His Live Performance Creates the Sounds for Film
Palisadian Michael Lyle won a 2004 Emmy award for stomping his feet in sync to film, and slapping boxing gloves against the floor. A Foley artist, Lyle won the Emmy for ‘Outstanding Sound Editing for a Miniseries, Movie or a Special’ for HBO’s ‘And Starring Pancho Villa As Himself.’ ”The Emmy Awards ceremony brought rare recognition to this behind-the-scenes Hollywood craft. After the film is shot, the Foley artists begin their work. Since the sound recordists on the set are mostly focused on capturing dialogue, Foley artists come in and add the ambient sounds that give the film or TV show a ‘real, authentic’ feeling. ”On a recent Thursday afternoon at Universal Studios, Lyle was starting the evening shift of Foley work with his partner Paul Stevenson and Foley mixer Matt Mondrick. ”Mondrick sits at a large mixing table in a glass booth, while Lyle and Stevenson work on the stage. The film is projected without sound on a large monitor and two portable super-sensitive microphones pick up every move of the two Foley artists. The work requires replicating sounds from the intricate movement of people and objects. ”While working on an episode of the television series, ‘LAX,’ the two men first rub cloth together for the scene. This cloth track will add the subtle background noise of people’s clothing moving. Next, they work on footsteps, one of the Foley artist’s specialties. ”Lyle says he has over 50 pairs of shoes, ‘from combat boots to 6-inch stilettos,’ each chosen to make a specific sound. ‘It’s funny seeing us at the thrift store with a bunch of women’s shoes walking around with them to see what sound they make,’ says Stevenson. ”Looking like a crazy tap dance duo from an old silent movie, the men focus intensely on the screen while moving in rhythm to create the walk of the character they’re playing. There are a variety of walking surfaces to choose from in the studio: coffee grounds on a concrete surface for a sidewalk, dirt with grass and wood chips, gravel, rugs, and other squares of different material throughout the stage floor. ”The soundproofed studio is filled with props’glasses, kitchenware, food, shoes, magazines, telephones, guns, rifles, metal pipes, a tub and various buckets of water, and a well-worn car hood. ‘If we don’t have it, we make you think we have it,’ Lyle says. ”’When we see something new [on the screen], our brain goes into high gear, we run around for a minute and get an idea [of how to make that sound], we usually figure it out quickly.’ ”In another run through the scenes, the two sit at separate microphones, using props to make yet another layer of sound. Someone is spit at and Lyle slaps a wet chamois cloth against his hand to replicate the sound. For a fight scene, pairs of jeans slapped on the floor are used to represent the sound of a body hitting the floor. ”The work is intensely physical. ‘I’ve got to stay in really good shape for this,’ says Lyle, who works with a trainer to keep in top condition for the job. ‘There are about 50 people who make a living at it in town,’ he says. About two-thirds of them are women, many who started as dancers. ”There are tricks of the trade that are passed down, such as using coconuts for horse hooves and paper clips taped to a glove for dog and cat paw steps. ”Lyle credits being a lifelong drummer to his ability to be a ‘sync-monkey,’ synchronizing his movements exactly with what’s happening on the screen. ‘It’s very rhythmic,’ says Lyle, who also enjoys the overall creativity of the job. Foley artists have to be able to quickly replicate any sound on a first viewing. If an actor knocks something with a weird rhythm, Lyle can hear it back once and replicate it automatically, a talent that comes from his percussion background. ” ”In his musical career, he leads the eight-member jazz band The BlueCat Express, which also includes his wife, Heather, a vocalist (the group’s CD ‘Spirit of New Orleans’ is available at Village Books). The couple have lived in Marquez Knolls since 1993. ”Lyle was training to be a sound effects supervisor seven years ago when he got thrown into a Foley stage. ‘An editor put me in a studio cold and said, ‘Get this film done,” recalls Lyle, who learned he had a knack for it. ”Lyle, 44, also loves the autonomy of the job, ‘Foley artists are among the few people in the film business who are allowed to do their own thing. When directors or producers hire us, they know we’re going to get the job done. It’s up to us to do what the film or TV show needs. It’s nice to go to work with your team.’ ”The process starts when an editor, while watching the film, notes on a chart the exact moment when a specific sound effect is needed. The Foley mixer can record up to nine separate tracks of different Foley sounds for one scene in a TV show, and 24 tracks for a film. ”The Foley mixer cues up the scene to the correct spot, and makes sure the sounds and movement are in perfect sync. He may occasionally have to ask the Foley artists to redo a scene if, for example, one of their stomachs grumble, since the microphones are so sensitive they will pick up the sound.” ”Finally the mixer will mix the Foley tracks with dialogue, sound effects and music to create the final product. ”’When you really get the groove of moving in sync with the picture, it’s the same feeling as playing with a band when it’s going well,’ Lyle says.
