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Foley artist Gary Hecker creates soundscapes in a studio located at Sony Pictures lot, bringing life to some of Hollywood’s major blockbusters. His work spans iconic films such as Zack Snyder’s “Justice League,” Quentin Tarantino’s “Once Upon a Time in Hollywood,” Disney’s Spider-Man titles, and the Academy Award-winning “Master and Commander.”
Hecker is responsible for crafting sound effects that enhance the immersive experience of a film. From the creak of doors to the swish of capes and the iconic “thwip” sound of Spider-Man’s web, his art plays a crucial role in maintaining the auditory tapestry of cinematic storytelling. “Foley is integral to the illusion we create for the audience,” explains Rodger Pardee, a professor at Loyola Marymount University. “While explosions or jet sounds are not the focus, detailed sounds like footsteps in a forest or the flutter of a superhero’s attire contribute significantly to the overall sound mix.”
In an era where artificial intelligence is making inroads into film production, Foley artists like Hecker maintain a distinctly human presence in the industry. The performative nature of Foley makes it challenging for AI to replicate the nuanced artistry and skill involved in this craft. However, opportunities in this specialized field are limited, with no formal collegiate programs dedicated to Foley artistry available, requiring aspiring professionals to seek out apprenticeships with seasoned artists.
The Craft of Sound Creation
The methods used by Foley artists date back to the late 1920s when Jack Foley pioneered the technique as Hollywood transitioned from silent films to “talkies.” Early technology struggled to capture sound effectively, necessitating the addition of sound effects in post-production. Foley recognized that live sound performances synchronized with film footage created a more organic experience, a practice that still persists in modern filmmaking.
“In our process, we cover the film from start to finish,” Hecker shares. “Anything that moves on camera gets a corresponding sound from us.”
Hecker’s studio is stocked with an array of over 50 pairs of shoes, each chosen for its unique sound, alongside various household items and props. This includes everything from spurs forged in the 1800s to other intentionally selected items crafted to mimic the sounds needed for specific scenes. “Mastering sound is the essence of Foley,” Hecker says. “For example, if I’m embodying a towering figure like Arnold Schwarzenegger, I have to channel that physicality, but if it’s a delicate character like a geisha, I must adjust my performance accordingly.”
The props in Hecker’s studio range from swords and chains to a distinctive metal tower designed to produce unique sounds. This collection has evolved over 45 years, starting with his apprenticeship on “Star Wars: The Empire Strikes Back” and leading to his involvement in over 400 film projects, including classics like “Home Alone” and “300.”
Teaming up with sound mixer Jeff Gross, Hecker creates resonant auditory experiences. The two began collaborating during the Covid pandemic on “Call of Duty: Modern Warfare III” and have since worked on several projects, earning recognition for their sound design in films like “Rebel Moon” and “Mufasa: The Lion King.”
‘Everything for the Sound’
Hecker and Gross dedicate 18 to 20 days to each project, a timeframe influenced by the film’s sound budget. Higher-budget films typically afford them more time, while smaller productions may not. Regardless of the scale, they work meticulously through the reels of the films, layering sound effects that complement the visuals.
Initially, Hecker focuses on the footsteps, matching his movements with the onscreen actors, often enhancing the realism with additional materials such as coffee grounds. Then he integrates prop sounds, creating effects like the scrape of a sewer cover by grating a howitzer shell against concrete. Gross contributes further by refining the sounds digitally.
Hecker also employs his voice in projects, providing vocalizations for diverse characters, from dragons in “Shrek” to lions in “Mufasa: The Lion King.” “It was fascinating to create the breathing and the sounds for all the lion movements,” he remarks. “The actors voice the characters, but the dynamic sounds were crafted entirely anew.”
Human Touch in a Changing Landscape
The film industry currently stands at a pivotal juncture as emerging AI technologies promise cost reductions for studios. However, this innovation has sparked tensions regarding copyright and the preservation of artistic integrity. Recent strikes by writers and actors have highlighted these concerns, particularly following incidents where performances were altered by AI technology.
Despite these developments, Hecker and Gross express confidence in the irreplaceable qualities of human Foley artistry. Hecker emphasizes that the emotional depth and performative elements brought by artists are beyond the capabilities of AI systems. “Emotion and subtlety in performance are crucial, and AI lacks that finesse,” he states.
Pardee acknowledges that while some companies are attempting to develop software for generating Foley sounds, they often fail to capture the nuanced variations that define quality sound design. While smaller studios might explore these AI solutions, major studios are likely to continue relying on the expertise of Foley artists.
However, both Hecker and Gross voice concerns about the trend of decreasing film productions. “We typically aim for 10 to 11 projects annually, but the landscape is changing,” Hecker explains. This shift comes from pandemic-related restrictions, labor strikes, and the merger of major studios, all of which have contributed to a leaner pipeline to produce films outside of existing blockbuster franchises. Streaming services often lack the budgets necessary for robust sound design, which has led to collaborations with less prominent Foley houses.
In the meantime, Hecker, often nicknamed “Wrecker,” remains unyielding in his commitment to sound creation. “I’m willing to go to great lengths to achieve the right sounds,” he remarks. “If an action scene depicts someone being thrown against a door or a car, I must embody that intensity to ensure the sound feels authentic.”
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