker 1: so they need to recreate that obviously, And a lot

724
00:37:17,400 --> 00:37:20,600
Speaker 1: of times they're punching you know, raw meat and things

725
00:37:20,640 --> 00:37:23,759
Speaker 1: like that and adding extra like bass and kind of

726
00:37:23,760 --> 00:37:27,440
Speaker 1: tweak it and posts. But apparently in Fight Club, chicken

727
00:37:27,480 --> 00:37:31,000
Speaker 1: carcasses were pounded with baseball bats along with the sounds

728
00:37:31,000 --> 00:37:33,560
Speaker 1: of cracking walnuts. Yes, pretty good.

729
00:37:34,120 --> 00:37:37,360
Speaker 2: There's this movie called Berbery in sound studio back in

730
00:37:37,400 --> 00:37:38,680
Speaker 2: twenty twelve. Did you see it?

731
00:37:39,560 --> 00:37:40,359
Speaker 1: I've never heard of it.

732
00:37:40,360 --> 00:37:42,719
Speaker 2: It was a little art house movie the what's the

733
00:37:42,760 --> 00:37:47,200
Speaker 2: British actor the short British actor with classes Toby somebody?

734
00:37:47,239 --> 00:37:49,320
Speaker 2: He played Capoti Jiman Capodi?

735
00:37:49,360 --> 00:37:51,040
Speaker 1: Oh yeah, Toby Jones.

736
00:37:51,080 --> 00:37:53,480
Speaker 2: Maybe, yes, you're right. So Toby Jones is in it

737
00:37:53,520 --> 00:37:56,279
Speaker 2: and he's a folly artist who starts to descend into

738
00:37:56,320 --> 00:37:59,319
Speaker 2: madness and essentially the entire movie takes place on a

739
00:37:59,320 --> 00:38:04,960
Speaker 2: fully studiente and there's parts where they're stabbing a melon

740
00:38:05,440 --> 00:38:08,880
Speaker 2: to make the sound of the person on screen getting stabbed.

741
00:38:09,440 --> 00:38:12,440
Speaker 2: And the folly artists who actually worked on that movie

742
00:38:12,920 --> 00:38:18,320
Speaker 2: said that they had to use wet cloth and wood

743
00:38:18,640 --> 00:38:21,120
Speaker 2: to make the sound of the folly artist on the

744
00:38:21,120 --> 00:38:24,680
Speaker 2: screen stabbing the water melon to make the sound of

745
00:38:24,719 --> 00:38:27,800
Speaker 2: the person on their screen getting stabbed with a knife.

746
00:38:28,440 --> 00:38:30,440
Speaker 1: I think I do remember that movie. I don't think

747
00:38:30,480 --> 00:38:32,040
Speaker 1: I saw it, but I remember that happening.

748
00:38:32,160 --> 00:38:35,720
Speaker 2: It's worth seeing. It's a slow burn that, possibly, depending

749
00:38:35,719 --> 00:38:39,839
Speaker 2: on your view, never actually ignites. Okay, but it's an

750
00:38:39,840 --> 00:38:41,760
Speaker 2: interesting movie. He does a good job.

751
00:38:42,040 --> 00:38:45,080
Speaker 1: They should put that on the poster. Possibly never ignites Josh.

752
00:38:44,800 --> 00:38:48,080
Speaker 2: Clark right, like, this is the best we could get.

753
00:38:49,280 --> 00:38:51,600
Speaker 1: Melons are useful, use a lot of melons for a

754
00:38:51,640 --> 00:38:54,440
Speaker 1: lot of things. A hand inside of melon apparently was

755
00:38:54,880 --> 00:38:58,600
Speaker 1: on that first dinosaur egg hatches sorry spoiler alert in

756
00:38:58,680 --> 00:39:01,560
Speaker 1: Jurassic Park. It was a hand inside of the melon

757
00:39:01,560 --> 00:39:03,920
Speaker 1: combined with the cracking of an ice cream cone.

758
00:39:04,280 --> 00:39:06,880
Speaker 2: Very nice. I saw Raiders of the Lost Art that

759
00:39:06,920 --> 00:39:10,040
Speaker 2: famous bowlder rolling at Indy in the beginning of the

760
00:39:10,160 --> 00:39:12,680
Speaker 2: movie first movie. Yeah, it was a car with no

761
00:39:12,800 --> 00:39:14,719
Speaker 2: motor being rolled down a hill.

