Speaker 1: You have made a remarkable decision to stuff your ear
Speaker 1: holes full of me art, Simone.
Speaker 2: In return, I have a treat for you.
Speaker 1: I'm going to introduce you to someone with a bizarre job,
Speaker 1: a strange hobby, or they might just be a downright
Speaker 1: weirdo wh who knows, But I will get to the
Speaker 1: bottom of it. This is concealed with me arts, Simone. Okay,
Speaker 1: no Moore tiptoeing around. Let's get noisy roll the type glat.
Speaker 3: My name's John. I live in corn In, South Australia,
Speaker 3: fifty nine years old. This is actually sending a bit
Speaker 3: like a dating program. Now, yes I'm single, but anyway
Speaker 3: back to it. In my out of work hours, I
Speaker 3: just enjoy being outdoors because I'm indoors a lot for
Speaker 3: my job, so I do a bit of walking. I
Speaker 3: like camping and watching a bit of motorsport. Really but
Speaker 3: I'm concealing a part of my life which isn't really
Speaker 3: a secret. It's been shown right across the world. You're
Speaker 3: probably familiar with a lot of my work, even if
Speaker 3: you don't know it.
Speaker 1: Oh mysterious, Oh hello John, how are you.
Speaker 3: Going very well? Thank you and you I.
Speaker 1: Love me to meet you. In your I'm going to
Speaker 1: call this the bunker. I feel like you're in a
Speaker 1: bunker at the moment. No daylight, Yes, I see no daylight.
Speaker 1: I hear him in my own bunker here at the studio.
Speaker 2: But all right, we've never met before.
Speaker 1: I don't know anything about you, but apparently I may
Speaker 1: be familiar with your work, perhaps correct.
Speaker 2: Okay, all right, so you're sitting in front of me.
Speaker 1: You've just got to love your T shirt on. You've
Speaker 1: got your glasses on a little bit scruffy there, hmm. Okay, okay,
Speaker 1: So tell me a bit about living in Corn, because
Speaker 1: I've never heard of that.
Speaker 3: Corn is just a little town about four hours north
Speaker 3: of Adelaide. It's situated in the Flinders Ranges. So it's
Speaker 3: a pretty little towns rounded by mountains and it's a
Speaker 3: beautiful community.
Speaker 2: And what brings you to Corn?
Speaker 1: I know, I'm very stuck on this Corn thing, but
Speaker 1: I think it's really interesting because imagine just saying I
Speaker 1: live in Corn.
Speaker 2: That's fun.
Speaker 3: Yeah. Well, I guess I'm not a big fan of
Speaker 3: big cities. And my work I can I can sent
Speaker 3: and receive stuff over the internet, so it doesn't really
Speaker 3: matter where I work.
Speaker 2: From Okay, so you can work remotely? All right?
Speaker 1: Okay, so you hate if you had bad Wi Fi there,
Speaker 1: I hope you hooked up to the NBN or something.
Speaker 3: Yes, yes, similar to that. Yeah.
Speaker 2: Okay.
Speaker 1: So you like walking, like camping, like motorsports, all things
Speaker 1: we don't have in common.
Speaker 2: Okay, so I really threw me off there.
Speaker 1: What I'm going to do is ask you three questions,
Speaker 1: and from the answer to those three questions, I'm going
Speaker 1: to try and decide or discover what it is that.
Speaker 2: You are concealing from me here today. Are you ready? John?
Speaker 3: Okay? Far away?
Speaker 2: Okay.
Speaker 1: If someone walked through your house, what would they assume
Speaker 1: about you?
Speaker 3: That I am a collector of weird things? Almost horder like?
Speaker 1: Okay, No, I love things. I love things. Do you
Speaker 1: find value in possessions? Do they hold sentimental value to you?
Speaker 3: It depends what they are. They need to they need
Speaker 3: to do something. I don't like things that don't do anything.
Speaker 1: Ah okay, ah, okay, don't like things, don't like people,
Speaker 1: and don't like things that don't do anything. All right, Okay,
Speaker 1: now these are all very important things. Okay, So they
Speaker 1: assume you're a bit of a hoarder.
