Issue link: https://digital.copcomm.com/i/1475409
CM: When approaching a new project, how do you prepare for the work? HK: At first, I want to read the script, preferably at an early stage. I'm also open to seeing rough cuts and when I see the film for the first time, I try to concentrate on the story and what the film feels like from the audience's perspective. The first screening is very important for me, which allows to create a guideline for the film. I try to maintain the feelings I had on the first screening for the whole process. Only then I start thinking about the Foley details. Of course. the discussions with the supervisors and sometimes with the director are very important to me. With the supervisor, it's more like giving and sharing ideas, and when talking with the director, I try to sense what is their intention from the perspective of storytelling. I don't expect the director to be giving specific Foley instructions, but I'm open to hear them as well. I feel that it's my job to turn their intentions into Foley. CM: How do you prefer working with your sound departments and supervising sound editors? As far as working on design concepts and aesthetics that Foley can help achieve? HK: Along the whole process, I'm really anxious to hear all possible versions of temp mixes and to follow the process of various sound versions of the film. I feel that this method makes mine and my Foley team's work to be much more focused and specific. It's a privilege to work with different supervisors and to feel various aesthetics. Every film is its own journey and working with different people keeps you awake. CM: How much time do you tend to have for most projects? HK: I work with various films and other projects and as said before, every project is different. Low-budget documentaries might only have a budget for a few days of working. Then there is the big variation of feature films and TV shows, which might vary with the amount of resources. Feature films can vary from five to six days all the way up to 20 days of working, depending so much about the budget of course. I always say to every client: "Give us the budget and we will try to do our best to help the story." Having a really tight budget can also be of help as it really forces you to clarify what you can and have to do to help the story. CM: Are there any filmmakers or supervising sound editors you would really desire to work with? HK: There are too many I admire, but I also understand that they have their own Foley artists. It's always interesting to meet different filmmakers with their own personal aesthetics. I feel really honored to have already had the chance to work with great supervisors and directors. But out of all the filmmakers, I'd love to have been able to work with the great Charles Chaplin. CM: What was the most unusual Foley that you have done for a project?