The Weird, Analog Delights of Foley Sound Effects
The salvage yard at M.
M 的废品回收场。
Maselli & Sons, in Petaluma, California, is made up of six acres of angle irons, block pulleys, doorplates, digging tools, motors, fencing, tubing, reels, spools, and rusted machinery.
Maselli & Sons 位于加利福尼亚州佩塔卢马，由占地六英亩的角铁、滑轮、门板、挖掘工具、电机、围栏、管道、卷轴、线轴和生锈的机械组成。
To the untrained eye, the place is a testament to the enduring power of American detritus, but to Foley artists—craftspeople who create custom sound effects for film, television, and video games—it’s a trove of potential props.
对于未经训练的人来说，这个地方证明了美国碎石的持久力量，但对于拟音艺术家（为电影、电视和视频游戏创造定制音效的工匠）来说，这是一个潜在道具的宝库。
On a recent morning, Shelley Roden and John Roesch, Foley artists who work at Skywalker Sound, the postproduction audio division of Lucasfilm, stood in the parking lot, considering the sonic properties of an enormous industrial hopper.
最近的一个早晨，在卢卡斯影业后期制作音频部门 Skywalker Sound 工作的拟音艺术家 Shelley Roden 和 John Roesch 站在停车场，考虑着一个巨大的工业料斗的声音特性。
“I’m looking for a resonator, and I need more ka-chunkers,” Roden, who is blond and in her late forties, said.
“我正在寻找一个共鸣器，我需要更多的卡块，”四十多岁的金发女郎罗登说。
A lazy Susan was also on the checklist—something to produce a smooth, swivelling sound.
一个懒惰的苏珊也在清单上——能够产生平滑、旋转声音的东西。
Roesch, a puffer-clad sexagenarian with white hair, had brought his truck, in the event of a large haul.
罗施是一位身穿羽绒服、头发花白的六十多岁老人，他带来了自己的卡车，以防运输量大。
The pair was joined by Scott Curtis, their Foley mixer, a bearded fiftysomething.
他们的拟音混音师斯科特·柯蒂斯 (Scott Curtis) 也加入了他们的行列，他是一位五十多岁、留着胡须的人。
Curtis was in the market for a squeaky hinge.
柯蒂斯正在市场上寻找一种吱吱作响的铰链。
“There was a door at the Paramount stage that had the best creak,” he said.
“派拉蒙舞台上有一扇门吱吱作响，”他说。
“The funny thing was, the cleaning crew discovered this hinge squeak, and they lubricated the squeak—the hinge.
“有趣的是，清洁人员发现了铰链的吱吱声，他们润滑了吱吱声——铰链。
It was never the same.”
一切都不再一样了。”
Petaluma is a historically agricultural town, and that afternoon was the thirty-ninth annual Butter and Egg Days Parade; the air smelled of lavender and barbecued meat.
佩塔卢马是一个历史悠久的农业小镇，那天下午是第三十九届一年一度的黄油和鸡蛋日游行；空气中弥漫着薰衣草和烤肉的味道。
Inside the yard, Curtis immediately gravitated toward a pile of what looked like millstones, or sanding wheels.
在院子里，柯蒂斯立即被一堆看起来像磨石或砂轮的东西吸引。
He began rotating one against another, producing a gritty, high-pitched ring, like an elementary-school fire alarm.
他开始旋转一个，发出一声沙哑的、高音调的铃声，就像小学的火警警报器一样。
“The texture is great,” Roden said.
“质地很棒，”罗登说。
She suggested that one of the wheels could be used as a sweetener—a sound that is subtly layered over another sound, to add dimension—for a high-tech roll-up door, or perhaps one made of stone.
她建议，其中一个轮子可以用作高科技卷帘门或石头制成的门的甜味剂——一种巧妙地叠加在另一种声音上的声音，以增加维度。
“It’s kinda chimey,” she said, wavering.
“这有点奇怪，”她犹豫地说。
“It has potential.” A few yards away, Curtis had moved on to a shelf of metal filing-cabinet drawers, freckled with rust.
“它有潜力。”几码外，柯蒂斯走到了一个架子上，架子上放着金属文件柜抽屉，上面布满了锈迹。
“We have so many metal boxes,” Roden said, and walked away.
“我们有很多金属盒子，”罗登说完就走开了。
“It’s kinda the squeak I was looking for,” Curtis said softly.
“这有点像我正在寻找的吱吱声，”柯蒂斯轻声说道。
“Hey, guys, remember the ‘Black Panther’ area?” Roden called out.
“嘿，伙计们，还记得‘黑豹’区域吗？”罗登叫道。
“Wanna explore?” She led the group past a rack of hanging chains, also rusted; Curtis lightly palmed a few in sequence, producing the pleasant rings of a tintinnabulum.
“想要探索吗？”她带领大家经过一排挂着铁链的架子，铁链也生锈了。柯蒂斯依次轻轻地拍了几下，发出丁丁纳布尔姆般的悦耳响声。
Roden pointed to the spot where she had found a curved crowbar to create the sound of Vibranium—a fictional rare metal unique to the Marvel universe—before zeroing in on a rack of thimbles, clamps, nuts, bolts, and washers.
罗登指着她发现一根弯曲撬棍发出振金声音的地方——振金是漫威宇宙中特有的一种虚构的稀有金属——然后她把注意力集中在一排顶针、夹子、螺母、螺栓和垫圈上。
The trio began knocking and tapping hardware together, producing a series of chimes, tinks, and clunks.
三人开始敲击硬件，发出一系列的钟声、叮当声和沉闷声。
Roesch, who calls himself an “audile”—someone who processes information in a primarily auditory manner, rather than in a visual or a material one—had unearthed a sceptre-like industrial tool with a moving part, and was rapidly sliding it back and forth.
罗施自称是“听觉者”——主要以听觉方式处理信息的人，而不是视觉或物质方式——他发现了一个带有移动部件的权杖状工业工具，并正在快速地来回滑动它。
“Robot,” he said.
“机器人，”他说。
The bulk of the sound in film is typically added in postproduction.
电影中的大部分声音通常是在后期制作中添加的。
“I always say there’s sound effects, like footsteps, and then there’s music,” the director David Lynch, whose films are famous for their inventive, evocative sound design, said.
“我总是说有声音效果，比如脚步声，然后就是音乐，”导演大卫·林奇说，他的电影以其富有创意、令人回味的声音设计而闻名。
“And then there’s sound effects that are like music.
“然后还有像音乐一样的音效。
.
。
.
。
.
。
They conjure a feeling.” Traditionally, “hard effects” cover ambient noises such as traffic or rain, or the more mechanical, combustive sounds of explosions and gunfire; they are usually pulled from libraries, or electronically produced.
他们唤起一种感觉。”传统上，“硬效果”涵盖交通噪音或雨声等环境噪音，或者爆炸和枪声等机械性、燃烧性的声音；它们通常是从图书馆中提取的，或者是电子制作的。
Foley effects are custom to a film, and are synchronized to characters’ movements.
拟音效果是电影定制的，并且与角色的动作同步。
They might include the sound of someone walking across a room, rolling over in bed, stirring a pot, typing, fighting, dancing, eating, falling, or kissing.
它们可能包括有人走过房间、在床上翻身、搅拌锅、打字、打架、跳舞、吃饭、摔倒或接吻的声音。
The line between the two kinds of effect is thin: Foley artists record the sound of a hand twisting a doorknob, but not the sound of the mechanism turning within.
两种效果之间的界限很窄：拟音艺术家记录了手转动门把手的声音，但没有记录内部机械装置转动的声音。
Foley is subtle but suggestive, capturing offstage bedsprings, or the shuffle of a clumsy intruder.
拟音微妙但富有启发性，捕捉到了后台的弹簧，或者是笨拙的入侵者拖着脚步的声音。
In the past hundred years, technology has changed the process of recording, editing, and engineering sounds, but the techniques of Foley have remained stubbornly analog.
在过去的一百年里，技术改变了录音、编辑和工程声音的过程，但拟音技术仍然顽固地保持着模拟。
Behind any given Foley effect, no matter how complex, are one or two people contorting their bodies in a soundproof room.
任何特定的拟音效果背后，无论多么复杂，都是一两个人在隔音室中扭曲身体。
Foley artists have historically worked in pairs.
拟音艺术家历来都是成对工作的。
(Certain sounds are so complex that they require the labor of four hands.) Roden and Roesch are two of the masters in their field.
（某些声音非常复杂，需要四只手的劳动。）罗登和罗施是各自领域的两位大师。
David Fincher, the director of movies including “The Social Network,” “Gone Girl,” and “Mank,” told me that Foley is “a very strange calling,” and “a dark art” foundational to filmmaking.
执导过《社交网络》、《消失的爱人》和《曼克》等电影的导演大卫·芬奇告诉我，拟音是“一个非常奇怪的职业”，也是电影制作的基础“黑暗艺术”。
“You’re trying to make beautiful sounds that make their point once and get the hell out of Dodge,” Fincher said.
“你要努力发出美妙的声音，一次表达他们的观点，然后让道奇滚蛋，”芬奇说。
“The people who do it really, really well are few and far between.”
“真正做得非常好的人是少之又少。”
The group continued walking through the salvage yard, clanking poles together, pushing buttons, tapping metal surfaces, flapping doors, turning cranks.
这群人继续穿过废品场，把电线杆撞在一起，按下按钮，敲击金属表面，拍打门，转动曲柄。
Roesch pulled a handle on the front of an electrical cabinet, and it made a satisfying fnnp .
罗施拉动电气柜前面的把手，发出了令人满意的“fnnp”声。
“Those are sha-shonkers, for sure,” Roden said approvingly.
“这些肯定是煞气震慑者，”罗登赞许地说。
She flipped a large metal clasp back and forth.
她来回转动一个大金属扣。
“It’s lovely.” The group headed to a rack of hinges.
“真可爱。”一行人走向一个铰链架。
Roden tested one; it made a seesawing squeal.
罗登测试了一个；它发出了拉锯般的尖叫声。
She retrieved another and flapped it back and forth.
她又捡起另一个，来回拍打它。
“Screaming puppy,” she said, shaking her head.
“尖叫的小狗，”她摇着头说道。
She looked up at me.
她抬头看着我。
“Did you lose a filling?”
“你的填充物丢失了吗？”
For an audile, the yard seemed like a potentially overstimulating environment.
对于听觉者来说，院子似乎是一个可能过度刺激的环境。
I imagined the old mattress springs and racks of hardware bursting to life, “Fantasia”-like, jangling and clunking in a private cacophony.
我想象着旧床垫弹簧和硬件架突然焕发活力，就像“幻想曲”一样，在私人刺耳的声音中叮当作响。
I relayed this to Roden, who shook her head.
我把这件事转达给罗登，罗登摇了摇头。
“No, no, no, not at all—it’s potential creativity,” she said.
“不，不，不，一点也不——这是潜在的创造力，”她说。
“You know what’s overstimulating?
“你知道什么是过度刺激吗？
Sitting in a movie theatre.”
坐在电影院里。”
Sound effects emerged in the late nineteenth century, as the motion-picture industry experimented with accompaniment to silent films.
声音效果出现于十九世纪末，当时电影行业尝试为无声电影伴奏。
Theatres brought in live bands, orchestras, lecturers, and hidden actors who stomped and clattered in conjunction with movies; they tested strategically placed phonographs and the Kinetophone, a contraption introduced by Thomas Edison, which attempted to synch sound to movement.
剧院带来了现场乐队、管弦乐队、讲师和隐藏的演员，他们与电影一起跺脚和敲击；他们测试了精心放置的留声机和电影放映机，这是托马斯·爱迪生发明的一种装置，试图将声音与运动同步。
Enterprising inventors created effects “traps,” small machines meant to imitate everyday sounds such as a baby crying or a nose being blown.
富有进取心的发明家创造了效果“陷阱”，这是一种旨在模仿日常声音的小型机器，例如婴儿哭声或擤鼻涕的声音。
In a recent paper for the academic journal Film History , Stephen Bottomore, a historian of early cinema, cited a 1911 article that griped about the maximalism such devices facilitated: “It is often the case that a youth with no imagination, and with very limited brain power, combined with a spirit of mischief, ‘lets himself go,’ when presiding over the sound machine.”
在学术期刊《电影史》最近发表的一篇论文中，早期电影历史学家史蒂芬·博托莫尔引用了一篇 1911 年的文章，该文章对此类设备所促成的极端主义表示不满：“经常出现的情况是，一个没有想象力、脑力非常有限、加上恶作剧精神的年轻人，在主持音响机器时会‘放飞自我’。”
In 1926, Warner Bros., then a small outfit best known for a movie about a German shepherd named Rin Tin Tin, débuted the Vitaphone, which allowed for synchronized recorded sound.
1926 年，当时规模较小的华纳兄弟公司（Warner Bros.）首次推出了 Vitaphone，它可以同步录制声音。
That year, the studio released “Don Juan,” a silent film with a recorded musical score and a handful of sound effects: tepid clicks to accompany swords in combat; clangs and chimes to add weight to wedding bells.
那一年，该工作室发行了《唐璜》，这是一部带有录制乐谱和一些音效的无声电影：战斗中剑的不温不火的咔嗒声；铿锵声和钟声为婚礼的钟声增添了分量。
Initially, it was impractical for production teams to edit recordings, and dialogue, music, and sound effects had to be recorded in real time, on set.
最初，制作团队编辑录音是不切实际的，对话、音乐和音效必须在现场实时录制。
“In a lot of cases, those recordings were still the sounds that musicians used to perform in the theatres,” Emily Thompson, a historian of technology at Princeton, told me.
“在很多情况下，这些录音仍然是音乐家在剧院表演的声音，”普林斯顿大学技术史学家艾米丽·汤普森告诉我。
“You’ll hear drummers instead of machine guns, or saxophones when ducks go by onscreen.”
“当屏幕上有鸭子经过时，你会听到鼓声，而不是机关枪或萨克斯管的声音。”
Foley takes its name from Jack Foley, a stuntman, prop handler, and assistant director at Universal Pictures in the late twenties.
Foley 的名字取自杰克·弗利 (Jack Foley)，他是二十世纪二十年代末在环球影业担任特技演员、道具操作员和助理导演的人。
His breakout was “Show Boat,” which was initially intended to be a silent film; facing competition from Warner Bros., Universal added a soundtrack, which included dialogue, during postproduction.
他的突破是《Show Boat》，最初打算拍成一部无声电影；面对华纳兄弟的竞争，环球影业在后期制作过程中添加了包括对话在内的配乐。
Jack Foley provided sound effects: handclaps, footsteps.