Speaker 2: Hmm. Okay.
Speaker 1: Maybe you're into antiques. Oh, that could be nice. Maybe,
Speaker 1: but their own tanks don't do much. Maybe you're into
Speaker 1: a specific type of antiques. Maybe you're really into music boxes. Oh,
Speaker 1: wouldn't that be fascinating? Okay, anyway, that's the first question.
Speaker 1: Second question, if you could follow something for the rest
Speaker 1: of your life, whether it be a trend, a social
Speaker 1: media account, or something else, what would it be.
Speaker 3: I would be following other people's footsteps.
Speaker 2: Store okay, s talker, all right, I'm putting that down.
Speaker 1: Doesn't like people, don't like things that don't do things,
Speaker 1: but also likes to follow people. Interesting. Interesting there, okay, okay.
Speaker 1: And number three, if you could describe your life in
Speaker 1: five words, what would they be.
Speaker 3: I'm heard but not seen.
Speaker 2: Okay, head but not seen.
Speaker 1: Oh it's like one of those limericks, you know, black white,
Speaker 1: red all over. I'm a newspaper but you're not that.
Speaker 1: Or you could be all right under the sea.
Speaker 2: All right.
Speaker 1: I feel like I feel like I know this one.
Speaker 1: I feel like I know this one. And I've said
Speaker 1: this before and got it completely wrong. Okay, you like
Speaker 1: things that do things, you follow on people's footsteps. You
Speaker 1: can just work from home and do your things like
Speaker 1: you have lots of objects and you know what you need,
Speaker 1: lots of objects for foley and sound effects and things
Speaker 1: like that. And because I find this very interesting, I
Speaker 1: love this. So I've had a feeling that perhaps you
Speaker 1: may be a foley artist, which is like a sound
Speaker 1: effects artist.
Speaker 2: Is this right?
Speaker 3: I'm a foley artist. My job is recreating sounds like
Speaker 3: footsteps and people getting patted and all the clothes, rustles
Speaker 3: and things like that. It's a bit of a crazy job.
Speaker 3: I've worked with some great people over the years. Steven
Speaker 3: Spielberg probably one of my highlights doing a movie called
Speaker 3: The Adventures of Tintin. But there's also been some amazing
Speaker 3: Australian films, a lot of fun to do, the Great Gatsby,
Speaker 3: Happy Feet, Wolf Creek, but also one of my favorite
Speaker 3: Izi films, and great Girls, which is The Girls that
Speaker 3: made Kath and Kimderella.
Speaker 2: Yeah. I love this stuff. I love this.
Speaker 1: Oh, goold the Stars? It a line any better for
Speaker 1: me here today? John Ah, I feel like we were
Speaker 1: tested to meet each other. Even though I don't like
Speaker 1: camping or motor sports.
Speaker 2: Are walking?
Speaker 3: Oh?
Speaker 2: I love what you do. Oh, I love sounds.
Speaker 3: Ah, yes, I'm very impressed you've done well.
Speaker 2: Oh yeah, I got it right.
Speaker 1: John is a Foley artist, and I'm feeling fabulous.
Speaker 2: That's ill to say because I got it right and
Speaker 2: you got it wrong. Isn't that good? Yes? Thank you? Okay,
Speaker 2: So we're here with John and I was correct.
Speaker 1: John is a Foley artist and for layman terms, for
Speaker 1: all the people listening home, John makes sounds, sounds that
Speaker 1: you see on screen on TV movies, everywhere and anywhere.
Speaker 2: If it needs a sound, you put it in. Is
Speaker 2: that correct, John?
Speaker 3: That's pretty much it. That's what I do. Yep.
Speaker 1: So can you explain if there's a difference between foley
Speaker 1: and sound effects and what it is.
Speaker 3: Yeah. So, foley is anything that's performed live. So when
Speaker 3: I'm recording on watching the actual vision on a big screen,
Speaker 3: have a microphone in my room. And if there's a lady,
Speaker 3: you know, walking along, got the high heels on down
Speaker 3: a concrete footstep for a concrete path, that'll be me.
