Issue link: https://digital.copcomm.com/i/1475409
64 I M PS E . O R G HK: Every Foley job is special to me and every character, every story is different and special. Finding the connection with those elements is sometimes also unusual. Finding the right kind of performance fitting the specific story is always the biggest challenge. But just to mention a few examples doing Foley for Sound of Metal was unusual; trying to record body resonance through my own body was unusual. Other unusual Foley was trying to record resonating sounds felt through the space suit in Ad Astra. I also think that the unusual aspect is more about the method when doing the Foley. In The Little Prince, I did stop- motion sections as natural Foley but also paper-ish sounds which Tim mixed together in the final mix. CM: Are there any unique methods or processes you might like to share to the MPSE community in your Foley and sound design work? HK: Knowing the story is the most important thing. I feel that everything I do has to relate to the story. Foley what you feel, feel what you Foley. CM: Thanks so much for taking the time to speak to our MPSE membership Heikki, we all look forward to seeing the great body of work you have completed, and to see the work to come in the future! Hekki recording body resonance through his own body for Sound of Metal.