762
00:39:16,160 --> 00:39:20,440
Speaker 1: Oh, okay, and that was also Ben Burt Oh was it?

763
00:39:20,480 --> 00:39:21,120
Speaker 2: That makes sense?

764
00:39:21,440 --> 00:39:23,520
Speaker 1: Yeah? He did all the Internet Jones movies. He did

765
00:39:23,520 --> 00:39:26,520
Speaker 1: et He was clearly a Spielberg Lucas guy.

766
00:39:26,640 --> 00:39:30,200
Speaker 2: Yeah he was. He was good and probably still is

767
00:39:30,200 --> 00:39:30,880
Speaker 2: he still working?

768
00:39:32,400 --> 00:39:35,279
Speaker 1: I bet he is. He's in his midish seventies, so

769
00:39:35,320 --> 00:39:36,640
Speaker 1: I bet he's still out there.

770
00:39:36,719 --> 00:39:37,759
Speaker 2: Okay, there we go.

771
00:39:37,880 --> 00:39:39,439
Speaker 1: I like to think he is. Should we talk about

772
00:39:39,440 --> 00:39:40,920
Speaker 1: some of those Star Wars sounds too while we're here?

773
00:39:41,000 --> 00:39:41,640
Speaker 2: Yeah, I think so.

774
00:39:43,600 --> 00:39:47,480
Speaker 1: The blaster Star Wars blaster, very very legendary film sci

775
00:39:47,520 --> 00:39:51,120
Speaker 1: fi sound. He and you'll see a lot of sound

776
00:39:51,160 --> 00:39:53,319
Speaker 1: people that just like kind of always carry around their

777
00:39:53,440 --> 00:39:56,239
Speaker 1: recording device. I don't know if they do that kind

778
00:39:56,239 --> 00:39:58,160
Speaker 1: of stuff on phones now, just to say like hey,

779
00:39:58,200 --> 00:40:00,360
Speaker 1: this like just to pick up the sound. But back Ben,

780
00:40:01,080 --> 00:40:03,440
Speaker 1: for Ben Bird, it was a Nagra reel to real recorder,

781
00:40:03,960 --> 00:40:06,680
Speaker 1: and he was on he was just collecting sounds all

782
00:40:06,680 --> 00:40:08,520
Speaker 1: over the place to potentially use for Star Wars. And

783
00:40:08,520 --> 00:40:10,880
Speaker 1: that's kind of the fun thing, is just looking around

784
00:40:10,920 --> 00:40:14,880
Speaker 1: the world and like just collecting noises and say, you know,

785
00:40:14,960 --> 00:40:17,160
Speaker 1: this might come in handy later. You never know, right,

786
00:40:17,239 --> 00:40:19,680
Speaker 1: And they were in the Pocono's and he went to

787
00:40:20,000 --> 00:40:23,080
Speaker 1: he saw a radio tower with those big, taut, big

788
00:40:24,040 --> 00:40:26,879
Speaker 1: bundled wire support cables and he was like, I wonder

789
00:40:26,880 --> 00:40:28,600
Speaker 1: what that sounds like when I hit it. He hit

790
00:40:28,640 --> 00:40:31,279
Speaker 1: it with a rock and it made that sound, and

791
00:40:31,320 --> 00:40:33,919
Speaker 1: then he did it at another tower, a radio tower

792
00:40:33,960 --> 00:40:36,920
Speaker 1: in the Mahave Desert, and combine those tweaked him a

793
00:40:36,960 --> 00:40:39,000
Speaker 1: little bit, and that's how you get that laser blast,

794
00:40:39,480 --> 00:40:42,440
Speaker 1: which you two can make. If you ever see one

795
00:40:42,440 --> 00:40:44,560
Speaker 1: of those really really taught cables, have you hit that

796
00:40:44,560 --> 00:40:47,040
Speaker 1: thing with something metal, it'll go cute.