Speaker 3: I have to slap on the pair of high heels
Speaker 3: and walk like a lady down the path, which should help.
Speaker 3: I always have trouble with you'd be good at it,
Speaker 3: you'd be excellent.
Speaker 1: There you go, Well, if you need an intern one day,
Speaker 1: if it's the extra you're walking, count me in. Maybe
Speaker 1: one day you'll need to do Foley on a drag
Speaker 1: Queen film and I can go, well, you can know
Speaker 1: to call me up. It's all about who you know,
Speaker 1: isn't it.
Speaker 3: I've done a few already with drag Queens in.
Speaker 1: So well I'm your Gael all right. So essentially Folly
Speaker 1: has performed live sound effects. Would you say, is can
Speaker 1: he pulled from a database or just an audio file
Speaker 1: or something.
Speaker 3: This is where there's a bit of confusion. People think
Speaker 3: that recording doing folly is I'm going to go to
Speaker 3: the kitchen recorder record putting a spoon in a draw
Speaker 3: and then they'll go and cut it and put it in,
Speaker 3: And that's not truly what it is. That you're just
Speaker 3: recording a sound effect and editing it in, so you're
Speaker 3: not performing it live. So there's a big difference, especially
Speaker 3: with walking or placing something down, because there's the sound
Speaker 3: of a cup going on the table so many different ways.
Speaker 3: If you watch someone slam a cup down or they
Speaker 3: gently put it down and give a little slide and
Speaker 3: it depends on the mood of the person that at
Speaker 3: the time of the movie.
Speaker 1: So is there a bit of a pushback or are
Speaker 1: you battling against sound effects these days? Or are you
Speaker 1: still quite prized for what you do because you know
Speaker 1: in this day of AI and you know, we've got
Speaker 1: a full database. We'll just pick from there. It's cheaper.
Speaker 1: Is that something that you have to kind of battle
Speaker 1: at the moment?
Speaker 3: Not yet. There's been a few people try to do
Speaker 3: automated Foley programs and they're quite clever. They can see,
Speaker 3: you know, from the vision that a footstep lands, and
Speaker 3: they'll find a footstep to match it. But it still
Speaker 3: doesn't work the same. It hasn't got the feel of
Speaker 3: someone actually performing it because there's still grabbing it from
Speaker 3: a library and it doesn't quite work.
Speaker 1: Has working as a folly artist ruined watching things for you?
Speaker 1: Because I imagine that not every sound that you create
Speaker 1: is actually doing the action. For example, if someone's stabbed,
Speaker 1: I don't think you're sabbing a real human being. You
Speaker 1: must be using something else to do that. So when
Speaker 1: you watch things, do you just picture all the wrong
Speaker 1: things that the sounds are coming from?
Speaker 3: I actually hardly go to the movies, I gotta say,
Speaker 3: but when I do, I generally are watching and listening
Speaker 3: to the soundtrack. Yes, it is hard to be involved
Speaker 3: in the movie. It has to be a very good
Speaker 3: film for me to forget about the sound and actually
Speaker 3: just watch it. But yeah, you're like, you're right. You
Speaker 3: don't bring in a work experience person to just stab
Speaker 3: them to make the noise with it, although there's been
Speaker 3: a few I've been tempted with, but the we'll just
Speaker 3: use a bit of a celery or a a chicken
Speaker 3: or something like that, just to you know, make a
Speaker 3: bit of a crunchy, stabby sound.
Speaker 2: Yeah.
Speaker 1: I totally get it, because you know, I know a
Speaker 1: little bit about here and makeup, and I can't watch
Speaker 1: films anymore. People hate to watch them with me because
Speaker 1: I will literally be sitting in the cinema and I'll
Speaker 1: be next to my friend and I'll go.
Speaker 2: Wig, Wig, that's a wig. Look it's a wig. You
Speaker 2: can see it. Look at the wig. Oh, it's a wig,
Speaker 2: And they're like, stop it. I didn't even think.