Jack Foley 提供了音效：拍手声、脚步声。
He built a small crew, and their workspace became known as “Foley’s room”; other studios eventually developed their own “Foley stages.” Later, a technique known as sound-on-film—in which recorded sound is converted to light waves printed directly onto film strips—made it possible to work with effects separately, something that allowed for more artistic freedom.
他组建了一个小团队，他们的工作空间被称为“福利室”。其他工作室最终开发了自己的“拟音舞台”。后来，一种被称为电影声音的技术——将录制的声音转换为直接打印在胶片上的光波——使得单独处理效果成为可能，从而提供了更多的艺术自由。
In the thirties, sound technicians sought “wild” recordings—a literalism that prioritized the grinding rush of an actual train over the smoother, more controllable sound of roller skates cruising over a wood floor.
三十年代，音响技术人员寻求“狂野”的录音——一种字面意义上的录音，优先考虑真实火车的磨砺冲刺声，而不是溜冰鞋在木地板上巡航的更平滑、更可控的声音。
But some directors used sound effects for their suggestive qualities, such as the growing thunder of encroaching shells in “A Farewell to Arms,” or the sinister whistling of the serial killer Hans Beckert in Fritz Lang’s “M.”
但一些导演利用声音效果来发挥暗示作用，例如《永别了，武器》中炮弹入侵的雷声越来越大，或者弗里茨·朗的《M》中连环杀手汉斯·贝克特险恶的口哨声。
In the decades that followed, sound work continued to evolve, both technologically and aesthetically.
在接下来的几十年里，声音作品在技术和美学上都在不断发展。
Studios assembled robust catalogues of sound effects.
工作室收集了强大的音效目录。
(Certain stock sound effects became famous, such as the “Wilhelm scream,” which was reproduced in dozens of movies.) Multitrack recording enabled effects artists to create more complex soundscapes.
（某些库存音效变得著名，例如在数十部电影中重现的“威廉尖叫”。）多轨录音使特效艺术家能够创造出更复杂的音景。
But it wasn’t until the mid-seventies, with the innovation of Dolby Stereo—a sound system with four channels, rather than the usual two—that filmmakers began to truly embrace the possibilities of stereo sound.
但直到七十年代中期，随着杜比立体声（一种具有四个声道而不是通常的两个声道的音响系统）的创新，电影制片人才开始真正拥抱立体声的可能性。
Roesch studied film at N.Y.U.
罗施在纽约大学学习电影
and at the American Film Institute, and entered the industry in 1978.
和美国电影学院，并于 1978 年进入该行业。
Soon after he moved to Los Angeles, Joan Rowe, who collected rent for Roesch’s landlord, and who was freelancing as a Foley artist, brought Roesch into the studio where she worked.
搬到洛杉矶后不久，琼·罗（Joan Rowe）为罗施的房东收取租金，同时也是一名自由艺术家，是一名拟音艺术家，她将罗施带进了她工作的工作室。
“He was absolutely amazing,” she told me.
“他真是太棒了，”她告诉我。
“There was a character that came running across the stage, and jumped up, and spun around, and flipped over—I just can’t tell you the number of intricate steps that this character had—and John just went loobaloobaloobaloo .” She made a kind of cartoonish spiral sound to imitate his movements.
“有一个角色跑过舞台，跳起来，旋转，翻身——我无法告诉你这个角色有多少复杂的步骤——约翰简直疯了。”她发出一种卡通般的螺旋声来模仿他的动作。
Roesch and Rowe became Foley partners.
罗施和罗成为弗利合伙人。
One of their first projects together was “The Black Stallion,” from 1979.
他们合作的第一个项目是 1979 年的《黑种马》。
(To simulate the clatter of horses’ hooves, they stuffed toilet plungers with fabric, among other techniques.) Roesch worked on the footsteps for Michael Jackson’s dance moves in “Thriller.” He and Rowe were hired by Steven Spielberg to do the Foley for “E.T.” That film, Rowe told me, was “the Foley artist’s dream, the Foley artist’s joy.” Spielberg had a distinct idea of how he wanted E.T.
（为了模拟马蹄的叮当声，他们在马桶活塞中塞满了织物等技术。）罗施为迈克尔·杰克逊在《惊悚片》中的舞蹈动作制作了脚步声。他和罗受史蒂文·斯皮尔伯格聘请为《E.T.》制作拟音。罗告诉我，那部电影是“拟音艺术家的梦想，拟音艺术家的快乐”。斯皮尔伯格对于他想要《E.T.》的方式有一个清晰的想法。
to sound: liquidy and alien, but funny, and not scary.
听起来：流动且陌生，但有趣，而不可怕。
Most crucially, it was important that the wide-eyed, wrinkled, freaky extraterrestrial be lovable.
最重要的是，让这个睁大眼睛、满脸皱纹、怪异的外星人变得可爱是很重要的。
To make the sounds of E.T.’s movements, Rowe and Roesch landed on raw liver, which slid about in its package, and jello wrapped in a damp T-shirt.
为了发出外星人动作的声音，Rowe 和 Roesch 降落在生肝脏上，生肝脏在包装中滑动，果冻包裹在湿 T 恤中。
For the character’s body falls, Rowe recalls using a novelty-sized bag of popcorn; Roesch remembers using a pillowcase filled with rice and cereal.
罗回忆说，为了角色的身体摔倒，他使用了一袋新奇大小的爆米花；罗施记得使用了一个装满大米和麦片的枕套。
There are certain well-worn tricks of the trade.
有一些行之有效的技巧。
Vegetables are old standbys: snapped celery for broken bones, hammered cabbage for a punch.
蔬菜是古老的备用品：折断的芹菜可以用来对付骨折，打碎的卷心菜可以用来打拳。
(According to the Web site Atlas Obscura, during the climax of “Titanic,” in which Kate Winslet floats, shivering, on a piece of debris, Foley artists peeled back layers of frozen lettuce to add texture to the sound of her crisping hair.) Paper clips or nails, taped to the tips of a glove, are useful for the clicking footsteps of a house pet.
（根据 Atlas Obscura 网站的报道，在《泰坦尼克号》的高潮部分，凯特·温斯莱特在一块碎片上颤抖地漂浮着，拟音艺术家剥开了几层冷冻生菜，为她头发松脆的声音增添质感。）用胶带粘在手套尖上的回形针或指甲，可以用来制作家养宠物的咔哒脚步声。
Wet pieces of chamois leather, the sort that is used for cleaning cars, are highly versatile.
用于清洁汽车的湿麂皮片用途广泛。
“They sound just like mud,” Rowe said.
“它们听起来就像泥土一样，”罗说。
“Also, they’re excellent for blood.
“而且，它们对于血液来说也非常好。
If you want to stab somebody in the chest, and you want to hear the sound of the knife going in”—here she made a gushing, kuschhy sound—“get that chamois out and just squish it.
如果你想刺进某人的胸部，并且你想听到刀插入的声音”——她在这里发出了一种涌出的、粗俗的声音——“把那块麂皮拿出来，然后把它压扁。
I found this big plastic cup, and when you put a chamois in it, when it’s wet, when you rub it up and down”—she emitted another guttural gush—“it makes this incredible sound.”
