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Speaker 1: You have made a remarkable decision to stuff your ear

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Speaker 1: holes full of me art, Simone.

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Speaker 2: In return, I have a treat for you.

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Speaker 1: I'm going to introduce you to someone with a bizarre job,

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Speaker 1: a strange hobby, or they might just be a downright

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Speaker 1: weirdo wh who knows, But I will get to the

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Speaker 1: bottom of it. This is concealed with me arts, Simone. Okay,

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Speaker 1: no Moore tiptoeing around. Let's get noisy roll the type glat.

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Speaker 3: My name's John. I live in corn In, South Australia,

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Speaker 3: fifty nine years old. This is actually sending a bit

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Speaker 3: like a dating program. Now, yes I'm single, but anyway

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Speaker 3: back to it. In my out of work hours, I

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Speaker 3: just enjoy being outdoors because I'm indoors a lot for

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Speaker 3: my job, so I do a bit of walking. I

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Speaker 3: like camping and watching a bit of motorsport. Really but

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Speaker 3: I'm concealing a part of my life which isn't really

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Speaker 3: a secret. It's been shown right across the world. You're

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Speaker 3: probably familiar with a lot of my work, even if

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Speaker 3: you don't know it.

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Speaker 1: Oh mysterious, Oh hello John, how are you.

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Speaker 3: Going very well? Thank you and you I.

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Speaker 1: Love me to meet you. In your I'm going to

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Speaker 1: call this the bunker. I feel like you're in a

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Speaker 1: bunker at the moment. No daylight, Yes, I see no daylight.

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Speaker 1: I hear him in my own bunker here at the studio.

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Speaker 2: But all right, we've never met before.

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Speaker 1: I don't know anything about you, but apparently I may

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Speaker 1: be familiar with your work, perhaps correct.

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Speaker 2: Okay, all right, so you're sitting in front of me.

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Speaker 1: You've just got to love your T shirt on. You've

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Speaker 1: got your glasses on a little bit scruffy there, hmm. Okay, okay,

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Speaker 1: So tell me a bit about living in Corn, because

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Speaker 1: I've never heard of that.

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Speaker 3: Corn is just a little town about four hours north

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Speaker 3: of Adelaide. It's situated in the Flinders Ranges. So it's

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Speaker 3: a pretty little towns rounded by mountains and it's a

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Speaker 3: beautiful community.

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Speaker 2: And what brings you to Corn?

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Speaker 1: I know, I'm very stuck on this Corn thing, but

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Speaker 1: I think it's really interesting because imagine just saying I

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Speaker 1: live in Corn.

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Speaker 2: That's fun.

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Speaker 3: Yeah. Well, I guess I'm not a big fan of

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Speaker 3: big cities. And my work I can I can sent

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Speaker 3: and receive stuff over the internet, so it doesn't really

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Speaker 3: matter where I work.

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Speaker 2: From Okay, so you can work remotely? All right?

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Speaker 1: Okay, so you hate if you had bad Wi Fi there,

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Speaker 1: I hope you hooked up to the NBN or something.

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Speaker 3: Yes, yes, similar to that. Yeah.

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Speaker 2: Okay.

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Speaker 1: So you like walking, like camping, like motorsports, all things

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Speaker 1: we don't have in common.

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Speaker 2: Okay, so I really threw me off there.

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Speaker 1: What I'm going to do is ask you three questions,

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Speaker 1: and from the answer to those three questions, I'm going

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Speaker 1: to try and decide or discover what it is that.

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Speaker 2: You are concealing from me here today. Are you ready? John?

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Speaker 3: Okay? Far away?

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Speaker 2: Okay.

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Speaker 1: If someone walked through your house, what would they assume

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Speaker 1: about you?

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Speaker 3: That I am a collector of weird things? Almost horder like?

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Speaker 1: Okay, No, I love things. I love things. Do you

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Speaker 1: find value in possessions? Do they hold sentimental value to you?

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Speaker 3: It depends what they are. They need to they need

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Speaker 3: to do something. I don't like things that don't do anything.

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Speaker 1: Ah okay, ah, okay, don't like things, don't like people,

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Speaker 1: and don't like things that don't do anything. All right, Okay,

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Speaker 1: now these are all very important things. Okay, So they

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Speaker 1: assume you're a bit of a hoarder.

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Speaker 2: Hmm. Okay.

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Speaker 1: Maybe you're into antiques. Oh, that could be nice. Maybe,

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Speaker 1: but their own tanks don't do much. Maybe you're into

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Speaker 1: a specific type of antiques. Maybe you're really into music boxes. Oh,

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Speaker 1: wouldn't that be fascinating? Okay, anyway, that's the first question.