Speaker 1: I was like, there's a wig, and it's a bad
Speaker 1: one too, So I totally understand it all different folly
Speaker 1: artists would have different ways they create sounds and different
Speaker 1: objects they use for certain sounds. Is there some particular
Speaker 1: items or things or techniques that you do that are
Speaker 1: like industry secret that you're like, I'm never telling anyone
Speaker 1: how I make the sound.
Speaker 2: Of x y z ed.
Speaker 3: Possibly, but I can't tell you.
Speaker 1: Something goes, Oh, we'll go to John because John does
Speaker 1: the best rattling knees. Oh, John's rattling knees are the
Speaker 1: absolute best, So we'll go to John.
Speaker 3: I'm fifty nine years old on my knees actually do rattle.
Speaker 3: But no, Look, I've got some props, and a lot
Speaker 3: of stuff comes down to the props that you gather,
Speaker 3: and so I've got some really favorite props which are
Speaker 3: my go to ones for making some things. And one
Speaker 3: of them is just a rusty old hinge, which I
Speaker 3: pretty much use in every single film that comes across you.
Speaker 3: Kind of I'll always find a place for it because
Speaker 3: it's like a bit of a mark, you know. It's
Speaker 3: like the Wilhelm scream for some films, Like there's something
Speaker 3: that's got to get hinge in here somehow. So that's
Speaker 3: how it works.
Speaker 1: Do you just go out leave your house and go
Speaker 1: and listen to things to go oh that, could you
Speaker 1: pick up something and go oh that?
Speaker 2: Oh that sounded good? Actually I do.
Speaker 3: It happens a lot. Absolutely. I'll be sitting at a
Speaker 3: cafe and listening to some footsteps will suddenly just get
Speaker 3: my attention. And the worst thing. Once I went to
Speaker 3: a very good friend's funeral who was sitting in a
Speaker 3: big church waiting for everything to happen. And I was
Speaker 3: sitting there with my friend because we're all mates of
Speaker 3: this fella and the reverberance sound inside this big old
Speaker 3: church in Adelaide, and I've just heard this lady's footsteps
Speaker 3: walking down And the first thing that came into my
Speaker 3: mind was, Wow, those footsteps sound awesome. So I'm thinking that, John,
Speaker 3: you're at a funeral. You can't be you can't be
Speaker 3: linking your footsteps right now, but they did.
Speaker 1: I want to go up to that lady and go,
Speaker 1: what shoesy wearing? I'd like to recreate this sound on
Speaker 1: my own face, exactly right. I'm a size thirteen, ladies,
Speaker 1: So if we could just do.
Speaker 3: That, please, Yes, that'd be perfect.
Speaker 1: What are kind of the most common sounds you would
Speaker 1: have to create, you know, that's your bread and butter
Speaker 1: in a film or TV.
Speaker 3: So obviously footsteps. Every single film has to have all
Speaker 3: the footsteps replaced and then followed by really the cloth,
Speaker 3: so all the clothes, and that could be whether someone's
Speaker 3: wearing a sparkly coat with you know, little jingly bits
Speaker 3: on it and jewelry and things, and that's probably probably
Speaker 3: the main things. Nowadays there's a lot of mobile phones,
Speaker 3: Like people have always got a mobile phone in the
Speaker 3: hand and are always pushing the bloody thing, scriggling the
Speaker 3: screen around the screen, So you always have to have
Speaker 3: those sorts of noises in there.
Speaker 1: What is the weirdest noise you've had to perform for
Speaker 1: one of your films or things?
Speaker 2: What's the strangest thing.
Speaker 3: So the strangest noise would have to be in one
Speaker 3: of the Hobbit films. Actually there's a big character and
Speaker 3: I can't even think of his name, but it was
Speaker 3: played by Barry Humphries, the late Barry Humphreys, and he
Speaker 3: was like this. He was made up as a giant
Speaker 3: sort of ogre with these huge squishy feet and he
Speaker 3: would walk around and it was bare feet. And we
Speaker 3: wanted to have kind of big, weighty, but also really squishy, rubbery, fleshy,
Speaker 3: and we try to different things and I ended up
Speaker 3: with some fresh chickens which I got from the supermarket
Speaker 3: and just had a fresh chicken in each hand and
Speaker 3: was just using those as these big sloppy feet, just
Speaker 3: plunking them on the ground and it sounded amazing, but yeah,
Speaker 3: it's and it was all used.