我发现了这个大塑料杯，当你在里面放一块麂皮时，当它是湿的时，当你上下摩擦它时”——她又发出一声喉音——“它会发出这种令人难以置信的声音。”
Roesch refers to the eighties as his Camelot.
罗施将八十年代称为他的卡米洛特。
He was part of the Foley team on “The Empire Strikes Back”—a large trash can for R2-D2—and worked on hits such as “Tron,” “Lethal Weapon,” “Gremlins,” and “Sixteen Candles.” The director John Hughes’s films, Roesch recalled, were straightforward, with the exception of the leather jackets in “The Breakfast Club”: “The one thing is, when you have leather jackets, are they just leather jackets, or are they evil, are they over the top—are we going to be concerned about this character?” For Trinity’s latex bodysuit in “The Matrix,” Roesch and his partner at the time, Hilda Hodges, used “crunchy, scrunchy leather.” “Schindler’s List” was “the ultimate realism project”—one struggle was finding a sonically accurate typewriter.
他是“帝国反击战”（R2-D2 的一个大型垃圾桶）的 Foley 团队的一员，并参与了诸如“Tron”、“Lethal Weapon”、“Gremlins”和“Sixteen Candles”等热门歌曲的制作。罗施回忆道，导演约翰·休斯的电影很简单，除了《早餐俱乐部》中的皮夹克：“问题是，当你有皮夹克时，它们只是皮夹克，还是邪恶的，它们是否太过分了——我们会关心这个角色吗？”对于《黑客帝国》中 Trinity 的乳胶紧身衣，Roesch 和他当时的搭档 Hilda Hodges 使用了“脆脆的皮革”。 《辛德勒的名单》是“终极现实主义项目”——其中的一个难题是找到一台声音准确的打字机。
Roden, who grew up in western New York and studied at Ithaca College, entered the industry in the nineties.
罗登在纽约西部长大，就读于伊萨卡学院，于九十年代进入该行业。
For a time, she did Foley for a small, low-budget studio that specialized in horror and adventure films.
有一段时间，她为一家专门制作恐怖和冒险电影的小型低成本工作室制作了拟音。
(“Volcano, tornado, earthquake,” she said.) On the side, she studied the work of Foley veterans such as Marko Costanzo.
（“火山、龙卷风、地震，”她说。）同时，她研究了 Marko Costanzo 等拟音老手的作品。
“ ‘Barton Fink,’ there was a wallpaper peel that was just beautiful,” she told me.
“‘巴顿芬克’，有一个壁纸剥离非常漂亮，”她告诉我。
She learned that Costanzo used two hinges to make door sounds more complex.
她了解到科斯坦佐使用两个铰链使门的声音更加复杂。
“From that point forward, I used two props for everything.”
“从那时起，我就用两个道具来完成所有事情。”
The Foley world is small.
拟音世界很小。
Roesch likes to say that there are more astronauts on earth than there are working Foley artists.
罗施喜欢说，地球上的宇航员比在职的拟音艺术家还多。
(He estimates that there are currently about a hundred active practitioners in the U.S.) In 2008, Roesch, who had met Roden several years prior, asked whether she wanted to head up the night crew at his Foley stage.
（他估计目前美国大约有 100 名活跃的从业者）2008 年，几年前见过罗登的罗施问她是否愿意领导他的拟音舞台的夜间工作人员。
In 2016, she joined Skywalker Sound as Roesch’s partner.
2016年，她作为Roesch的搭档加入Skywalker Sound。
The two make an unlikely pair.
两人是一对不太可能的组合。
Roesch is jocular and outgoing—he hosts a podcast about postproduction with his daughter, called “The Right Scuff,” and conducted several hundred Zoom interviews during the pandemic for a Facebook group of sound professionals.
Roesch 幽默而外向，他与女儿一起主持了一个有关后期制作的播客，名为“The Right Scuff”，并在疫情期间为 Facebook 的声音专业人士小组进行了数百次 Zoom 采访。
Roden has a humble, almost studious air; in her spare time, she has been drawing sketches for an animated short film, based on Frank Hurley’s photographs of the Shackleton expedition, which she plans to score with a rich, Foley-inflected soundscape.
罗登有一种谦虚、近乎好学的气质。在业余时间，她一直在根据弗兰克·赫尔利拍摄的沙克尔顿探险队的照片为一部动画短片绘制草图，她计划用丰富的、受拟音影响的音景来配乐。
Roden and Roesch have a warm patter.
罗登和罗施热情地交谈着。
They share a fresh-faced enthusiasm, as if they cannot quite believe what they get to do for a living.
他们有着一种新鲜的热情，就好像他们不太相信自己的谋生之道。
Skywalker Sound sits on Skywalker Ranch, a sprawling, peaceful paradise in Nicasio, California, about an hour north of San Francisco.
天行者之声坐落在天行者牧场上，这是一个位于加利福尼亚州尼卡西奥的广阔而宁静的天堂，距离旧金山以北约一小时车程。
It is enclosed by hills, which are dotted with cattle; mention the cattle, and someone will inevitably note the ranch’s Wagyu operation.
它四面环山，山上散布着牛群；提到牛，人们不可避免地会注意到牧场的和牛经营。
(The beef is served in Skywalker-owned restaurants in San Francisco, and in a lodge-like campus cafeteria.) The grounds are landscaped so that the buildings, arranged around a swimmable lake, are concealed from one another by a variety of native trees.
（牛肉在旧金山的天行者拥有的餐厅和一个类似旅馆的校园自助餐厅供应。） 场地经过精心设计，围绕一个可游泳的湖泊排列的建筑被各种本土树木所遮蔽。
Walking the ranch’s wooded paths, I felt as if I were at an upscale rehab facility, or the sort of Northern Californian retreat that caters to business executives and people whose marriages are failing.
走在牧场的林间小道上，我感觉自己仿佛置身于一个高档的康复机构，或者是那种为企业高管和婚姻失败的人提供服务的北加州疗养院。
It was a bucolic, pastoral setting for the production of mass indoor entertainment.
这是一个适合举办大众室内娱乐活动的田园风光。
The Foley stage where Roesch and Roden work is housed in a large, retrofitted barn, painted baby blue, that had had a previous life as George Lucas’s personal garage.
罗施和罗登工作的拟音舞台位于一个经过改造的大型谷仓内，谷仓漆成淡蓝色，以前是乔治·卢卡斯的私人车库。
It looked, to me, like the aftermath of a crisis.
在我看来，这就像一场危机的后果。
In the center was a large dirt area, flanked by two water pits; one had a mattress-size slab of foam draped over it to absorb extra sounds.
中心是一大片泥土，两侧是两个水坑。其中一个上面覆盖着一块床垫大小的泡沫板，以吸收额外的声音。
The room had a variety of flooring zones—steel, wood, concrete—and along the perimeter were all manner of buckets, ladders, electronics, mops, shovels, trunks, suitcases, full-sized wooden doors, carpets, ropes, planks, poles, blankets, and car tires.
房间里有各种各样的地板区域——钢的、木头的、混凝土的——沿着周边有各种各样的水桶、梯子、电子产品、拖把、铲子、箱子、手提箱、全尺寸的木门、地毯、绳索、木板、杆子、毯子和汽车轮胎。
There was a working shower and toilet, used exclusively for sound effects.
有一个可以使用的淋浴间和厕所，专门用于音效。
Roden and Roesch guided me through their prop collections.