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Speaker 1: Second question, if you could follow something for the rest

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Speaker 1: of your life, whether it be a trend, a social

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Speaker 1: media account, or something else, what would it be.

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Speaker 3: I would be following other people's footsteps.

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Speaker 2: Store okay, s talker, all right, I'm putting that down.

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Speaker 1: Doesn't like people, don't like things that don't do things,

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Speaker 1: but also likes to follow people. Interesting. Interesting there, okay, okay.

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Speaker 1: And number three, if you could describe your life in

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Speaker 1: five words, what would they be.

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Speaker 3: I'm heard but not seen.

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Speaker 2: Okay, head but not seen.

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Speaker 1: Oh it's like one of those limericks, you know, black white,

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Speaker 1: red all over. I'm a newspaper but you're not that.

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Speaker 1: Or you could be all right under the sea.

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Speaker 2: All right.

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Speaker 1: I feel like I feel like I know this one.

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Speaker 1: I feel like I know this one. And I've said

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Speaker 1: this before and got it completely wrong. Okay, you like

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Speaker 1: things that do things, you follow on people's footsteps. You

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Speaker 1: can just work from home and do your things like

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Speaker 1: you have lots of objects and you know what you need,

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Speaker 1: lots of objects for foley and sound effects and things

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Speaker 1: like that. And because I find this very interesting, I

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Speaker 1: love this. So I've had a feeling that perhaps you

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Speaker 1: may be a foley artist, which is like a sound

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Speaker 1: effects artist.

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Speaker 2: Is this right?

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Speaker 3: I'm a foley artist. My job is recreating sounds like

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Speaker 3: footsteps and people getting patted and all the clothes, rustles

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Speaker 3: and things like that. It's a bit of a crazy job.

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Speaker 3: I've worked with some great people over the years. Steven

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Speaker 3: Spielberg probably one of my highlights doing a movie called

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Speaker 3: The Adventures of Tintin. But there's also been some amazing

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Speaker 3: Australian films, a lot of fun to do, the Great Gatsby,

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Speaker 3: Happy Feet, Wolf Creek, but also one of my favorite

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Speaker 3: Izi films, and great Girls, which is The Girls that

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Speaker 3: made Kath and Kimderella.

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Speaker 2: Yeah. I love this stuff. I love this.

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Speaker 1: Oh, goold the Stars? It a line any better for

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Speaker 1: me here today? John Ah, I feel like we were

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Speaker 1: tested to meet each other. Even though I don't like

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Speaker 1: camping or motor sports.

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Speaker 2: Are walking?

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Speaker 3: Oh?

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Speaker 2: I love what you do. Oh, I love sounds.

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Speaker 3: Ah, yes, I'm very impressed you've done well.

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Speaker 2: Oh yeah, I got it right.

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Speaker 1: John is a Foley artist, and I'm feeling fabulous.

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Speaker 2: That's ill to say because I got it right and

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Speaker 2: you got it wrong. Isn't that good? Yes? Thank you? Okay,

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Speaker 2: So we're here with John and I was correct.

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Speaker 1: John is a Foley artist and for layman terms, for

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Speaker 1: all the people listening home, John makes sounds, sounds that

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Speaker 1: you see on screen on TV movies, everywhere and anywhere.

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Speaker 2: If it needs a sound, you put it in. Is

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Speaker 2: that correct, John?

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Speaker 3: That's pretty much it. That's what I do. Yep.

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Speaker 1: So can you explain if there's a difference between foley

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Speaker 1: and sound effects and what it is.

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Speaker 3: Yeah. So, foley is anything that's performed live. So when

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Speaker 3: I'm recording on watching the actual vision on a big screen,

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Speaker 3: have a microphone in my room. And if there's a lady,

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Speaker 3: you know, walking along, got the high heels on down

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Speaker 3: a concrete footstep for a concrete path, that'll be me.

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Speaker 3: I have to slap on the pair of high heels

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Speaker 3: and walk like a lady down the path, which should help.

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Speaker 3: I always have trouble with you'd be good at it,

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Speaker 3: you'd be excellent.

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Speaker 1: There you go, Well, if you need an intern one day,

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Speaker 1: if it's the extra you're walking, count me in. Maybe

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Speaker 1: one day you'll need to do Foley on a drag

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Speaker 1: Queen film and I can go, well, you can know

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Speaker 1: to call me up. It's all about who you know,

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Speaker 1: isn't it.

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Speaker 3: I've done a few already with drag Queens in.

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Speaker 1: So well I'm your Gael all right. So essentially Folly

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Speaker 1: has performed live sound effects. Would you say, is can

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Speaker 1: he pulled from a database or just an audio file

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Speaker 1: or something.

