MPSE Wavelength

Fall 2022

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M OT I O N P I CTU R E S O U N D E D I TO R S I 59 CHARLES MAYNES MPSE: Heikki, can you tell us a bit about yourself and your journey into working in sound? HEIKKI KOSSI MPSE: Well, I'm 52 years old now and I've worked with sound since the year 2000. Before that, back in the nineties, I was playing as a full-time musician with different kinds of roots and blues bands. My instrument was upright and electric bass. That time was important for me since I also spent a lot of time watching movies. But I had no idea or intention to work with films. At the end of the nineties, I started studies of radio and media. Those studies were my first touches with working with sound while making sound effects for radio features. I tried to do sounds the same organic way as Foley but without image. Of course, I had some kind of image in my head but that was a different thing. I first heard about Foley during my studies. At that time, there was nobody doing Foley full time in Finland. After my studies I worked as a sound editor, sound designer, and boom operator. During those years, I was constantly interested in Foley, the possibilities of Foley were teasing me all the time. I had a strong feeling of only wanting to focus on Foley growing inside of me. I was so fascinated about the possibilities of Foley, how Foley can really help with storytelling, and how the small things make a huge difference. And, of course, I was very much hooked by the organic, physical and emotional way Foley was performed. Foot, hand, and bodywork. CM: How did you enter into doing sound as your vocation? HK: During my media studies, I did most of my internship periods at film or TV sound studios. I was asked for a TV production during my last year of studies. It felt like a natural shift from the school world into the professional world. I had a good

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