罗登和罗施引导我浏览他们的道具收藏。
Footsteps are considered one of the hardest aspects of Foley, and the two each had their own shoe rack, with dozens of loafers, heels, pumps, boots, and sandals.
脚步被认为是 Foley 中最难的方面之一，两人都有自己的鞋架，里面有几十个乐福鞋、高跟鞋、高跟鞋、靴子和凉鞋。
“The ultimate goal, for me, anyway, is to make sure the feet are as real as possible,” Roesch said.
“无论如何，对我来说，最终目标是确保脚尽可能真实，”罗施说。
Roden fished around in her desk, and pulled out a latex Halloween mask of the Tin Man, which had torn at the mouth.
罗登在她的桌子上翻来覆去，拿出了一个铁皮人的万圣节乳胶面具，面具的嘴已经撕破了。
She crumpled the mask, and it made a yawning, chhhhh sound.
她揉皱了面具，面具发出“呵欠”的声音。
“I’ve had this forever,” she said.
“我一直都有这样的感觉，”她说。
“So reliable.” She had recently ordered another mask, from Amazon, but found it too high-pitched and thin; subtle changes in modern materials and manufacturing affect her work.
“太可靠了。”她最近从亚马逊订购了另一个面具，但发现它太高且太薄；现代材料和制造的微妙变化影响着她的工作。
“Things that are passed down from earlier generations are really, really treasures to me,” she said.
“祖辈传下来的东西对我来说真的非常非常珍贵，”她说。
When her former Foley partner Rick Partlow retired, he gave her a copper towel bar from his mother’s apartment, with a koi fish on each end which, when twisted, made a screech like a startled cat.
当她的前福利搭档里克·帕特洛退休时，他从他母亲的公寓给了她一根铜毛巾杆，毛巾杆的两端各有一条锦鲤，扭转时会发出像受惊的猫一样的尖叫声。
“This squeak is one of a kind,” she said.
“这种吱吱声是独一无二的，”她说。
“I’m never gonna find anything like this.”
“我永远不会找到这样的东西。”
“The navigation says that we’re wasting our time and should never have left home.” Cartoon by Lonnie Millsap Link copied
“导航显示我们在浪费时间，根本不应该离开家。”朗尼·米尔萨普 (Lonnie Millsap) 的漫画 链接已复制
In the back of the barn was a collection of props categorized by sound.
谷仓后面有一系列按声音分类的道具。
There were boxes of bones and shells, ribbons, roller skates, coconuts, party supplies, gloves, military helmets, tennis racquets, horse tack, grenades (inert), doorknobs, fishing reels, chain mail, pearls, diapers, pet collars, walkie-talkies, beanbags, Velcro straps, and Christmas bells.
里面有一盒盒骨头和贝壳、丝带、溜冰鞋、椰子、派对用品、手套、军用头盔、网球拍、马具、手榴弹（惰性）、门把手、钓鱼卷轴、锁子甲、珍珠、尿布、宠物项圈、对讲机、懒人沙发、尼龙搭扣带和圣诞铃铛。
There were boxes with handwritten labels: “ POPPERS + FARTERS,” “SQUEAKERS + MOO-ERS,” “SNAPPERS, CLACKERS ,” and “ MAGICAL BELLS .” There were “ SHOVEL SHINGERS” and “ TUBULAR (PLASTIC) THONKS .” There was a box labelled “ HOOVES ,” which did not contain any actual hooves, and a box labelled “ UNDENIABLY MUSICAL INSTRUMENTS ,” which contained musical instruments.
盒子上有手写的标签：“POPPERS + FARTERS”、“SQUEAKERS + MOO-ERS”、“SNAPPERS、CLACKERS”和“MAGICAL BELLS”。有“铲子Shingers”和“管状（塑料）THONKS”。有一个标有“蹄”的盒子，其中不包含任何实际的蹄子，还有一个标有“不可否认的乐器”的盒子，其中包含乐器。
Off to one side was a car door that had been used for the DeLorean in “Back to the Future”; elsewhere was the “boing box” that gave life to the cartoon rabbit in “Who Framed Roger Rabbit,” and the inertia-starter motor, from a nineteen-twenties biplane, that provided sounds for the Tasmanian Devil from Looney Tunes.
一侧是一扇车门，曾用于《回到未来》中的德罗宁汽车；其他地方还有为《谁陷害了兔子罗杰》中的卡通兔子赋予生命的“嗡嗡声盒”，以及来自十九世纪二十年代双翼飞机的惯性启动马达，它为乐一通中的塔斯马尼亚恶魔提供了声音。
Roesch looked around the room fondly.
罗施深情地环顾房间。
“They all have a personality,” he said.
“他们都有个性，”他说。
“David Fein’s shing is in here,” Roden said, pulling out a shapely, worn piece of metal, and handling it like a historic artifact—which it was, in a sense.
“大卫·费恩的鱼叉就在这里，”罗登一边说，一边拿出一块形状优美、磨损的金属，把它当作一件历史文物来处理——从某种意义上来说，它确实是这样。
The prop had been passed down from David Lee Fein, a Foley artist known for his work on movies such as “RoboCop,” “Speed,” “American History X,” and “The Godfather: Part III.”
该道具是由大卫·李·费恩 (David Lee Fein) 传承下来的，他是一位拟音艺术家，因其在《机械战警》、《生死时速》、《美国 X 史》和《教父：第三部分》等电影中的作品而闻名。
George Lucas has said that fifty per cent of the cinematic experience is sound, and people who work in sound like to quote him.
乔治·卢卡斯说过，百分之五十的电影体验是声音的，从事声音工作的人喜欢引用他的话。
Certain directors share this view.
某些董事也同意这一观点。
Fincher, who has worked with Roesch—and, later, Roden and Curtis—on nearly all of his films, has developed a reputation as a sound obsessive.
芬奇几乎在他所有的电影中都与罗施合作，后来又与罗登和柯蒂斯合作，因此被誉为声音痴迷者。
“ ‘Fight Club’ has a lot of intra-body punishment,” Fincher told me.
“《搏击俱乐部》有很多体内惩罚，”芬奇告诉我。
“Some of the greatest punches in the history of cinema have to be Ben Burtt’s stuff for ‘Raiders of the Lost Ark.’ They were spectacular.
“电影史上一些最伟大的拳击必须是本伯特在《夺宝奇兵》中的表现。它们非常壮观。
But when we used that kind of stuff in ‘Fight Club’ they just felt like movie punches.
但当我们在《搏击俱乐部》中使用这种东西时，它们感觉就像电影中的拳击。
It felt like a glorification.
这感觉就像是一种荣耀。
When you hear somebody really get hit—and I’m not talking about professional prizefighters but regular idiots outside a bar—a lot of times it’s pretty underwhelming.
当你听到有人真的被击中时——我说的不是职业拳击手，而是酒吧外的普通白痴——很多时候你会感到很平淡。
But there is something about when it’s right, and it’s awful, and it makes you kind of squint—that’s what we were looking for.
但当它是正确的时候，它会很糟糕，它会让你眯起眼睛——这就是我们所寻找的。
The ‘Raiders’ stuff is exquisite to the ear.
“攻略”的东西听起来很精致。
It’s beautifully done.
做得很漂亮。
But it’s also hyperbolic in a kind of escapist way.” In “Fight Club,” he said, “we wanted to make sure that when they were beating on each other it was like punching a sack of potatoes—that it didn’t hyperbolize it in a way that made it sexy.”