797
00:40:47,160 --> 00:40:49,399
Speaker 2: Yeah, there's a bunch of different laser blasts in Star Wars,

798
00:40:49,440 --> 00:40:53,040
Speaker 2: but the ones that were made with that sound effector

799
00:40:53,280 --> 00:40:55,960
Speaker 2: once you know that, you can you can really clearly

800
00:40:56,000 --> 00:40:57,200
Speaker 2: hear it. It's perfect.

801
00:40:57,960 --> 00:40:59,919
Speaker 1: Yeah, I think it's the blaster sound.

802
00:41:00,360 --> 00:41:02,160
Speaker 2: Well, you mean Han Solo's blaster.

803
00:41:03,080 --> 00:41:05,440
Speaker 1: Yeah, I mean the blaster is just a type of gun.

804
00:41:06,160 --> 00:41:07,719
Speaker 1: I mean, we're probably gonna get in big trouble from

805
00:41:07,719 --> 00:41:11,440
Speaker 1: Star Wars people. But when they put laser sound, I

806
00:41:11,520 --> 00:41:13,840
Speaker 1: was like, oh, you can't say that, dude, it's a blaster.

807
00:41:14,760 --> 00:41:16,200
Speaker 2: Let's move on to the tie fighters.

808
00:41:16,239 --> 00:41:17,560
Speaker 1: How about that, let's do it.

809
00:41:18,120 --> 00:41:20,280
Speaker 2: Those are actually so the very famous.

810
00:41:20,200 --> 00:41:22,480
Speaker 1: Whaw hey, that's pretty good.

811
00:41:22,600 --> 00:41:27,799
Speaker 2: Thanks. Those are African elephants that are roaring, layered over

812
00:41:27,880 --> 00:41:31,040
Speaker 2: one another and then distorted so that it doesn't sound

813
00:41:31,080 --> 00:41:33,400
Speaker 2: like elephants. But when you hear that and you go

814
00:41:33,480 --> 00:41:37,359
Speaker 2: listen to the tie fighters sound being made, You'll say, yeah,

815
00:41:37,480 --> 00:41:38,320
Speaker 2: that's an elephant.

816
00:41:38,560 --> 00:41:41,279
Speaker 1: I think you do a Chewbacca too, don't you know?

817
00:41:41,960 --> 00:41:42,960
Speaker 1: I thought you used to do that.

818
00:41:43,040 --> 00:41:48,399
Speaker 2: Now my Chewbacca sounds like this wall, wall wall, It's

819
00:41:48,440 --> 00:41:49,320
Speaker 2: like a nitross.

820
00:41:49,600 --> 00:41:51,640
Speaker 1: I could have sworn it was you that did a

821
00:41:51,640 --> 00:41:55,560
Speaker 1: pretty good Chewbacca, but maybe not. But apparently Chewbacca was

822
00:41:55,560 --> 00:41:58,040
Speaker 1: made by just combining a bunch of different animals and

823
00:41:58,080 --> 00:42:01,640
Speaker 1: again layering them on top of one another, a walrus,

824
00:42:01,640 --> 00:42:05,239
Speaker 1: a badger, and a bear at the very least. And

825
00:42:05,280 --> 00:42:08,480
Speaker 1: then we got to mention R two D two because

826
00:42:08,520 --> 00:42:10,799
Speaker 1: that's where ben Bert brings in. And you know, a

827
00:42:10,800 --> 00:42:13,600
Speaker 1: big change in the industry is when the synthesizer, especially

828
00:42:13,600 --> 00:42:16,080
Speaker 1: the mogue was invented, because not only could you make

829
00:42:16,120 --> 00:42:20,920
Speaker 1: all sorts of like cool space ag music for soundtracks,

830
00:42:20,960 --> 00:42:23,680
Speaker 1: you could also make just bleeps and bloops, which is

831
00:42:23,719 --> 00:42:26,239
Speaker 1: what he did. He had a Coorg synthesizer, a very

832
00:42:26,239 --> 00:42:29,360
Speaker 1: early Chorg, and did these you know, beeps and boops

833
00:42:29,360 --> 00:42:31,839
Speaker 1: for R two D two. And you know, you think,

834
00:42:31,880 --> 00:42:35,160
Speaker 1: all right, that's great, big deal. But the genius of

835
00:42:35,160 --> 00:42:39,880
Speaker 1: it is that he somehow creates emotion and conveys emotion

836
00:42:40,120 --> 00:42:43,560
Speaker 1: through these beeps and boops from a little droid with

837
00:42:43,640 --> 00:42:46,120
Speaker 1: a synthesizer. Yeah, that's it's magic.

