What goes on behind the scenes in films has as much fascination for me as the story I see on the screen. And some of those people whom I find particularly fascinating are the Foley artists, who provide almost all the ambient sounds that we hear, such as footsteps, water flowing, doors opening, keys clicking, and pretty much everything other than the spoken words of the actors.

I have written about Foley artists previously and came across this video of a group of three people in the profession who walk us through the steps of how they do what they do, which involves collecting what looks like a whole lot of junk and having a sharp ear for the sources of sounds and then being able to exactly synchronize the sounds they create using this junk with the action they see on a screen.

I am fascinated by the way that films are made. There is so much going on behind the scenes to produce what seems so smooth and natural. I have posted many times about CGI and other visual effects but via David Pescovitz, I came across this short documentary about the production of sound effects in films. I had no idea that so much of the sound is added on later, and is not captured in real time by microphones that are hidden from the camera. In addition to getting the sound right, the timing is crucial.
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I recently watched Alfred Hitchcock’s Murder! (1930) that can be seen in its entirety online (see below). I have long been a fan of Hitchcock’s films but had not seen this one and was curious as to what his early efforts looked like.

It is not a great film but I learned something about how limited filmmakers were in their options in those days. As I was watching it, it felt strangely different and I finally pinned it down to the lack of ambient sounds, especially a soundtrack. With modern films, one hears music that sets the mood, footsteps when people walk, doors shutting, and all the other sounds that accompany the action. But in this case, there was mostly silence apart from dialogue, and it was the absence of such sounds that seemed strange.

In reading about the film later, I learned that in 1930, there was no post-production possibility of adding sounds after filming was completed, like they do now with Foley artists and adding a musical score. Any sound in the film had to be picked up by the microphones that picked up the dialogue while filming the scene. So for example, in this film at the 34:00 mark, we hear a character’s thoughts as a voiceover while he is shaving while a radio played music. How this was done was by having the actor’s voice pre-recorded and played on a phonograph while an actual orchestra on the set played the music.

Here’s the full film.

I have written before about the fascinating sound effects produced by Foley artists for films. They use mostly everyday items to create sounds for films and then have to carefully sync those sounds with the final film. They do that by matching the image to the sound film clip while watching the film. In this clip, Matt Davies eats tomatoes and peppers and other assorted food items, plus does other things to them to create the gross-out sounds of horror films, such as zombies eating brains and flesh and so on.
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