Speaker 1: If only those chickens knew what they would become one day,
Speaker 1: that's right. I thought I might just be not a
Speaker 1: nice sandwich or something, and you had different plans sit
Speaker 1: at your john.
Speaker 3: They had no idea those chickens.
Speaker 1: So you've worked in kids films, you worked in horror films.
Speaker 1: Do the materials used to make the sounds so you
Speaker 1: know those different genres differ much or do you just
Speaker 1: still kind of pull from the same pool of things.
Speaker 3: There's the basic footsteppy things. But if you've got a
Speaker 3: bit of a horror film or something creepy, you go
Speaker 3: to we we call it like a Hollywood level film,
Speaker 3: and there's Australian level films. All the Hollywood level ones
Speaker 3: are big, upfront, loud, in your face, you know, like huge,
Speaker 3: big footsteps, big creaky boots and everything's just huge. And
Speaker 3: then we'll have some of the more subtle, kind of
Speaker 3: straight of films that we make the sounds as realistic
Speaker 3: as possible, so they sound like exactly how they should
Speaker 3: on the day. The Hollywood stuff's way more fun to
Speaker 3: do because everything's just loud and big and noisy, and
Speaker 3: I love that stuff.
Speaker 1: Yeah, So do they actually just differ stylistically. That's actually
Speaker 1: quite a known difference between the two. Is Hollywood just
Speaker 1: love bing bang bom bom bom boom, Yeah, And austrains
Speaker 1: are like, no, I'm subtle. Are you talking about? Let's
Speaker 1: trottle down under it?
Speaker 2: And it is.
Speaker 3: It is nice sometimes to do the subtle things. One
Speaker 3: of a film I did a long time ago called
Speaker 3: Little Women, and that we managed to go to a
Speaker 3: props in the ABC because I did that and when
Speaker 3: I was in Sydney and we got all the beautiful
Speaker 3: dresses and all this jewelry and all these different things
Speaker 3: for all the ladies dresses and just the different materials
Speaker 3: and stuff, and actually sounded really nice. We had a
Speaker 3: good time with that, and we all looked a bit
Speaker 3: weird dressed up in the dresses. But there's something you
Speaker 3: would have loved. I'm sure it was good fun.
Speaker 1: Tell you put me on speed all babe, I'll come down.
Speaker 1: I'll be a little woman. I'm a big woman currently,
Speaker 1: but you know I'll try.
Speaker 2: I'll try anyway.
Speaker 1: So footsteps from giant chicken filets on the ground, high
Speaker 1: heels in a church. You've worked on happy feet, which
Speaker 1: must have the most footsteps that ever did exist?
Speaker 2: Ever?
Speaker 1: Tell me more about happy feet. How did you manage
Speaker 1: to record a million digital penguins dancing on the ice?
Speaker 3: That was very difficult, So the actual normal penguins walking,
Speaker 3: I wasn't too bad. So I actually set up a
Speaker 3: bit of a bench, concrete bench, and I was able
Speaker 3: to sit at with TV right in front of me,
Speaker 3: and we had I was here. There's no snow I
Speaker 3: could just keep in the studio, So I used wet sand.
Speaker 3: It was just a coarse build of sand and we
Speaker 3: just kept that wet and that just it just sounded
Speaker 3: like snow. And we would change it around and mix
Speaker 3: it up with different amounts of water depending on what
Speaker 3: sort of snow it looked like. And we can add
Speaker 3: squeaks to snow using corn flour. You know when you
Speaker 3: squish a handful of corn flour has a little bit
Speaker 3: of itp so more of a dry pottery snow, we
Speaker 3: can add that if we want.
Speaker 2: To see you're a scientist as well.
Speaker 3: You have to be a scientist. You have to be
Speaker 3: one of.
Speaker 2: Everything, my goodness.
Speaker 3: And then I just use my little fingers just on
Speaker 3: the end and that's just that's just the little flippers
Speaker 3: going around. But ah, the actual penguins also have little
Speaker 3: nails on them. So then I've got these little cotton
Speaker 3: gloves where you know the I use them for dogs
Speaker 3: and cats as well as claws. But you know the
Speaker 3: little hair grabby things that kind of you put on
Speaker 3: your hair and they kind of bunch up your hair together,
Speaker 3: and it was like hair clamp thing. They made a
Speaker 3: plastic So I just buyse and I cut all the
Speaker 3: prongs off them and then sticky tape those to the
Speaker 3: end of the cotton gloves because and it sounds like
Speaker 3: little dog nails and.
Speaker 1: All you need to do is just get some super
Speaker 1: glue and glue them to your fingers like I do.
Speaker 1: Don't be a worse job I do.
Speaker 3: But you know, hey, I hate the ruin and nail
Speaker 3: and these ones are just they just come off easy
Speaker 3: when I don't. The next thing, you see.
Speaker 1: I thought you were committed to your industry jumps, so
Speaker 1: your sticky tape little plastic things to the gloves.
Speaker 3: Yep, that's right. There's a lot of editing involved with
Speaker 3: that sort of stuff, because you've got one pass, like
Speaker 3: one recorded pass of footsteps with your fingers, and then
Speaker 3: on top of that you do it again with the nails,
Speaker 3: so then you have to go and cut those it's
Speaker 3: to the right point, and sometimes the nail lands before
Speaker 3: the actual little flip apart, and sometimes I flip apart
Speaker 3: and the nail and then of course they slide on
Speaker 3: ice and skid along and do all that sort of thing.
Speaker 3: But by far the hardest part was there all the
Speaker 3: tap dancing. We got the original recordings from the motion
Speaker 3: capture stage of the guy that did all the tap sequences.
Speaker 3: And I'm trying to remember his name, but he is
Speaker 3: a very famous tap dancer, and everything he did was
Speaker 3: tapped on a white American oak slab. He couldn't obviously,
Speaker 3: tap dance on snow, it just doesn't happen. So we
Speaker 3: got all those and then what we did was record
Speaker 3: I know, maybe two thousand different samples of tapping my
Speaker 3: fingers and nails on various slushy snowy rocks, all the
Speaker 3: surfaces that you would have seen, and happy feet. And
Speaker 3: then we used a program called Drummergogu, which is a
Speaker 3: drum replacement program, and we loaded all those samples in there.
Speaker 3: It would look at the incoming sound from the tap
Speaker 3: sound and go, okay, that sounds like this. We'll use
Speaker 3: this kind of ice one and it'll put it there,
Speaker 3: and the rhythm sounded right. Because when a tap dancer
Speaker 3: creates a rhythm, it's like someone singing a song. It
Speaker 3: has to be exactly the same rhythm. It couldn't go,
Speaker 3: it couldn't change. There was a thousand hours of work
Speaker 3: in that.
Speaker 1: It was insane, yeah, because it would have been impossible
Speaker 1: just because what what did you normally do? The process
Speaker 1: would be to watch the footsteps and then replicate them,
Speaker 1: you know, in time as you watch them happen. But
Speaker 1: you can't do that if someone's a little penguins tap
Speaker 1: it on ice to a rhythm.
Speaker 2: That's a bit harder, isn't it.
Speaker 3: No, it's impossible.
Speaker 1: Now, whenever I watch Happy Feet, I will just picture
Speaker 1: hu Jeh on fingering a box of sand and I
Speaker 1: think that's beautiful.
Speaker 2: I think that's nice.
Speaker 1: Do you have to submit what you want the sounds
Speaker 1: to be and get them approved before you record them
Speaker 1: or do you do they just go to you and
Speaker 1: you present it. They go cool, that's great. Is there
Speaker 1: like a revision process?