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Speaker 3: This is where there's a bit of confusion. People think

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Speaker 3: that recording doing folly is I'm going to go to

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Speaker 3: the kitchen recorder record putting a spoon in a draw

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Speaker 3: and then they'll go and cut it and put it in,

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Speaker 3: And that's not truly what it is. That you're just

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Speaker 3: recording a sound effect and editing it in, so you're

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Speaker 3: not performing it live. So there's a big difference, especially

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Speaker 3: with walking or placing something down, because there's the sound

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Speaker 3: of a cup going on the table so many different ways.

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Speaker 3: If you watch someone slam a cup down or they

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Speaker 3: gently put it down and give a little slide and

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Speaker 3: it depends on the mood of the person that at

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Speaker 3: the time of the movie.

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Speaker 1: So is there a bit of a pushback or are

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Speaker 1: you battling against sound effects these days? Or are you

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Speaker 1: still quite prized for what you do because you know

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Speaker 1: in this day of AI and you know, we've got

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Speaker 1: a full database. We'll just pick from there. It's cheaper.

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Speaker 1: Is that something that you have to kind of battle

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Speaker 1: at the moment?

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Speaker 3: Not yet. There's been a few people try to do

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Speaker 3: automated Foley programs and they're quite clever. They can see,

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Speaker 3: you know, from the vision that a footstep lands, and

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Speaker 3: they'll find a footstep to match it. But it still

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Speaker 3: doesn't work the same. It hasn't got the feel of

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Speaker 3: someone actually performing it because there's still grabbing it from

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Speaker 3: a library and it doesn't quite work.

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Speaker 1: Has working as a folly artist ruined watching things for you?

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Speaker 1: Because I imagine that not every sound that you create

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Speaker 1: is actually doing the action. For example, if someone's stabbed,

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Speaker 1: I don't think you're sabbing a real human being. You

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Speaker 1: must be using something else to do that. So when

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Speaker 1: you watch things, do you just picture all the wrong

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Speaker 1: things that the sounds are coming from?

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Speaker 3: I actually hardly go to the movies, I gotta say,

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Speaker 3: but when I do, I generally are watching and listening

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Speaker 3: to the soundtrack. Yes, it is hard to be involved

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Speaker 3: in the movie. It has to be a very good

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Speaker 3: film for me to forget about the sound and actually

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Speaker 3: just watch it. But yeah, you're like, you're right. You

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Speaker 3: don't bring in a work experience person to just stab

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Speaker 3: them to make the noise with it, although there's been

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Speaker 3: a few I've been tempted with, but the we'll just

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Speaker 3: use a bit of a celery or a a chicken

200
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Speaker 3: or something like that, just to you know, make a

201
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Speaker 3: bit of a crunchy, stabby sound.

202
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Speaker 2: Yeah.

203
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Speaker 1: I totally get it, because you know, I know a

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Speaker 1: little bit about here and makeup, and I can't watch

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Speaker 1: films anymore. People hate to watch them with me because

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Speaker 1: I will literally be sitting in the cinema and I'll

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Speaker 1: be next to my friend and I'll go.

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Speaker 2: Wig, Wig, that's a wig. Look it's a wig. You

209
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Speaker 2: can see it. Look at the wig. Oh, it's a wig,

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Speaker 2: And they're like, stop it. I didn't even think.

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Speaker 1: I was like, there's a wig, and it's a bad

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Speaker 1: one too, So I totally understand it all different folly

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Speaker 1: artists would have different ways they create sounds and different

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Speaker 1: objects they use for certain sounds. Is there some particular

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Speaker 1: items or things or techniques that you do that are

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Speaker 1: like industry secret that you're like, I'm never telling anyone

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Speaker 1: how I make the sound.

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Speaker 2: Of x y z ed.

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Speaker 3: Possibly, but I can't tell you.

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Speaker 1: Something goes, Oh, we'll go to John because John does

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Speaker 1: the best rattling knees. Oh, John's rattling knees are the

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Speaker 1: absolute best, So we'll go to John.

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Speaker 3: I'm fifty nine years old on my knees actually do rattle.

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Speaker 3: But no, Look, I've got some props, and a lot

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Speaker 3: of stuff comes down to the props that you gather,

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Speaker 3: and so I've got some really favorite props which are

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Speaker 3: my go to ones for making some things. And one

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Speaker 3: of them is just a rusty old hinge, which I

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Speaker 3: pretty much use in every single film that comes across you.

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Speaker 3: Kind of I'll always find a place for it because

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Speaker 3: it's like a bit of a mark, you know. It's

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Speaker 3: like the Wilhelm scream for some films, Like there's something

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Speaker 3: that's got to get hinge in here somehow. So that's

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Speaker 3: how it works.