838
00:42:46,239 --> 00:42:49,359
Speaker 2: That's the reason fully artists are still around because you

839
00:42:49,400 --> 00:42:51,919
Speaker 2: can't you just can't do that with stock stuff from

840
00:42:51,920 --> 00:42:53,000
Speaker 2: a sound library.

841
00:42:53,840 --> 00:42:56,120
Speaker 1: Yeah, or you could tell when it's done that way

842
00:42:56,680 --> 00:42:57,080
Speaker 1: for sure.

843
00:42:57,280 --> 00:43:01,240
Speaker 2: There you go. So one other thing we should probably

844
00:43:01,239 --> 00:43:04,200
Speaker 2: touch on real quicker nature documentaries.

845
00:43:04,040 --> 00:43:06,040
Speaker 1: Yeah, to get ready to be disappointed.

846
00:43:06,320 --> 00:43:10,200
Speaker 2: Yeah, they get a lot of guf for basically fudging stuff,

847
00:43:10,320 --> 00:43:14,359
Speaker 2: and they are legendary for fudging stuff like apparently they'll

848
00:43:14,440 --> 00:43:18,719
Speaker 2: use semi domesticated animals that they rent to film, you know,

849
00:43:18,880 --> 00:43:22,600
Speaker 2: chasing a lamb around or something like that. But one

850
00:43:22,640 --> 00:43:25,320
Speaker 2: of the things they're very frequently criticized on is using

851
00:43:25,320 --> 00:43:28,640
Speaker 2: sound effects and really kind of going overboard with them.

852
00:43:28,680 --> 00:43:33,359
Speaker 2: But by the nature of what they're making, they have

853
00:43:33,480 --> 00:43:35,480
Speaker 2: to use sound effects to begin with.

854
00:43:36,880 --> 00:43:38,640
Speaker 1: Yeah, I mean a lot of this stuff is filmed

855
00:43:38,680 --> 00:43:41,399
Speaker 1: on very long lenses from very far away. If you're

856
00:43:41,440 --> 00:43:46,279
Speaker 1: filming a lion tracking down an antelope and killing it,

857
00:43:46,640 --> 00:43:48,279
Speaker 1: you're not like right up on it, you know, so

858
00:43:48,320 --> 00:43:50,799
Speaker 1: you don't have the sound to begin with. Maybe they

859
00:43:50,800 --> 00:43:52,960
Speaker 1: bring some people out there with those long distance mics

860
00:43:53,000 --> 00:43:56,000
Speaker 1: to record some stuff, but then there's just so much

861
00:43:56,040 --> 00:43:59,040
Speaker 1: ambient sound they probably can't use it. So generally, if

862
00:43:59,040 --> 00:44:04,680
Speaker 1: you see like you know, a Planet Earth discovery documentary,

863
00:44:05,320 --> 00:44:07,319
Speaker 1: these the sound department is handed kind of like a

864
00:44:07,360 --> 00:44:10,239
Speaker 1: silent film almost, and they use you know, it's not

865
00:44:10,280 --> 00:44:13,680
Speaker 1: like they gotta have to use like real animal calls

866
00:44:13,719 --> 00:44:15,680
Speaker 1: for the real animals. They're not just like, hey, let's

867
00:44:15,840 --> 00:44:19,399
Speaker 1: make this lion sound kind of like different. So they

868
00:44:19,400 --> 00:44:22,120
Speaker 1: want accuracy there for sure. But you know when you

869
00:44:22,160 --> 00:44:26,160
Speaker 1: see a mushroom growing in a time lapse, they're just

870
00:44:26,200 --> 00:44:28,719
Speaker 1: adding all those sounds of like a mushroom stretching its

871
00:44:28,800 --> 00:44:31,160
Speaker 1: arms out. Yees, mushroom doesn't have arms its head.