但这也是一种夸张的逃避现实的方式。”他说，在《搏击俱乐部》中，“我们想确保当他们互相殴打时，就像打一袋土豆一样，而不是夸张到性感。”
Fincher estimated that ninety-nine per cent of the sound effects in his own films are added in postproduction: “We’re looking to make sure that the sound of the cloth, or the sound of the leather, or the squeak of the upholstery is right.
芬奇估计，他自己的电影中 99% 的音效都是在后期制作中添加的：“我们希望确保布料的声音、皮革的声音或室内装潢的吱吱声是正确的。
You know, is it Naugahyde?
你知道吗，是诺加海德吗？
Are we saying that this is the conference room of a very, very moneyed law firm in San Francisco, or are we saying it’s a mall lawyer?
我们是说这是旧金山一家非常非常有钱的律师事务所的会议室，还是说这是一家商场的律师？
And would you want the chair of a mall lawyer to have more of a pleather, slow sound?”
你想要商场律师的椅子有更多的仿皮、缓慢的声音吗？”
An essential part of Foley is creating a consistent, coherent reality—which, in the hyperreal world of cinema, is fundamentally skewed.
拟音的一个重要部分是创造一个一致、连贯的现实——在电影的超现实世界中，这种现实从根本上是扭曲的。
Foley artists often speak of “selling” a sound: making it legible and credible, even when it is dramatized.
拟音艺术家经常谈到“出售”声音：使其清晰可信，即使它被戏剧化了。
Deception is an essential part of the enterprise.
欺骗是企业的重要组成部分。
Things are not as they sound.
事情并不像听起来那样。
“You say, ‘This sound is so unbelievably creepy,’ ” Lynch told me.
“你说，‘这声音真是令人难以置信的毛骨悚然，’”林奇告诉我。
“And they say, ‘It’s my kid’s sweater.’ ” It is incredibly hard to reverse engineer a well-crafted sound effect, particularly if it is first experienced in the context of a visual.
“他们说，‘这是我孩子的毛衣。’”对精心制作的音效进行逆向工程非常困难，特别是如果它是在视觉背景下首次体验的。
There is no way to know, for example, that, for the sound of hatching dinosaur eggs in “Jurassic Park,” the Foley artist Dennie Thorpe layered the cracking sounds of crushed ice-cream cones with the juicy effect of a hand in a melon.
例如，我们无法知道，在《侏罗纪公园》中恐龙蛋孵化的声音中，拟音艺术家丹尼·索普 (Dennie Thorpe) 将蛋卷压碎的破裂声与手抓瓜的多汁效果叠加在一起。
Fincher told me that experimentation was crucial.
芬奇告诉我，实验至关重要。
“Sometimes you hear a sound and you say, ‘That’s amazing, what is that?’ ” he said.
“有时你听到一个声音，你会说，‘太神奇了，那是什么？’”他说。
“It’s, like, ‘Well, that’s yogurt, shot through a hollowed-out tennis-ball can.’ And you go, ‘All right, don’t tell me, I don’t want to know.’ ”
“这就像是，‘好吧，那是酸奶，是通过一个空心网球罐装出来的。’然后你就会说，‘好吧，别告诉我，我不想知道。’”
Roden estimated that only twenty per cent of sounds onscreen are generated by the actual objects represented.
罗登估计，屏幕上只有百分之二十的声音是由所代表的实际物体产生的。
This presents certain challenges: when a sound cannot be described by its referent, language starts to falter.
这带来了一定的挑战：当声音无法用其所指对象来描述时，语言就会开始变得不稳定。
Over time, Roesch, Roden, and Curtis have developed a lexicon to describe what they want.
随着时间的推移，罗施、罗登和柯蒂斯开发了一套词汇来描述他们想要的东西。
Sounds are poofy, slimy, or naturale; they might need to be slappier, or raspier, or nebby (nebulous).
声音是蓬松的、粘糊糊的或自然的；他们可能需要更加敏捷，或者更加粗暴，或者nebby（模糊）。
They are hingey, ticky, boxy, zippy, or clacky; they are tonal, tasty, punchy, splattery, smacky, spanky.
它们是铰链状的、粘稠的、四四方方的、活泼的或嘎嘎作响的；它们的音调、美味、有力、飞溅、smacky、spanky。
They might be described phonetically—a “kachunk-kachunk-kachunk,” or a “scritcher”—or straightforwardly (“fake”).
它们可以用语音来描述——“kachunk-kachunk-kachunk”，或者“scritcher”——或者直接地描述（“假的”）。
Tools, too, have their own names.
工具也有自己的名称。
Shings make shiny metallic sounds—a sword being drawn from its scabbard—and wronkers give the impression of metal sliding across a hard surface.
Shings 会发出闪亮的金属声音（剑从剑鞘中拔出），而 wronker 则给人金属在坚硬表面上滑动的印象。
“Like, chhhrtz ,” Roesch clarified.
“就像，chhhrtz，”Roesch 澄清道。
On a recent spring afternoon, Roesch, Roden, and Curtis were gathered in a sound booth, watching a clip from an upcoming Pixar film, “Lightyear”—a prequel of sorts to “Toy Story.” Animated films present their own challenges, not least because they emerge completely silent, aside from dialogue.
最近一个春天的下午，罗施、罗登和柯蒂斯聚集在一个音响室里，观看即将上映的皮克斯电影《光年》（《玩具总动员》的前传）的片段。动画电影提出了自己的挑战，尤其是因为除了对话之外，它们完全无声。
“There is no organic soul,” Roesch said.
“不存在有机灵魂，”罗施说。
“You need to help bring that soul to it, that feeling of aliveness.” The previous week, the trio had been working on sounds for a writhing mass of enormous tentacled sentient vines that, in one high-octane scene, entangle and attack Buzz Lightyear.
“你需要帮助将灵魂带入其中，那种充满活力的感觉。”上周，三人组一直在为一大团巨大的、有触手、有知觉的藤蔓扭动的声音，在一个激动人心的场景中，这些藤蔓缠住并攻击巴斯光年。
The group had agreed that the vines needed to sound splattery and girthy—“the guts will sell it, like kind of gushy, high-end watery,” Roden said—but still thicker than water.
该小组一致认为，藤蔓听起来需要飞溅和周长——“内脏会卖掉它，就像一种喷涌而出的高端水一样，”罗登说——但仍然比水更浓稠。
The artists had landed on a combination of foam padding, suction cups from the bottom of a bathtub mat, a silky cloth, the Tin Man mask, a chamois, and a mophead.
艺术家们选择了泡沫垫、浴缸垫底部的吸盘、丝质布、铁皮人面具、麂皮和拖把头的组合。
The result sounded genuinely menacing, and a little disgusting.
结果听起来确实很危险，而且有点恶心。
Because fantastical films tend to feature creatures, landscapes, and materials that do not exist in the real world, they come with few sonic references.
由于奇幻电影往往以现实世界中不存在的生物、风景和材料为特色，因此它们很少有声音参考。
Directors suggest a mood or a feeling, and Foley artists are left to figure it out.
导演提出一种情绪或感觉，然后由拟音艺术家来解决。
(There is an element of chance to this: the Foley artist Ronni Brown told me that, for the 2017 remake of “The Mummy,” she was asked to give the mummy a “dry, stretchy, painful” sound—one she pinned down only after spotting, and fondling, a bowl of potpourri in a rest room.
