Issue link: https://digital.copcomm.com/i/1475409
M OT I O N P I CTU R E S O U N D E D I TO R S I 61 The Discovery crew Simultaneously, I was about to start The Little Prince and collaboration with Tim Neilsen from Skywalker Ranch. He did the spotting and I was so amazed by his inspiring ideas about doing different kinds of details as Foley and he had such a great ideas about what he was going to cover from FX. In 2018, Nicolas Becker, Peter Albrechtsen and I were invited to the Midnight Sun Film Festival in Sodankylä, Lapland, Finland, to do a silent movie screening with live sound performance. We met a few months earlier at Nicolas' studio in Montreuil in France. That was a life- changing experience. His ideas about being organic and respecting the quality of performance were astonishing. He really considered a Foley artist as an artist. During that time, we already discussed a lot about sound of body resonance and how to record it. Nicolas started talking about the upcoming film called Sound of Metal. Working with Nicolas was so inspiring: He's able to create an atmosphere where there's a lot of space for freedom of expression. Because of his background as a Foley artist, we had a bit of a different understanding of each other. CM: What are some of your favorite projects that you have been involved with and what makes them so important to you? HK: The Little Prince was my first big project, and working with Tim Nielsen was such an inspiring experience. I think we both still cry when we see the film. Working with Christina Rosendahl is always special. When I give the Foley to her supervisor Peter Albrechtsen, she wants to watch the film with nothing but the Foley. It was the first time that happened with The Idealist. Of course, it was such a privilege to work with Sound of Metal, director Darius Marder, and Nicolas. I love working with documentaries, and Distant Barking of Dogs by Simon Lereng Wilmont is one of my favorites. One reason is the strong story about life in Eastern Ukraine during the war. I supervised that film with Albrechtsen and my Foley editor Pietu Korhonen. The Underground Railroad was done with supervising sound editor Onnalee Blank CAS, which was amazing. I think we had a great understanding of how to use Foley and create different kind of textures for this series. I still think that her sound mixing is such an amazing tonal experience. The Blind Man Who Didn't Want to See Titanic by Teemu Nikki is also one of my latest projects. I supervised that with my good friend Sami Kiiski, and Peter Albrechtsen mixed the film. In that film, we were only able to see the main character's head and that he is in a wheelchair. The film's main character is blind, and we made the sound to implement his subjective experience. During the last few years, I have had the privilege to work with different kinds of art projects. One of the latest is multi-arts project Ghost Town, where I collaborated live with a circus artist, a dancer, a visual artist and the light designer. Heikki Kossi and John Roesch going on a Foley tour in Finland, year 2014. Heikki Kossi, Nicolas Becker and Peter Albrechtsen at Midnight Sun Film Festival in Sodankylä, Finland, year 2018. Photo by Antti Yrjönen 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.