Issue link: https://digital.copcomm.com/i/1500189
54 M PS E . O R G what it's going to sound like when it comes up into frame." In other words, his ideas were really great ideas. And of course, he had been a Foley mixer at Paramount. I don't know why, it just struck me that well, let me just talk to Scott, maybe he could come up for a film. And God bless, it turns out his parents live up here. Literally, they live in Novato which is not too far from the ranch. He was able to come up here for a film and stay with them and help me out. And it really started to take shape. I mean, this guy really knows what he's doing, and man this is sounding good. And, of course, we were breaking in a new stage, which is no small feat. SSS: Which you've done many times. You keep doing that, breaking in new stages. JR: If I get paid the right amount of money, I'm happy to do it. So, we're firing on five out of six cylinders, or seven out of eight, depending on what kind of engine. But who is going to be my partner? And again, everybody's so busy, and you know, maybe I could get this person for this amount of time. So I called Shelley, whom I'd worked with. If Alyson wasn't unavailable, she'd be my first choice. She had worked a night shift there, and she was really good. I knew that. I asked Shelley if she was available, and she just happened to be available for this one timeframe in this next picture, the second film we'd done there. By the way, the first film we'd done there, we were NOT doing actual live- action feet. In other words, the first film was Zootopia, and of course, that was an animated feature and all of the characters were animals. The next film was not that, so she said, sure. She came up and it was like all of a sudden, somebody tapped the magic wand on all of our heads. Everything fell into place. It was like, this is great! She decided that this could work out for her, and mind you, she and her husband Jeffery lived in LA. Scott not only lived in LA with his wife, but had two children in school! I'm thinking, 'Oh, man,' you know? But fortunately, they took a leap of faith. And I think if you were to ask them today. They've enjoyed it and it's paid off for them. At least in my estimation, the finest work I've ever done has been from the ranch, for sure. SSS: Now, are Scott and Shelly still there? JR: Not only are they there, they're working with Heikki Kossi, a Finnish Foley artist [Re: MPSE Wavelength Fall 2022 feature article "Not a sound is without significance." by Charles Maynes MPSE], who Disney has signed on, and I'm really excited for them all because he's an incredibly good Foley artist in his own right, and I think that synergy together is really going to be a great force to be reckoned with. So I'm happy for all of them. SSS: Excellent! So you left on a very high note. You retired at the top? JR: I'll leave that to the history books. SSS: Well, it's been a privilege and a pleasure hearing about these experiences, John. JR: Well, Solange, you and I go way back, way back. I knew you in the Foley trenches, and that is not an easy place to be because, as I say, not to put too fine a point on it, no matter what I do, what Shelley did, Alyson, Hilda, Joanie, etc., any of the people I worked with. It's only as good as those that are behind us cutting it and shaping it, and then of course, getting it to the dub stage. I mean, all of those aspects have to be right. And if they're not, it isn't going to be good. Archive Foley main water tank water movement for Moana (2016). John with Alyson Moore, WB Foley Stage for Brave (2012).