（这其中有一个偶然因素：拟音艺术家罗尼·布朗告诉我，在 2017 年翻拍的《木乃伊》中，她被要求给木乃伊发出“干涩、有弹性、痛苦”的声音——她在休息室发现并抚摸一碗花香后才确定了这个声音。
“I touch everything,” she said.) For the Pixar film “Soul,” Roesch, Roden, and Curtis were tasked with creating the sound of an ethereal bridge stretching to the afterlife.
“我触摸一切，”她说。）在皮克斯电影《灵魂》中，罗施、罗登和柯蒂斯的任务是创造一座延伸到来世的空灵桥梁的声音。
“You couldn’t tell what they were walking on, these little souls,” Roden said.
“这些小灵魂，你无法分辨他们在走什么，”罗登说。
“It was described to us as kind of glassy, kind of magical.” They wound up using a large, thick broken window that Roden had picked up off the side of the road—“We take the scraps, we’re seagulls,” she said.
“我们对它的描述是有点玻璃般的，有点神奇。”他们最终使用了罗登从路边捡起的一扇又大又厚的破窗户——“我们拿走残片，我们是海鸥，”她说。
This was balanced atop a conga drum, and gently tapped with a mallet.
将其平衡在康加鼓上，并用木槌轻轻敲击。
At the beginning of a project, the team receives a cue sheet, detailing every moment in a production that needs a sound.
在项目开始时，团队会收到一张提示表，详细说明了制作中需要声音的每个时刻。
For the most part, the Foley team interprets the mood of the performances.
在很大程度上，拟音团队诠释了表演的情绪。
“We’re in this house.
“我们在这所房子里。
How gritty is the floor?
地板有多硬？
Or how clean is it?” Curtis said.
或者说有多干净？”柯蒂斯说道。
“She’s in high heels.
“她穿着高跟鞋。
O.K., how pretty are these high heels?
好吧，这双高跟鞋有多漂亮？
What’s her character like in relation to those high heels?”
她的性格与那些高跟鞋有什么关系？”
“It’s not necessarily you see a shoe, you do that shoe,” Roden said.
“不一定是你看到了一只鞋，你才做了那双鞋，”罗登说。
The cue sheet for “Lightyear” had more than a thousand entries.
《光年》的提示表有一千多个条目。
Not every cue would make it into the final mix, a reality the team addressed with admirable ego detachment.
并非所有提示都会进入最终混音，团队以令人钦佩的自我超然态度解决了这一现实。
When a sound gets cut or drowned out, Roden told me, she tries to take the attitude “I had fun making it.
罗登告诉我，当声音被切断或淹没时，她会尝试采取这样的态度：“我制作它很有趣。
I loved it.
我喜欢它。
It was loved at one point.”
它曾一度受到人们的喜爱。”
That morning, Roesch was focussed on “bed stuff”—cloth work.
那天早上，罗施专注于“床上用品”——布料工作。
He was wearing loose gray sweatpants and a black cotton zip-up; Roden wore yoga pants.
他穿着宽松的灰色运动裤和黑色棉质拉链；罗登穿着瑜伽裤。
The microphones on Foley stages are incredibly sensitive, and Foley artists wear soft clothing to reduce interference.
拟音舞台上的麦克风非常灵敏，拟音艺术家穿着柔软的衣服以减少干扰。
(For “The Ten Commandments,” from 1956, Foley artists, recording the sound of bricklaying in a tank of mud and water, were reportedly instructed to work in the nude.) For each cue, Curtis plays the clip on a large screen, and Roden or Roesch assembles accessories.
（据报道，在 1956 年的《十诫》中，拟音艺术家在泥浆和水箱中录制砌砖的声音，并被要求裸体工作。）对于每个提示，柯蒂斯都会在大屏幕上播放剪辑，罗登或罗施会组装配件。
Once the materials are ready, the recording light goes on, and the room goes dark.
材料准备好后，录音灯亮起，房间一片漆黑。
The clip plays, and the Foley artists perform in synch with the picture.
播放剪辑，拟音艺术家的表演与画面同步。
The clips are often looped, with a brief pause between takes, allowing the artists multiple attempts at each sound.
这些剪辑通常是循环播放的，在拍摄之间有短暂的停顿，让艺术家可以多次尝试每种声音。
Curtis’s view of the Foley stage is blocked by a vast computer monitor, an intentional obstruction: seeing how a sound is created would spoil his ability to evaluate its accuracy and effectiveness.
柯蒂斯对拟音舞台的看法被巨大的电脑显示器挡住了，这是一种故意的障碍：看到声音是如何产生的会破坏他评估其准确性和有效性的能力。
(The Foley artists I spoke to all emphasized the importance of the Foley mixer, whose judgments and interventions are critical.)
（我采访过的拟音艺术家都强调了拟音混音师的重要性，他们的判断和干预至关重要。）
Onscreen, Buzz Lightyear and his animatronic cat, Sox, sat down on the bed.
屏幕上，巴斯光年和他的电子动画猫索克斯坐在床上。
There had been some previous discussion about how to animate Sox; Roesch had experimented with a matted battery-operated plush cat, fished out of his desk, before deeming the sounds “too furry,” and replacing the stuffed animal with a marker rubbed against foam.
之前有过一些关于如何为红袜队制作动画的讨论；罗施曾尝试过一只用电池供电的毛绒猫，从他的办公桌上捞出来，然后认为声音“太毛茸茸的”，并用在泡沫上摩擦的记号笔代替了毛绒动物。
That morning, Sox sounded cute, but not cuddly; catlike, but not quite mammalian.
那天早上，“红袜队”听起来很可爱，但并不讨人喜欢。像猫，但不完全是哺乳动物。
In bed, Lightyear was restive: he lay back, turned on his side, turned on his back, pulled his sleep mask down, then placed his hand on the sheet.
在床上，光年很烦躁：他向后躺着，翻了个身，翻了个身，翻了个身，拉下睡眠面罩，然后把手放在床单上。
Roesch rustled his assembled objects, and recorded the sequence.
罗施将组装好的物品沙沙作响，记录下了整个过程。
There was a pause, and then Curtis, from the booth, voiced an objection.
一阵停顿，然后柯蒂斯从展位上提出了反对意见。
“It’s a hangnail kind of thing,” he said, a description Roesch seemed to immediately understand.
“这是一种倒刺之类的东西，”他说，罗施似乎立刻就明白了这一描述。
There was some discussion about sweetening the sound with a higher zjuzz; ultimately, they added a light shhsl to the sheet sounds, for dramatic effect.
有人讨论过用更高的 zjuzz 来使声音更甜美。最终，他们在乐谱中添加了轻微的 shhsl，以获得戏剧性的效果。
The reel switched to a scene of a robot drawing a line on a whiteboard.
卷轴切换到机器人在白板上画线的场景。
Roesch mimicked the robot’s gestures with an actual marker and whiteboard.
罗施用实际的记号笔和白板模仿了机器人的手势。
The marker, unfortunately, did not sound enough like a marker.
不幸的是，这个标记听起来不够像一个标记。
“Want me to give you a little bit of squeak?” Roesch asked.
“要我给你吱吱声吗？”罗施问道。
On the sidelines, I fished through my tote bag, and surreptitiously tried to put a piece of gum in my mouth.
