Issue link: https://digital.copcomm.com/i/1535806
46 S U M M E R 2 0 2 5 I C A S Q U A R T E R L Y What did you find most challenging when looking for the right Foley sounds for this show? RS: As far as the actual fuselage of the airplanes that they were flying in, you know we have never been in one of those. Some of the guys actually got to go up and record them in the air, which was really cool. They were very flimsy and thin. So we heard "thin" and had to think of certain types of metallic material. Whether it was a thin car door or a thin car hood to make the sound, so when the guys are squeezing through the fuselages going from one area to another, it felt really claustrophobic and tight and thin. We wanted the metal to have a specific ring off. It couldn't be solid. Same with the 50-caliber machine gun shells when they were ejecting out of the gun. We were making the sounds of the organic shells rolling on the fuselage floor and we had to use thin metal to make that sound not only poke you sonically, but to tell the story that says, "Hey, this is a real thin plane." There is also the sound of the backpacks and when they get on and off the trucks. The trucks had wood- lining, so we wanted to make it sound real rustic and worn- in and have bench creaks, the little details. Another example is when they're crawling in and out of the airplanes, and when they land with their boots and walking on the gritty cement. Everyone's running up and we wanted to make it sound busy and very tense like a sense of urgency. It's also not just about the planes, the trucks, and the feet; there's a lot of subtle scenes as well. When they're sitting there eating fine dining, we had to use certain types of really fine china and silver and just make it a period piece. We also struggled with the helmets a little bit because those are period-piece helmets. We had to manipulate them and handle them just right. Not that the helmets were a big deal, but there were times when they took them off and put them down or sat on them. Jack and Mike brought in a big bag of 50-caliber shells, which was really helpful. We wouldn't have been able to fake that. You can have little 22's and shotgun shells, but it doesn't really work for 50-caliber rounds. They are quite large—like six inches long—and they have a very specific brass sound. They brought in a couple hundred of those and we were able to do a pass of all those on the fuselage floor. Everything's not a challenge, but it is an adventure. It's an opportunity to be creative and we love that part of the job!