Issue link: https://digital.copcomm.com/i/1529989
98 M PS E . O R G Luisa Hadley Foley Editor & Foley Artist 133+ Credits | 3 Awards | Started in 2013 > Luisa is a Sydney-based Foley artist and Foley editor, who has been working in the industry for 11 years with credits on such films and TV shows as Escape Room, Tournament of Champions, Boy Swallows Universe, Plus One, and more recently, Ron Howard's Eden. Luisa is currently working at Longstocking Studios and has received three Australian Screen Sound Guild (ASSG) Awards and a further four nominations. ow would I describe my role to others? Ah, the classic Foley conundrum! When I tell people what I do, I either get "oh, that's nice," and they leave it at that, or I get someone who is so excited because they remember that one scene in the Monty Python movie where they used coconut shells for horse hooves, so they think that's what I do all day. Let me just say, Foley has come a long way from that! So, it's a bit like living in two worlds when I tell people my job. Either way, it's always a conversation starter, and I wouldn't trade it for the world. When I was a little girl, my dad and I loved watching comedies together, and one of his favourites was Police Academy. After seeing the first film, it was Michael Winslow's incredible ability to create a world of sound effects with just his voice that initially sparked my interest in sound. His talent was mesmerising, and I had never witnessed anything like it before. Inspired, I spent hours practising my own sound effects, trying to replicate his skill. Although it might be a bit embarrassing to admit that my love for sound started with a comedic source from the '80s, it doesn't bother me. The joy I found in mimicking those sounds, and inventing my own, has remained a driving force in my passion for the art of Foley. I was also obsessed with watching behind-the-scenes features on DVDs, and it wasn't until I watched the behind the scenes on the Disney movie Dinosaur (2000, Dir. Eric Leighton & Ralph Zondag) that I discovered the world of Foley. There was a brief segment that explained the role of Foley artists and how they create the immersive sound effects that enhance a film's realism. Seeing the process laid out, and learning about the artistry involved, was a revelation. It was in that moment that I realised Foley was not just a fascinating concept but an actual profession where I could channel my childhood passion into a career. I felt like I had finally found my true calling. However, finding my way into the Foley industry wasn't straightforward. When I met with the careers advisor in high school and expressed my interest in becoming a Foley artist, she had no idea what I was talking about. She replied, "How about a career in teaching?" It was so disheartening, and it felt like a blow to my aspirations. So, I just kind of gave up on pursuing it any further, and entered the workforce, mainly working in hospitality and sales roles. It was while working at a call centre that I reached a breaking point. I was fed up, and in a bold move, I quit my job and enrolled in a TAFE course (technical college) for film and media studies, where Foley was briefly covered. I have to give a special mention to my H Standing in Foley Room A, Longstocking Studios, Sydney, 2017. Photo by Miki Takahashi