The Art of Foley: Behind the Scenes with Gary Hecker
Foley artist Gary Hecker recreates sounds on the Foley sound stage at Todd-AO Studios.
In the heart of the Sony Pictures lot, a unique form of artistry unfolds, blending sound with creativity in the most unexpected ways. Gary Hecker, an accomplished Foley artist, is responsible for producing realistic sound effects for some of Hollywood’s highest-grossing films, including “Justice League,” “Once Upon a Time in Hollywood,” and “Master and Commander.”
Understanding Foley Sound
A Foley artist mimics everyday sounds to enhance a film’s atmosphere, ranging from the soft rustle of clothes to the distinctive “thwip” of Spider-Man’s web. According to Rodger Pardee, a professor at Loyola Marymount University, “Foley is a key element in this magic trick we do of convincing the audience to believe in the movie they’re watching.” This statement underscores the importance of Foley in creating immersive cinematic experiences.
With the rise of artificial intelligence (AI) in Hollywood, Hecker and his fellow Foley artists continue to demonstrate the irreplaceable human touch that defines their work. Unlike AI, Foley artists produce sound effects through live performance, capturing the nuances that machines struggle to replicate.
The Craft’s Origins and Techniques
The term “Foley” is named after Jack Foley, who pioneered this technique during the late 1920s when the film industry transitioned from silent movies to sound films. Early technologies could not adequately capture both dialogue and ambient noise, necessitating post-production sound work. Foley’s innovative solution involved performing sound effects in real-time, which added authenticity to the film.
Today’s Foley artists, like Hecker, commonly utilize time-tested methods. “We do the film from top to bottom,” Hecker said. With an extensive array of props—over 50 pairs of shoes and various kitchen items—Hecker emulates sounds meticulously. Each prop serves a specific purpose, whether it’s the thud of boots or the clack of high heels.
A collection of kitchen items used in the Foley process at Sony Pictures Studios.
Cinematic Collaborations
Hecker’s collaborative effort with sound mixer Jeff Gross plays a crucial role in the crafting of film soundtracks. Their partnership blossomed during the COVID-19 pandemic, during which they worked on various projects, including “Rebel Moon” and “Mufasa: The Lion King.” Their work has earned them prestigious nominations, including a Golden Reel award.
Typically, they dedicate 18 to 20 days to each film, depending on its sound budget. Larger productions often afford more time for sound crafting, while independent projects may necessitate a quicker turnaround.
Overcoming Challenges in Foley Work
Both Hecker and Gross face challenges in an ever-evolving industry. Due to a reduction in the number of film releases and the budget constraints associated with streaming platforms, they acknowledge a general shift in their workload. “We typically try to work on 10 to 11 projects, but the industry is definitely changing,” Hecker noted.
Despite potential threats from AI, Hecker remains confident in the artistry of Foley work. “Actors’ performances, between motion and detail, AI can’t do that,” he commented, emphasizing that the emotional depth and technical nuance of human performers set them apart from automated systems.
A Commitment to Sound
Gary Hecker, affectionately known as “Wrecker,” approaches his work with a willingness to go to great lengths to produce the required sounds. “I would do anything to get a sound,” he declared, illustrating the dedication necessary in Foley artistry.
Gary Hecker performs vocalizations for Disney’s “Mufasa: The Lion King.”
As the film industry navigates challenges and technological innovations, the craft of Foley remains a testament to the creativity and skill of human artists. With no formal education programs dedicated to Foley, aspiring artists continue to learn through apprenticeship, ensuring that the traditions of sound artistry endure.