![]() ![]() That was pretty much Spider-Man’s character anyway, but I had to keep that in mind especially for Jon. He wanted the Foley performance to be like that. The first time I met director Jon Watts on Homecoming, he came in to make sure that Spider-Man sounded ninja-like and light on his feet. ![]() Each director has a different vision of how they want Spider-Man to sound but it’s pretty much the same. Overall, Spider-Man sounds light and stealthy. There are going to be texture layers for whatever surface he’s coming into contact with in a film. So, Spider-Man’s movements, his feet, his hand grabs, and his web attaching, all those sounds are similar but dependent on what surface he’s landing on or attaching to. The big difference from film to film is what Spider-Man comes in contact with. There is a certain sound for Spider-Man and that pretty much stays the same. GH: Yes, on the Spider-Man films there is a kit. S&P: For a character like Spider-Man, which you’ve worked on so many times, do you find yourself using some of the same props? Is there a Spider-Man kit? So, there is a bit of a stranger feel in performing Foley for animation as opposed to live action. But, as the film progresses and becomes more refined, they smooth that out so that it flows. In the early stages of the animation (as the animators are putting the film together, before they’ve refined the image) the movements are a bit jerkier. Sometimes with animation there will be little, quick movements. They play up the Foley a bit more than they do in live-action. With animated films, they use Foley sounds a bit more in the mix because there is no production track. I have to intricately paint each layer of sound in Foley by hand, depending on what’s on the screen. I’m on the Foley stage and I have a blank canvas. The approach to Foley for animation and live-action is pretty much the same. The Foley had to be extra special because it was featured. It was all created through Foley, sound design, sound effects, and music. Everything was done from scratch, and there was no production track to carry along any sounds. The only difference in Into the Spider-Verse was that it was truly animated. I know how to perform him and what his sounds are, so with each film it’s gotten a little more detailed and a little better each one grew and evolved more than the last one. What was cool about working on all these Spider-Man films, and being with the franchise from the beginning, was that along the way I picked up all the tricks of his character. S&P: Was your approach to the animated Spider-Man: Into the Spider-Verse different from a live-action Spider-Man? That was intensive, detailed and exhausting. It was fun to play it back and hear all of those layers and textures come together for Spider-Man. It was really cool when we were done layering his footsteps, his hands, his body sounds, and web sounds - all those different surfaces and textures. Every Spidey hand movement, as he climbs on different surfaces, was meticulously performed, as were his body movements. Each event has to be different and have texture to make it sound real, interesting, and unique. He lands on walls and bridges and boats and metal poles and glass windows on buildings. It’s a tall task to perform Spider-Man’s movements and every footstep - all his running and jumping, landing and fighting on every surface you can imagine. GH: Yes, Spider-Man’s footsteps and movements have a certain feel and specific sound. S&P: What are some essential Foley elements that go into Spider-Man? Are there core elements that have remained the same over the years? He discusses the challenges of the newest Spider-Man theatrical release - Spider-Man: Far From Home - and how the Foley sound design played an integral role in helping Spider-Man and his adversaries come to life on the screen. He talks about how it feels to be the Foley Artist behind the Spider-Man character all these years. Here, Hecker talks about his journey through the Spider-Man filmography - how his approach has grown over the years, and what’s remained the same. After six films, Hecker probably understands Spider-Man more than Spider-Man understands himself! ![]() He’s walked, jumped, stomped, run, tip-toed, shuffled, slid, and everything else you can do in shoes while performing Foley for Spider-Man. They say you can’t understand someone until you’ve walked a mile in their shoes. Well if that’s true, few people understand Spider-Man like Hecker does. He has since created Foley sound for Spider-Man 2 (2004), Spider-Man 3 (2007), Spider-Man: Homecoming (2017) and Spider-Man: Into the Spider-Verse (2018). Spider-Man: Far From Home’s Foley artist Gary Hecker - from award-winning Sony Pictures Post Production Services - has been spinning custom sounds for Spider-Man since the superhero’s first screen appearance in Spider-Man (2002). Foley artist Gary Hecker in the control room behind the S6 console
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |