Recently I had the opportunity to discuss the craft with one of the top foley artists in the industry, Marnie Moore, whose credits include a slew of major and independent films, including Jurassic Park, The Sixth Sense, Chocolat, Adaptation, Galaxy Quest, Lost In Translation, The Village, Star Wars: Episode III — Revenge of the Sith, and many, many others. I first met her more than a year ago when I was working on a music project at Fantasy Studios in Berkeley, Calif., and she and her foley partner Margie O'Malley were cutting foley for Carroll Ballard's film Duma in an adjoining room. Talking with her that day, I was struck by how hard foley artists have to work and by the incredible variety inherent in the job. Each film has different foley requirements—whether it's car door slams, saddle creaks, footsteps on leaves, or wood on metal. Foley artists are, by necessity, sound experts who understand the subtleties and textural properties of materials and, working closely with engineers, know how to capture those qualities on tape or, more likely these days, digital media. To read the rest of this article, click here.

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