By Bruno Zevi
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Extra info for Apprendre a voir l’architecture
Having a team of three people as walkers allowed many characters to be covered at one time. Because recording and rerecording technology was still rather simple, dubbing Veteran Foley artists Ken Dufva (left) and David Fein (right) performing footsteps cue for a film. Photo courtesy of Steve Lee, Hollywood Lost and Found. 14 | The Foley Grail mixes did not include any stereo mixing or panning as is now the common practice. So as long as principals were kept together and backgrounds were kept together, they could combine or “marry” characters easily.
His chair creaks. He taps his hand on the table. We hear the amplified ticking of his watch. He walks to the stairway and grabs the metal rail, then digs his fingers into the rail. He sits down again. He crushes his cigarette into an ashtray and lights a new one with a match. He then grabs his wrist. He drops his second cigarette to the floor and crushes it with his foot. He breaks his pencil into two pieces and drops it on the floor. He breathes heavily. He sweats. We see the concerned look on his ex-wife’s face as she is participating in the play reading.
They had a truly functional Foley “marriage,” which was admired by all who knew of them or worked with them. They have attributed this to a lack of competitiveness between them, and one can quickly see when the two are together that they genuinely like and admire each other. This achievement alone is worth emulating. However, they also were one of the best teams in Foley, and their work was first rate. They handled an abundance of top films, although they received screen credit on very few. So those who are not “in the biz” might never know who these talented and distinguished men are.