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Speaker 1: Do you just go out leave your house and go

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Speaker 1: and listen to things to go oh that, could you

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Speaker 1: pick up something and go oh that?

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Speaker 2: Oh that sounded good? Actually I do.

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Speaker 3: It happens a lot. Absolutely. I'll be sitting at a

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Speaker 3: cafe and listening to some footsteps will suddenly just get

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Speaker 3: my attention. And the worst thing. Once I went to

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Speaker 3: a very good friend's funeral who was sitting in a

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Speaker 3: big church waiting for everything to happen. And I was

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Speaker 3: sitting there with my friend because we're all mates of

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Speaker 3: this fella and the reverberance sound inside this big old

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Speaker 3: church in Adelaide, and I've just heard this lady's footsteps

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Speaker 3: walking down And the first thing that came into my

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Speaker 3: mind was, Wow, those footsteps sound awesome. So I'm thinking that, John,

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Speaker 3: you're at a funeral. You can't be you can't be

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Speaker 3: linking your footsteps right now, but they did.

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Speaker 1: I want to go up to that lady and go,

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Speaker 1: what shoesy wearing? I'd like to recreate this sound on

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Speaker 1: my own face, exactly right. I'm a size thirteen, ladies,

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Speaker 1: So if we could just do.

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Speaker 3: That, please, Yes, that'd be perfect.

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Speaker 1: What are kind of the most common sounds you would

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Speaker 1: have to create, you know, that's your bread and butter

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Speaker 1: in a film or TV.

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Speaker 3: So obviously footsteps. Every single film has to have all

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Speaker 3: the footsteps replaced and then followed by really the cloth,

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Speaker 3: so all the clothes, and that could be whether someone's

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Speaker 3: wearing a sparkly coat with you know, little jingly bits

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Speaker 3: on it and jewelry and things, and that's probably probably

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Speaker 3: the main things. Nowadays there's a lot of mobile phones,

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Speaker 3: Like people have always got a mobile phone in the

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Speaker 3: hand and are always pushing the bloody thing, scriggling the

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Speaker 3: screen around the screen, So you always have to have

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Speaker 3: those sorts of noises in there.

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Speaker 1: What is the weirdest noise you've had to perform for

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Speaker 1: one of your films or things?

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Speaker 2: What's the strangest thing.

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Speaker 3: So the strangest noise would have to be in one

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Speaker 3: of the Hobbit films. Actually there's a big character and

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Speaker 3: I can't even think of his name, but it was

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Speaker 3: played by Barry Humphries, the late Barry Humphreys, and he

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Speaker 3: was like this. He was made up as a giant

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Speaker 3: sort of ogre with these huge squishy feet and he

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Speaker 3: would walk around and it was bare feet. And we

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Speaker 3: wanted to have kind of big, weighty, but also really squishy, rubbery, fleshy,

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Speaker 3: and we try to different things and I ended up

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Speaker 3: with some fresh chickens which I got from the supermarket

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Speaker 3: and just had a fresh chicken in each hand and

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Speaker 3: was just using those as these big sloppy feet, just

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Speaker 3: plunking them on the ground and it sounded amazing, but yeah,

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Speaker 3: it's and it was all used.

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Speaker 1: If only those chickens knew what they would become one day,

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Speaker 1: that's right. I thought I might just be not a

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Speaker 1: nice sandwich or something, and you had different plans sit

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Speaker 1: at your john.

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Speaker 3: They had no idea those chickens.

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Speaker 1: So you've worked in kids films, you worked in horror films.

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Speaker 1: Do the materials used to make the sounds so you

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Speaker 1: know those different genres differ much or do you just

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Speaker 1: still kind of pull from the same pool of things.

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Speaker 3: There's the basic footsteppy things. But if you've got a

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Speaker 3: bit of a horror film or something creepy, you go

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Speaker 3: to we we call it like a Hollywood level film,

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Speaker 3: and there's Australian level films. All the Hollywood level ones

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Speaker 3: are big, upfront, loud, in your face, you know, like huge,

300
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Speaker 3: big footsteps, big creaky boots and everything's just huge. And

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Speaker 3: then we'll have some of the more subtle, kind of

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Speaker 3: straight of films that we make the sounds as realistic

303
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Speaker 3: as possible, so they sound like exactly how they should

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Speaker 3: on the day. The Hollywood stuff's way more fun to

305
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Speaker 3: do because everything's just loud and big and noisy, and

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00:15:29,040 --> 00:15:29,840
Speaker 3: I love that stuff.

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Speaker 1: Yeah, So do they actually just differ stylistically. That's actually

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Speaker 1: quite a known difference between the two. Is Hollywood just

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Speaker 1: love bing bang bom bom bom boom, Yeah, And austrains

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Speaker 1: are like, no, I'm subtle. Are you talking about? Let's

311
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Speaker 1: trottle down under it?

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Speaker 2: And it is.

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Speaker 3: It is nice sometimes to do the subtle things. One

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Speaker 3: of a film I did a long time ago called

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Speaker 3: Little Women, and that we managed to go to a

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Speaker 3: props in the ABC because I did that and when

317
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Speaker 3: I was in Sydney and we got all the beautiful

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Speaker 3: dresses and all this jewelry and all these different things

319
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Speaker 3: for all the ladies dresses and just the different materials

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Speaker 3: and stuff, and actually sounded really nice. We had a

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Speaker 3: good time with that, and we all looked a bit

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Speaker 3: weird dressed up in the dresses. But there's something you

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00:16:16,080 --> 00:16:18,600
Speaker 3: would have loved. I'm sure it was good fun.

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Speaker 1: Tell you put me on speed all babe, I'll come down.

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Speaker 1: I'll be a little woman. I'm a big woman currently,

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Speaker 1: but you know I'll try.

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Speaker 2: I'll try anyway.

328
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Speaker 1: So footsteps from giant chicken filets on the ground, high

329
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Speaker 1: heels in a church. You've worked on happy feet, which

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Speaker 1: must have the most footsteps that ever did exist?

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Speaker 2: Ever?

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Speaker 1: Tell me more about happy feet. How did you manage

333
00:16:45,120 --> 00:16:48,360
Speaker 1: to record a million digital penguins dancing on the ice?

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Speaker 3: That was very difficult, So the actual normal penguins walking,

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Speaker 3: I wasn't too bad. So I actually set up a

336
00:16:56,720 --> 00:16:59,000
Speaker 3: bit of a bench, concrete bench, and I was able

337
00:16:59,040 --> 00:17:01,360
Speaker 3: to sit at with TV right in front of me,

338
00:17:02,160 --> 00:17:05,960
Speaker 3: and we had I was here. There's no snow I

339
00:17:06,000 --> 00:17:09,200
Speaker 3: could just keep in the studio, So I used wet sand.

340
00:17:09,240 --> 00:17:11,600
Speaker 3: It was just a coarse build of sand and we

341
00:17:11,680 --> 00:17:15,119
Speaker 3: just kept that wet and that just it just sounded

342
00:17:15,200 --> 00:17:18,240
Speaker 3: like snow. And we would change it around and mix

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Speaker 3: it up with different amounts of water depending on what

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Speaker 3: sort of snow it looked like. And we can add

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Speaker 3: squeaks to snow using corn flour. You know when you

346
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Speaker 3: squish a handful of corn flour has a little bit

347
00:17:28,560 --> 00:17:30,960
Speaker 3: of itp so more of a dry pottery snow, we

348
00:17:31,000 --> 00:17:32,240
Speaker 3: can add that if we want.

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Speaker 2: To see you're a scientist as well.

350
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Speaker 3: You have to be a scientist. You have to be

351
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Speaker 3: one of.

352
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Speaker 2: Everything, my goodness.

353
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Speaker 3: And then I just use my little fingers just on

354
00:17:38,960 --> 00:17:41,720
Speaker 3: the end and that's just that's just the little flippers

355
00:17:41,760 --> 00:17:46,400
Speaker 3: going around. But ah, the actual penguins also have little

356
00:17:46,520 --> 00:17:50,320
Speaker 3: nails on them. So then I've got these little cotton

357
00:17:50,320 --> 00:17:54,440
Speaker 3: gloves where you know the I use them for dogs

358
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Speaker 3: and cats as well as claws. But you know the

359
00:17:56,760 --> 00:17:59,800
Speaker 3: little hair grabby things that kind of you put on

360
00:17:59,840 --> 00:18:02,080
Speaker 3: your hair and they kind of bunch up your hair together,

361
00:18:02,119 --> 00:18:03,879
Speaker 3: and it was like hair clamp thing. They made a

362
00:18:03,920 --> 00:18:07,720
Speaker 3: plastic So I just buyse and I cut all the

363
00:18:07,760 --> 00:18:11,199
Speaker 3: prongs off them and then sticky tape those to the

364
00:18:11,280 --> 00:18:13,919
Speaker 3: end of the cotton gloves because and it sounds like

365
00:18:13,960 --> 00:18:16,000
Speaker 3: little dog nails and.

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00:18:16,960 --> 00:18:18,600
Speaker 1: All you need to do is just get some super

367
00:18:18,640 --> 00:18:21,160
Speaker 1: glue and glue them to your fingers like I do.

368
00:18:21,160 --> 00:18:23,600
Speaker 1: Don't be a worse job I do.

369
00:18:23,720 --> 00:18:25,760
Speaker 3: But you know, hey, I hate the ruin and nail

370
00:18:25,760 --> 00:18:28,399
Speaker 3: and these ones are just they just come off easy

371
00:18:28,760 --> 00:18:31,240
Speaker 3: when I don't. The next thing, you see.

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00:18:31,200 --> 00:18:34,920
Speaker 1: I thought you were committed to your industry jumps, so

373
00:18:35,080 --> 00:18:38,640
Speaker 1: your sticky tape little plastic things to the gloves.

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00:18:38,840 --> 00:18:41,080
Speaker 3: Yep, that's right. There's a lot of editing involved with

375
00:18:41,119 --> 00:18:43,439
Speaker 3: that sort of stuff, because you've got one pass, like

376
00:18:43,480 --> 00:18:47,480
Speaker 3: one recorded pass of footsteps with your fingers, and then

377
00:18:47,600 --> 00:18:49,520
Speaker 3: on top of that you do it again with the nails,

378
00:18:50,000 --> 00:18:52,560
Speaker 3: so then you have to go and cut those it's

379
00:18:52,560 --> 00:18:55,080
Speaker 3: to the right point, and sometimes the nail lands before

380
00:18:55,640 --> 00:18:58,720
Speaker 3: the actual little flip apart, and sometimes I flip apart

381
00:18:58,760 --> 00:19:00,560
Speaker 3: and the nail and then of course they slide on

382
00:19:00,640 --> 00:19:03,000
Speaker 3: ice and skid along and do all that sort of thing.

383
00:19:04,240 --> 00:19:07,399
Speaker 3: But by far the hardest part was there all the

384
00:19:07,440 --> 00:19:12,960
Speaker 3: tap dancing. We got the original recordings from the motion

385
00:19:13,080 --> 00:19:17,320
Speaker 3: capture stage of the guy that did all the tap sequences.

386
00:19:17,359 --> 00:19:18,920
Speaker 3: And I'm trying to remember his name, but he is

387
00:19:18,960 --> 00:19:22,040
Speaker 3: a very famous tap dancer, and everything he did was

388
00:19:22,080 --> 00:19:26,080
Speaker 3: tapped on a white American oak slab. He couldn't obviously,

389
00:19:26,119 --> 00:19:30,040
Speaker 3: tap dance on snow, it just doesn't happen. So we

390
00:19:30,160 --> 00:19:33,200
Speaker 3: got all those and then what we did was record

391
00:19:33,680 --> 00:19:39,560
Speaker 3: I know, maybe two thousand different samples of tapping my

392
00:19:39,760 --> 00:19:46,000
Speaker 3: fingers and nails on various slushy snowy rocks, all the

393
00:19:46,040 --> 00:19:49,080
Speaker 3: surfaces that you would have seen, and happy feet. And

394
00:19:49,119 --> 00:19:52,480
Speaker 3: then we used a program called Drummergogu, which is a

395
00:19:52,520 --> 00:19:56,639
Speaker 3: drum replacement program, and we loaded all those samples in there.

396
00:19:56,800 --> 00:19:59,680
Speaker 3: It would look at the incoming sound from the tap

397
00:19:59,760 --> 00:20:03,680
Speaker 3: sound and go, okay, that sounds like this. We'll use

398
00:20:03,880 --> 00:20:06,240
Speaker 3: this kind of ice one and it'll put it there,

399
00:20:06,480 --> 00:20:10,600
Speaker 3: and the rhythm sounded right. Because when a tap dancer

400
00:20:11,280 --> 00:20:14,359
Speaker 3: creates a rhythm, it's like someone singing a song. It

401
00:20:14,400 --> 00:20:17,199
Speaker 3: has to be exactly the same rhythm. It couldn't go,

402
00:20:17,320 --> 00:20:20,000
Speaker 3: it couldn't change. There was a thousand hours of work

403
00:20:20,040 --> 00:20:20,440
Speaker 3: in that.

404
00:20:20,440 --> 00:20:22,760
Speaker 1: It was insane, yeah, because it would have been impossible

405
00:20:22,880 --> 00:20:25,080
Speaker 1: just because what what did you normally do? The process

406
00:20:25,080 --> 00:20:28,120
Speaker 1: would be to watch the footsteps and then replicate them,

407
00:20:28,520 --> 00:20:30,760
Speaker 1: you know, in time as you watch them happen. But

408
00:20:30,800 --> 00:20:33,760
Speaker 1: you can't do that if someone's a little penguins tap

409
00:20:33,800 --> 00:20:35,040
Speaker 1: it on ice to a rhythm.

410
00:20:35,080 --> 00:20:36,119
Speaker 2: That's a bit harder, isn't it.

411
00:20:36,200 --> 00:20:37,320
Speaker 3: No, it's impossible.

412
00:20:37,680 --> 00:20:39,840
Speaker 1: Now, whenever I watch Happy Feet, I will just picture

413
00:20:39,920 --> 00:20:41,720
Speaker 1: hu Jeh on fingering a box of sand and I

414
00:20:41,760 --> 00:20:42,680
Speaker 1: think that's beautiful.

415
00:20:42,880 --> 00:20:44,000
Speaker 2: I think that's nice.

416
00:20:44,320 --> 00:20:46,679
Speaker 1: Do you have to submit what you want the sounds

417
00:20:46,720 --> 00:20:48,640
Speaker 1: to be and get them approved before you record them

418
00:20:48,680 --> 00:20:49,919
Speaker 1: or do you do they just go to you and

419
00:20:50,000 --> 00:20:52,400
Speaker 1: you present it. They go cool, that's great. Is there

420
00:20:52,440 --> 00:20:53,920
Speaker 1: like a revision process?

421
00:20:54,320 --> 00:20:57,959
Speaker 3: There is, depending on the movie. So the one we

422
00:20:58,000 --> 00:21:00,879
Speaker 3: did with Spielberg, which I did out of New Zealand,

423
00:21:01,800 --> 00:21:05,639
Speaker 3: who's the most interesting one because he would review each

424
00:21:05,680 --> 00:21:09,840
Speaker 3: week what everything had done. So he'd review the sound effects, editors,

425
00:21:10,480 --> 00:21:13,800
Speaker 3: the dialogue, the foley and everything, and it was all

426
00:21:13,840 --> 00:21:17,800
Speaker 3: done via video link because he wasn't in New Zealand

427
00:21:17,800 --> 00:21:19,760
Speaker 3: and he was actually on a boat somewhere in the

428
00:21:19,800 --> 00:21:24,920
Speaker 3: Caribbean on his big yacht. As you do live the line,

429
00:21:25,040 --> 00:21:28,280
Speaker 3: I know. So we would just sit back and he'd

430
00:21:28,320 --> 00:21:31,320
Speaker 3: just send us all the video of what he thought

431
00:21:31,359 --> 00:21:33,399
Speaker 3: was going on. So that was actually really interesting, and

432
00:21:33,440 --> 00:21:35,640
Speaker 3: it was it is a bit of a thrill because

433
00:21:35,640 --> 00:21:38,399
Speaker 3: I'm a big Spielberg fan. I love his films. So

434
00:21:38,520 --> 00:21:40,480
Speaker 3: when he comes back and he starts talking about the

435
00:21:40,480 --> 00:21:42,960
Speaker 3: foley part and saying, oh, you know, I really like

436
00:21:43,040 --> 00:21:45,520
Speaker 3: the way the dogtail sounds. So we want we want

437
00:21:45,520 --> 00:21:47,480
Speaker 3: to hear more of that, you know. And that's that's

438
00:21:47,520 --> 00:21:49,399
Speaker 3: little Snowy the dog. I don't know if you've seen it,

439
00:21:49,440 --> 00:21:51,120
Speaker 3: but you know if he's flapping his tail on it's

440
00:21:51,359 --> 00:21:53,479
Speaker 3: just hitting the back of a seat or something. Is like,

441
00:21:53,520 --> 00:21:54,240
Speaker 3: that's really cool.

442
00:21:54,520 --> 00:21:57,320
Speaker 1: And of course how do you make a dogtail sound effect?

443
00:21:57,320 --> 00:21:58,160
Speaker 1: I must know now?

444
00:21:58,400 --> 00:22:01,720
Speaker 3: It basically we just you is a little bit of

445
00:22:01,760 --> 00:22:03,280
Speaker 3: wrapped up cloth.

446
00:22:05,600 --> 00:22:05,960
Speaker 2: All right.

447
00:22:06,000 --> 00:22:07,800
Speaker 1: So to wrap this up, John, I've been given a

448
00:22:07,840 --> 00:22:10,679
Speaker 1: box of props put in front of me, and I

449
00:22:10,720 --> 00:22:13,800
Speaker 1: told you ready that I think I'm qualified for this industry. Yeah,

450
00:22:13,840 --> 00:22:16,560
Speaker 1: so I want you to give me some scenarios and

451
00:22:16,560 --> 00:22:20,480
Speaker 1: I'm going to try and recreate them using my box

452
00:22:20,520 --> 00:22:22,560
Speaker 1: of props in front of me. See if I can

453
00:22:22,600 --> 00:22:26,719
Speaker 1: be Oh wow, there's so many good things in here. Okay,

454
00:22:26,920 --> 00:22:29,520
Speaker 1: oh salary, oh hinge, I could do it all all right.