872
00:44:31,400 --> 00:44:34,000
Speaker 2: Sure, I mean, lean in and put your ear to

873
00:44:34,040 --> 00:44:35,680
Speaker 2: a mushroom as it's growing, and you're not going to

874
00:44:35,760 --> 00:44:38,680
Speaker 2: hear anything. It doesn't make a sound.

875
00:44:38,840 --> 00:44:39,240
Speaker 1: Nope.

876
00:44:39,360 --> 00:44:42,440
Speaker 2: Another one they get accused of is making the northern

877
00:44:42,520 --> 00:44:45,320
Speaker 2: lights make a sound. Yeah, those don't make a sound.

878
00:44:45,520 --> 00:44:47,319
Speaker 2: There's just all sorts of like if you stop and

879
00:44:47,360 --> 00:44:49,360
Speaker 2: think about it, like a close up of a spider

880
00:44:49,400 --> 00:44:52,719
Speaker 2: walking on a leaf, it wouldn't make a sound, but

881
00:44:52,960 --> 00:44:56,160
Speaker 2: it would look weird to not have a sound, or

882
00:44:56,200 --> 00:44:58,360
Speaker 2: at the very least it looks better. That makes the

883
00:44:58,400 --> 00:45:01,560
Speaker 2: whole thing better too. Sound, I don't really I mean,

884
00:45:01,640 --> 00:45:05,000
Speaker 2: nature documentaries are so fudged to begin with that I

885
00:45:05,040 --> 00:45:06,520
Speaker 2: don't really have a problem with that.

886
00:45:06,880 --> 00:45:08,799
Speaker 1: The sound, Yeah, I don't have a problem. And I

887
00:45:08,840 --> 00:45:11,440
Speaker 1: think if someone like you said, if you sat someone

888
00:45:11,480 --> 00:45:15,200
Speaker 1: down and showed them just the realistic thing with just

889
00:45:15,360 --> 00:45:20,040
Speaker 1: the realistic sound, it's probably not nearly as compelling.

890
00:45:20,000 --> 00:45:24,040
Speaker 2: They'd be like, can I leave now you anything else?

891
00:45:24,280 --> 00:45:26,200
Speaker 1: Yeah, one last thing, just sort of on the note

892
00:45:26,239 --> 00:45:29,279
Speaker 1: of using things like pro tools. I mentioned earlier that

893
00:45:29,320 --> 00:45:32,080
Speaker 1: it was was kind of budget related, and obviously big

894
00:45:32,120 --> 00:45:34,239
Speaker 1: movies can just afford to do whatever they want in

895
00:45:34,280 --> 00:45:36,680
Speaker 1: terms of that kind of thing. But even then, the

896
00:45:37,040 --> 00:45:41,480
Speaker 1: sound line items are often just a very small part

897
00:45:41,480 --> 00:45:43,200
Speaker 1: of the budget. You know, it kind of depends, but

898
00:45:43,719 --> 00:45:45,759
Speaker 1: you know, when you budget out a movie or a

899
00:45:45,800 --> 00:45:48,040
Speaker 1: TV show or commercial or anything, you kind of have

900
00:45:48,040 --> 00:45:49,960
Speaker 1: a general template to work for, like we're going to

901
00:45:50,000 --> 00:45:53,080
Speaker 1: allocate this percentage for this, this percentage for this camera

902
00:45:53,120 --> 00:45:55,880
Speaker 1: department's going to get probably something like this, and sound

903
00:45:55,960 --> 00:45:58,840
Speaker 1: is always like maybe ten percent or so, and a

904
00:45:58,840 --> 00:46:02,560
Speaker 1: lot of times. That can include the rights to play

905
00:46:02,640 --> 00:46:05,200
Speaker 1: soundtrack stuff. And you know, it depends on the movie.

