“Sometimes you hear a sound and you say, ‘That’s amazing, what is that?’ ” the director David Fincher said, about working with Foley artists, who create sound effects. “It’s, like, ‘Well, that’s yogurt, shot through a hollowed-out tennis-ball can.’ ”
The salvage yard at M. Maselli & Sons, in Petaluma, California, is made up of six acres of angle irons, block pulleys, doorplates, digging tools, motors, fencing, tubing, reels, spools, and rusted machinery. To the untrained eye, the place is a testament to the enduring power of American detritus, but to Foley artists—craftspeople who create custom sound effects for film, television, and video games—it’s a trove of potential props.
Foley artists have historically worked in pairs. Roden and Roesch are two of the masters in their field. David Fincher, the director of movies including “The Social Network,” “Gone Girl,” and “Mank,” told me that Foley is “a very strange calling,” and “a dark art” foundational to filmmaking. “You’re trying to make beautiful sounds that make their point once and get the hell out of Dodge,” Fincher said. “The people who do it really, really well are few and far between.
Sound effects emerged in the late nineteenth century, as the motion-picture industry experimented with accompaniment to silent films. Theatres brought in live bands, orchestras, lecturers, and hidden actors who stomped and clattered in conjunction with movies; they tested strategically placed phonographs and the Kinetophone, a contraption introduced by Thomas Edison, which attempted to synch sound to movement.
In the decades that followed, sound work continued to evolve, both technologically and aesthetically. Studios assembled robust catalogues of sound effects. Multitrack recording enabled effects artists to create more complex soundscapes. But it wasn’t until the mid-seventies, with the innovation of Dolby Stereo—a sound system with four channels, rather than the usual two—that filmmakers began to truly embrace the possibilities of stereo sound.
Roesch refers to the eighties as his Camelot. He was part of the Foley team on “The Empire Strikes Back”—a large trash can for R2-D2—and worked on hits such as “Tron,” “Lethal Weapon,” “Gremlins,” and “Sixteen Candles.
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