455
00:22:29,560 --> 00:22:34,160
Speaker 3: So are you familiar with the Star Trek films?

456
00:22:34,480 --> 00:22:36,119
Speaker 2: I mean they've got funny hands. I know that.

457
00:22:36,760 --> 00:22:39,840
Speaker 3: Do you remember the sound of the doors every time

458
00:22:39,840 --> 00:22:40,760
Speaker 3: I opened and close?

459
00:22:40,920 --> 00:22:42,240
Speaker 2: Oh? The yes?

460
00:22:43,520 --> 00:22:49,199
Speaker 1: Oh all right, I passed that though that I was

461
00:22:49,200 --> 00:22:50,440
Speaker 1: too good, John, give me another one.

462
00:22:50,640 --> 00:22:54,400
Speaker 3: It's time to get violent now, so okay, this one

463
00:22:54,480 --> 00:22:57,879
Speaker 3: will be a nick crack like you've just twisted like

464
00:22:57,880 --> 00:22:59,960
Speaker 3: in an Arnold Swartz now when he grabs around the

465
00:23:00,040 --> 00:23:00,560
Speaker 3: head and just.

466
00:23:00,600 --> 00:23:01,800
Speaker 2: Oh yeah, a neck.

467
00:23:01,640 --> 00:23:06,840
Speaker 1: Break, an I can I do the dialogue as well,

468
00:23:08,520 --> 00:23:14,960
Speaker 1: Hey you stopping so mean to those little kids.

469
00:23:16,560 --> 00:23:18,960
Speaker 3: That's a bit more of like a toe snapping off,

470
00:23:18,960 --> 00:23:19,960
Speaker 3: but it was pretty good.

471
00:23:22,640 --> 00:23:29,080
Speaker 1: I'm such a good superhero. And they're running through the forests.

472
00:23:27,440 --> 00:23:32,520
Speaker 3: And they slide past a tree. If you get all

473
00:23:32,560 --> 00:23:35,480
Speaker 3: those little bits of celery and bunch them together in

474
00:23:35,560 --> 00:23:37,640
Speaker 3: your hand and then you just twist them so they

475
00:23:37,760 --> 00:23:39,679
Speaker 3: slowly twisted around.

476
00:23:39,840 --> 00:23:41,720
Speaker 2: Oh, this could be gross.

477
00:23:41,720 --> 00:23:43,080
Speaker 3: I'm excited it's going to be gross.

478
00:23:45,800 --> 00:23:49,360
Speaker 1: Oh oh, look there's another one who's still being really

479
00:23:49,440 --> 00:23:50,399
Speaker 1: mean to those kids.

480
00:23:50,680 --> 00:23:52,280
Speaker 2: Don't worry, I got this.

481
00:23:58,280 --> 00:24:02,000
Speaker 1: That's wet. I don't even need scenarios, John, I can

482
00:24:02,080 --> 00:24:03,000
Speaker 1: just make them up myself.

483
00:24:06,520 --> 00:24:07,040
Speaker 2: Someone at the.

484
00:24:07,040 --> 00:24:10,240
Speaker 3: Door, or Koby, little mouse, you're scraping at the door

485
00:24:10,240 --> 00:24:10,800
Speaker 3: trying to get in.

486
00:24:11,000 --> 00:24:16,040
Speaker 1: Yes, hey, you now that I've saved you from the kids.

487
00:24:16,040 --> 00:24:17,200
Speaker 1: The kids are turned into mice.

488
00:24:18,280 --> 00:24:23,400
Speaker 2: They're in the walls. Help, they're everywhere. There's thousands of them.

489
00:24:23,760 --> 00:24:28,840
Speaker 1: Now they're having a party whoo, something tells me you're

490
00:24:28,840 --> 00:24:40,200
Speaker 1: a bit better than this than me. So that was

491
00:24:40,280 --> 00:24:43,119
Speaker 1: John the Fowley Artist, but probably not for much longer.

492
00:24:42,880 --> 00:24:44,640
Speaker 2: Because I'm pretty good.

493
00:24:45,080 --> 00:24:48,480
Speaker 1: Watch out, John, you've been listening to an iHeart Australia

494
00:24:48,520 --> 00:24:51,879
Speaker 1: production concealed with Utsimon. Listen to more of what you

495
00:24:51,920 --> 00:24:54,800
Speaker 1: love on iHeart, and to check out the man behind

496
00:24:54,840 --> 00:24:58,240
Speaker 1: ten thousand tap dancing penguins, check us out on the socials.

497
00:25:00,400 --> 00:25:00,840
Speaker 2: They did

498
00:25:07,880 --> 00:25:10,240
Speaker 3: A y