906
00:46:05,200 --> 00:46:07,200
Speaker 1: If it's like Dazed and Confused or something like that,

907
00:46:07,239 --> 00:46:09,880
Speaker 1: there's really music reliant. You know, you're gonna have to

908
00:46:09,880 --> 00:46:11,640
Speaker 1: spend a lot of money on that, So you may

909
00:46:12,239 --> 00:46:14,880
Speaker 1: you may look at the post production sound and be like,

910
00:46:14,920 --> 00:46:17,880
Speaker 1: I'm sorry, you have very little to work with. So

911
00:46:17,960 --> 00:46:20,320
Speaker 1: that's where you're gonna get stuff like pulled from libraries

912
00:46:20,360 --> 00:46:23,399
Speaker 1: a little more. When you get these big, big movies,

913
00:46:23,440 --> 00:46:25,400
Speaker 1: that's when they can afford to bring into folly artists

914
00:46:25,400 --> 00:46:27,480
Speaker 1: and the whole teams. And that's why this sound is

915
00:46:27,480 --> 00:46:29,640
Speaker 1: always really awesome and that's why they highlight it at

916
00:46:29,640 --> 00:46:30,880
Speaker 1: the Academy Awards.

917
00:46:30,960 --> 00:46:36,839
Speaker 2: Yes. Nice. Yeah, So go forth and watch movies and

918
00:46:37,000 --> 00:46:39,839
Speaker 2: listen out for sounds and you'll probably be amazed here

919
00:46:39,920 --> 00:46:40,200
Speaker 2: or there.

920
00:46:40,640 --> 00:46:42,600
Speaker 1: Yeah, but don't get so caught up in that. Like

921
00:46:42,640 --> 00:46:44,799
Speaker 1: I wonder if fully artists can even watch movies I

922
00:46:44,840 --> 00:46:45,799
Speaker 1: know and enjoy them.

923
00:46:45,840 --> 00:46:48,160
Speaker 2: I feel so bad for people who can't watch movies,

924
00:46:48,320 --> 00:46:51,880
Speaker 2: who can't enjoy food because they're chefs or something like that.

925
00:46:52,080 --> 00:46:53,680
Speaker 1: Yeah, yeah, totally can't.

926
00:46:53,480 --> 00:46:55,839
Speaker 2: Enjoy simple pleasures in life because they know too much

927
00:46:55,840 --> 00:46:59,120
Speaker 2: about it, you know, can't enjoy maloney or sausage.

928
00:47:00,239 --> 00:47:02,080
Speaker 1: Yeah, I say here's a new stuff you should know

929
00:47:02,120 --> 00:47:05,279
Speaker 1: T shirt. We have a new T shirt seller.

930
00:47:05,120 --> 00:47:09,360
Speaker 2: Right, Yeah, it's on Cotton Bureau, our new merch merchant.

931
00:47:09,840 --> 00:47:11,719
Speaker 1: Yeah. We've never put a lot of effort into merch,

932
00:47:11,800 --> 00:47:15,360
Speaker 1: but we always hear people asking, So Cotton Bureau stuff

933
00:47:15,400 --> 00:47:17,200
Speaker 1: you should know. You can find our merch now. And

934
00:47:17,239 --> 00:47:19,640
Speaker 1: I think a new T shirt should be stay dumb,

935
00:47:19,800 --> 00:47:20,480
Speaker 1: Enjoy Things.

936
00:47:21,040 --> 00:47:24,000
Speaker 2: Oh that's a good one. Yeah, that's a great one.

937
00:47:24,200 --> 00:47:26,400
Speaker 2: All right, Well let's have Aaron Cooper get on it,

938
00:47:26,440 --> 00:47:29,000
Speaker 2: because I say, I think two thirds of our shirts

939
00:47:29,080 --> 00:47:31,960
Speaker 2: in our merch store from Aaron Cooper because he's really

940
00:47:31,960 --> 00:47:32,560
Speaker 2: good at it.

941
00:47:32,960 --> 00:47:35,280
Speaker 1: Yeah, and State of enjoy Things is perfect to promote

942
00:47:35,320 --> 00:47:37,960
Speaker 1: a show that's all about trying to make people smarter precisely.

943
00:47:38,400 --> 00:47:40,680
Speaker 2: Yeah, I wonder if we can get his shirt that says.

944
00:47:42,440 --> 00:47:43,319
Speaker 1: How would you spell that?

945
00:47:43,440 --> 00:47:45,800
Speaker 2: I don't know. I'm going to leave that to Aaron Cooper.

946
00:47:46,239 --> 00:47:46,879
Speaker 1: Yeah.

