Issue link: https://digital.copcomm.com/i/1529989
90 M PS E . O R G and ask for a tour. The studio manager was very generous with their time, showing me the whole facility, including the mix stage and the Foley stage. Once I arrived at the Foley stage, I ended up hanging out there for the rest of that day. At the time, John Simpson was running his Foley business from the SAFC. John had recently completed Foley for The Truman Show (1998) and Babe: Pig in the City (1998), and I was thinking, "Hey, I know those movies!" John was nice enough to ask me if I wanted to come back the next day, and from that, started a traineeship with him. I think I was very fortunate to be in the right place at the right time, but also glad that I took the initiative to put myself in that position in the first place. Before starting with John, I had a bit of an idea what a Foley artist did, but my knowledge only scratched the surface. Learning what a Foley artist actually does, I gained through on-the-job experience working with John and his recordist at the time, Tony Young. I was mainly in the Foley room, shadowing John. Both John and Tony were very patient with me as I tried to take in all they were teaching me and put it into practice, starting with the basics of performing in sync, following the actors' shoulders when walking, making the right shoe/prop choices, the layering of sounds, what to listen for, and how much to cover. John would give me performing tips and Tony would give me feedback from the mixer's point of view. I remember the boxes of S-VHS tapes arriving at the studio filled with episodes of Australian soap operas that required Foley for an Recording on location for Wolf Creek, South Australia, 2004. Top and centre: Foley recording in the quarry. Bottom: Recording Foley (Note the TV on the bonnet). Photos by Adrian Medhurst