Speaker 3: There is, depending on the movie. So the one we
Speaker 3: did with Spielberg, which I did out of New Zealand,
Speaker 3: who's the most interesting one because he would review each
Speaker 3: week what everything had done. So he'd review the sound effects, editors,
Speaker 3: the dialogue, the foley and everything, and it was all
Speaker 3: done via video link because he wasn't in New Zealand
Speaker 3: and he was actually on a boat somewhere in the
Speaker 3: Caribbean on his big yacht. As you do live the line,
Speaker 3: I know. So we would just sit back and he'd
Speaker 3: just send us all the video of what he thought
Speaker 3: was going on. So that was actually really interesting, and
Speaker 3: it was it is a bit of a thrill because
Speaker 3: I'm a big Spielberg fan. I love his films. So
Speaker 3: when he comes back and he starts talking about the
Speaker 3: foley part and saying, oh, you know, I really like
Speaker 3: the way the dogtail sounds. So we want we want
Speaker 3: to hear more of that, you know. And that's that's
Speaker 3: little Snowy the dog. I don't know if you've seen it,
Speaker 3: but you know if he's flapping his tail on it's
Speaker 3: just hitting the back of a seat or something. Is like,
Speaker 3: that's really cool.
Speaker 1: And of course how do you make a dogtail sound effect?
Speaker 1: I must know now?
Speaker 3: It basically we just you is a little bit of
Speaker 3: wrapped up cloth.
Speaker 2: All right.
Speaker 1: So to wrap this up, John, I've been given a
Speaker 1: box of props put in front of me, and I
Speaker 1: told you ready that I think I'm qualified for this industry. Yeah,
Speaker 1: so I want you to give me some scenarios and
Speaker 1: I'm going to try and recreate them using my box
Speaker 1: of props in front of me. See if I can
Speaker 1: be Oh wow, there's so many good things in here. Okay,
Speaker 1: oh salary, oh hinge, I could do it all all right.
Speaker 3: So are you familiar with the Star Trek films?
Speaker 2: I mean they've got funny hands. I know that.
Speaker 3: Do you remember the sound of the doors every time
Speaker 3: I opened and close?
Speaker 2: Oh? The yes?
Speaker 1: Oh all right, I passed that though that I was
Speaker 1: too good, John, give me another one.
Speaker 3: It's time to get violent now, so okay, this one
Speaker 3: will be a nick crack like you've just twisted like
Speaker 3: in an Arnold Swartz now when he grabs around the
Speaker 3: head and just.
Speaker 2: Oh yeah, a neck.
Speaker 1: Break, an I can I do the dialogue as well,
Speaker 1: Hey you stopping so mean to those little kids.
Speaker 3: That's a bit more of like a toe snapping off,
Speaker 3: but it was pretty good.
Speaker 1: I'm such a good superhero. And they're running through the forests.
Speaker 3: And they slide past a tree. If you get all
Speaker 3: those little bits of celery and bunch them together in
Speaker 3: your hand and then you just twist them so they
Speaker 3: slowly twisted around.
Speaker 2: Oh, this could be gross.
Speaker 3: I'm excited it's going to be gross.
Speaker 1: Oh oh, look there's another one who's still being really
Speaker 1: mean to those kids.
Speaker 2: Don't worry, I got this.
Speaker 1: That's wet. I don't even need scenarios, John, I can
Speaker 1: just make them up myself.
Speaker 2: Someone at the.
Speaker 3: Door, or Koby, little mouse, you're scraping at the door
Speaker 3: trying to get in.
Speaker 1: Yes, hey, you now that I've saved you from the kids.
Speaker 1: The kids are turned into mice.
Speaker 2: They're in the walls. Help, they're everywhere. There's thousands of them.
Speaker 1: Now they're having a party whoo, something tells me you're
Speaker 1: a bit better than this than me. So that was
Speaker 1: John the Fowley Artist, but probably not for much longer.
Speaker 2: Because I'm pretty good.
Speaker 1: Watch out, John, you've been listening to an iHeart Australia
Speaker 1: production concealed with Utsimon. Listen to more of what you
Speaker 1: love on iHeart, and to check out the man behind
Speaker 1: ten thousand tap dancing penguins, check us out on the socials.
Speaker 2: They did
Speaker 3: A y