947
00:47:46,960 --> 00:47:50,240
Speaker 2: Well, since we said Aaron Cooper's name at least two times,

948
00:47:50,280 --> 00:47:52,680
Speaker 2: I think maybe three, we've unlocked listener mail.

949
00:47:55,400 --> 00:47:56,839
Speaker 1: You don't want to say it three times because he'll

950
00:47:56,840 --> 00:48:01,000
Speaker 1: be right behind you. All right, here we go from Stephanie,

951
00:48:01,600 --> 00:48:04,280
Speaker 1: and I feel bad about this because I even knew this. Hey, guys,

952
00:48:04,600 --> 00:48:07,800
Speaker 1: thanks for the great episode about the militarization of the police.

953
00:48:08,560 --> 00:48:11,960
Speaker 1: I'm truly grateful for the decade of learning since I've

954
00:48:11,960 --> 00:48:14,360
Speaker 1: been listening. One of you commented, I think it was me,

955
00:48:14,440 --> 00:48:16,640
Speaker 1: probably that you were surprised to read about the police

956
00:48:16,640 --> 00:48:18,759
Speaker 1: in teen Vogue. I thought you might be interested to

957
00:48:18,800 --> 00:48:20,600
Speaker 1: know that teen Bogue is pretty well known for serious

958
00:48:20,640 --> 00:48:23,360
Speaker 1: journalism and being an example for taking young women and

959
00:48:23,360 --> 00:48:27,839
Speaker 1: girls seriously. I knew that, and we've even talked about

960
00:48:27,880 --> 00:48:29,520
Speaker 1: this before, and so I don't know why it's like, oh,

961
00:48:29,560 --> 00:48:30,160
Speaker 1: than Vogue.

962
00:48:30,200 --> 00:48:32,600
Speaker 2: No, it was me, was it? It was one hundred

963
00:48:32,600 --> 00:48:33,000
Speaker 2: percent of me.

964
00:48:33,480 --> 00:48:36,080
Speaker 1: Oh I thought it was me. Well, I'll throw myself

965
00:48:36,080 --> 00:48:40,040
Speaker 1: on that grenade. That's along with you. That's all right,

966
00:48:40,800 --> 00:48:44,480
Speaker 1: But she says, here's an article from Jezebel by Julian

967
00:48:45,680 --> 00:48:48,520
Speaker 1: Escabato Shepherd. If you're shocked teen Bogue is great, you're

968
00:48:48,560 --> 00:48:51,560
Speaker 1: not paying attention. I imagine you may get other emails like this,

969
00:48:51,680 --> 00:48:53,440
Speaker 1: although I may be the first, since I was up

970
00:48:53,800 --> 00:48:56,520
Speaker 1: crazy early and listened right away. Thanks and have a

971
00:48:56,520 --> 00:48:57,920
Speaker 1: great day, and that is from Stephanie.

972
00:48:57,960 --> 00:49:01,000
Speaker 2: Thanks Stephanie. Those are the correct that we love to

973
00:49:01,040 --> 00:49:04,360
Speaker 2: get where it's very gentle, but also like you guys,

974
00:49:04,440 --> 00:49:07,759
Speaker 2: come on, you know yeah, if you can balance those

975
00:49:07,760 --> 00:49:10,200
Speaker 2: two things, you've come up with a great correction email

976
00:49:10,239 --> 00:49:11,400
Speaker 2: as far as I'm concerned.

977
00:49:11,680 --> 00:49:12,080
Speaker 1: Agreed.

978
00:49:12,600 --> 00:49:14,200
Speaker 2: If you want to be like Stephanie and send us

979
00:49:14,239 --> 00:49:16,920
Speaker 2: a correction or just an email say hi or whatever,

980
00:49:17,280 --> 00:49:19,879
Speaker 2: you can send it off to stuff podcast at iHeartRadio

981
00:49:19,960 --> 00:49:23,479
Speaker 2: dot com.

982
00:49:23,600 --> 00:49:26,480
Speaker 1: Stuff you Should Know is a production of iHeartRadio. For

983
00:49:26,560 --> 00:49:30,759
Speaker 1: more podcasts my heart Radio, visit the iHeartRadio app, Apple Podcasts,

984
00:49:30,880 --> 00:49:32,720
Speaker 1: or wherever you listen to your favorite shows.