Issue link: https://digital.copcomm.com/i/1475409
60 I M PS E . O R G feeling about what I was doing. One big step was working on an animated TV show as both a supervisor and Foley artist. During those first years as a sound professional, I also directed a few documentaries that were profound lessons of storytelling for me. CM: Who are your mentors, and how did you connect with them? HK: I feel that there are few milestones in my career as a Foley artist. Back in the late nineties, I heard about the Foley artist profession and I just started to do Foley using my common sense and my ears. I didn't know anything about techniques or how Foley should be done. I tried to find some stories about other Foley artists from the internet; then in 2009, I connected with the New York-based re-recording mixer Dominick Tavella. He came to Kokkola to visit my studio, and I asked him what is the most important thing about Foley. "Fit with the production sound, fit with the story," he answered and showed me how he pre-mixed the Foley with other stems like dialogue, FX and music. I was really inspired how he treated Foley and followed the smallest inspired me a lot. When I returned to Finland from my trip, I was a different person. My next step was meeting the Danish sound designer (and MPSE Board member) Peter Albrechtsen in 2012. He was repeating the same phrase all the time: "Every sound needs to have texture." With Peter, we talked about the many layers of sound related to the nature of location or colors or image, and we were bouncing different ideas about how to implement those sounds into Foley. I feel like I started to do more and more sounds which many Foley artist don't consider as Foley. I think we have done something like 70 projects together with Peter. He has also been a big influence for me when talking about sound in documentaries. Then I met John Roesch when he came for a visit to my studio in 2014. We spent some great time together and talked about life and films. We held a few seminars together in Finland, and when listening to him and sensing his experience, I felt that I was able to find a deeper meaning to the storytelling aspect of Foley. John often said that the best tool you have is your brain and your ears. details in the image. Then he invited me for a visit into Sound One, NYC. At the time, he was mixing Black Swan (Darren Aronofsky, 2010). I was sitting next to him when he was doing different versions after finishing the mix. It was such an amazing revelation, when he was doing M&E, I was able to listen to all the sounds without the dialogue. It was easy to hear the meaning of Foley as a storyteller. Supervising sound editor Craig Henighan was also really open and willing to share his ideas about the sound of Black Swan. During the same trip, I was also able to spend some time with Sound One Foley artist Jay Peck and Foley mixer Ryan Collison, and to feel the inspiring atmosphere during Foley session. During the same trip, I also spent some time with the C5 Foley artist Marko Costanzo and Foley mixer George Lara. Watching George work and then recording the Foley, I understood the importance of spotting of Foley cues, before that, I was only messing around. George said several times that Marko has such strong level with his performance, and when I was watching Marko's Foley, I realized what it means to do Foley loud and act the sound wide open. Marko's open and crazy style Photoo by Clas-Olav Slotte