在场边，我翻遍了手提包，偷偷地试图把一块口香糖放进嘴里。
Roesch, who had moved on to scratching at a block of foam tucked inside a metal suitcase, which was draped with a bomber jacket, turned to me between takes.
罗施开始抓挠一个金属手提箱内的一块泡沫，手提箱里还披着一件飞行员夹克，他在拍摄间隙转向我。
“Lotta good props in your handbag,” he said, pointedly.
“你的手提包里有很多好道具，”他尖锐地说。
Skywalker Sound is owned by Disney, though about half of its Foley artists’ work is for outside clients.
Skywalker Sound 归迪士尼所有，但其拟音艺术家大约一半的作品是为外部客户提供的。
Disney has long been accused of being a near-monopoly in the film industry, and its blockbuster factory relies heavily on sequels, prequels, remakes, and extensions of its franchises.
迪士尼长期以来一直被指责在电影行业近乎垄断，其大片工厂严重依赖续集、前传、翻拍和特许经营权的延伸。
These are all immensely profitable, but that doesn’t necessarily mean that they are good.
这些都是非常有利可图的，但这并不一定意味着它们是好的。
Still, Disney is one of the few places that employ full-time Foley teams.
尽管如此，迪士尼仍然是少数几个雇用全职拟音团队的地方之一。
There is an element of precariousness to the profession, particularly as recording and editing software, such as Pro Tools, has allowed the richness of certain sounds to be approximated through digital layering.
这个行业存在着不稳定因素，特别是因为录音和编辑软件（例如 Pro Tools）允许通过数字分层来近似某些声音的丰富度。
Many Foley artists now work as independent contractors, rather than in-house, despite the growing number of projects that require their talents, from shows on streaming platforms to video games.
尽管越来越多的项目需要他们的才能，从流媒体平台上的节目到视频游戏，许多拟音艺术家现在都是独立承包商，而不是在内部工作。
Driving home over the Golden Gate Bridge, I thought about the way corporations can ensnare even the most delicate and specific of crafts—and the juxtaposition of expensive, mediocre entertainment and the personal, meticulous work that goes into them.
开车经过金门大桥回家的路上，我想到了企业如何能够捕获最精致、最特殊的工艺品，以及昂贵、平庸的娱乐活动与个人、细致的工作的并置。
I was indifferent to Buzz Lightyear and had no interest in seeing an animated film giving the origin story of a fictional toy.
我对巴斯光年漠不关心，也没有兴趣看一部讲述虚构玩具起源故事的动画电影。
Yet it had been thrilling to watch the characters come to life—to emerge from silence into fully realized sonic beings, the way that static on an old television set might arrange itself into distinct images.
然而，看到这些角色变得栩栩如生，从沉默中变成完全实现的声音存在，这真是令人兴奋，就像旧电视机上的静电可能会自行排列成不同的图像一样。
In any case, the craft’s aesthetic ideal isn’t beauty but believability.
无论如何，工艺的审美理想不是美丽而是可信。
A few weeks later, my household received a visit from a relative who is six years old and likes buttons.
几周后，我家迎来了一位六岁的亲戚来访，她喜欢纽扣。
He came into our home and inspected the appliances.
他来到我们家检查了电器。
As my husband showed him how to operate the espresso machine, our small relative added his own vocalized sound effects: whirs, purrs, pew-pews, ka-chinks.
当我的丈夫向他展示如何操作浓缩咖啡机时，我们的小亲戚添加了他自己的声音效果：呼呼声、呼噜声、呜呜声、卡叮当声。
These were the kinds of mechanical sound that exist almost exclusively in the realm of fantasy—more like comic-book rocket launches than like the Bunsen-burner hiss of actual space shuttles—and I assumed they came from his preferred entertainment vehicles, such as “Peppa Pig” and “Cars.” In “The Soundscape of Modernity: Architectural Acoustics and the Culture of Listening in America, 1900-1933,” Thompson, the historian of technology, writes, “Like a landscape, a soundscape is simultaneously a physical environment and a way of perceiving that environment; it is both a world and a culture constructed to make sense of that world.” The soundscapes of cartoon hyperreality were the soundscapes my relative was familiar with, and he sought to re-create them in the world around him—to make things more legible, perhaps, or just more fun.
这些机械声音几乎只存在于幻想领域——更像是漫画书中的火箭发射，而不是实际航天飞机的本生灯嘶嘶声——我认为它们来自他最喜欢的娱乐工具，例如“小猪佩奇”和“汽车总动员”。技术历史学家汤普森在《现代性的声景：美国的建筑声学和聆听文化，1900-1933》中写道，“就像风景一样，声景同时是一个物理环境和一种感知该环境的方式；它既是一个世界，也是一种为理解这个世界而构建的文化。”卡通超现实的音景是我亲戚熟悉的音景，他试图在他周围的世界中重新创造它们——也许是为了让事情更清晰，或者只是更有趣。
It was as if he were adding his own sweeteners to reality.
就好像他在现实中添加了自己的甜味剂。
Sound is a way to interpret and imagine the world—invisibly, and on a near-subterranean level.
声音是一种解释和想象世界的方式——在无形的、近乎地下的层面上。
Much of cinematic sound is in service to a real feeling, but, in the face of feeling, sheer realism fails.
电影声音的大部分内容都是为了真实的感觉，但是，在感觉面前，纯粹的现实主义是失败的。
For the cinematic release of 1979’s “Apocalypse Now,” Walter Murch, a film editor and sound designer, added a channel of infrasound—sound waves at a frequency below the threshold of human audibility—to vibrate viewers’ chest cavities.
在 1979 年上映的电影《现代启示录》中，电影剪辑师兼声音设计师沃尔特·默奇添加了一个次声通道（频率低于人类听觉阈值的声波），以振动观众的胸腔。
Murch is renowned for his impressionistic sound design, what he calls “metaphoric” audio: a sensuous, sonic ambiguity, intended to stimulate the imagination and act on a near-subconscious level.
默奇以其印象派声音设计而闻名，他称之为“隐喻”音频：一种感性的、声音上的模糊性，旨在激发想象力并在近乎潜意识的层面上发挥作用。
“Sound sneaks up on you,” he told me.
“声音悄悄靠近你，”他告诉我。
“You are less consciously aware of it than when you look at something.
“与观察某物时相比，你不会有意识地意识到这一点。
That actually gives us who work in sound a great power, because we can influence how people experience things, without them being aware of it.” In “The Godfather,” he famously layered the sound of an elevated subway train over a scene in which Michael Corleone, played by Al Pacino, murders a rival at a quiet Italian restaurant in the Bronx.
这实际上给了我们从事声音工作的人一种巨大的力量，因为我们可以影响人们体验事物的方式，而他们却没有意识到。”在《教父》中，他著名地将高架地铁列车的声音叠加在阿尔·帕西诺饰演的迈克尔·柯里昂在布朗克斯区一家安静的意大利餐厅谋杀对手的场景中。
The train rumbles and screeches in the background as Michael girds himself for the hit.
火车在背景中隆隆作响和尖叫，迈克尔做好了迎接撞击的准备。
“We’re using it creatively, in a musical sense, to get at something about Michael’s interior state,” Murch said.
“我们正在创造性地从音乐意义上使用它，以了解迈克尔的内心状态，”默奇说。
“There’s nothing visual that says there should be an elevated train here, so the audience feels a certain something, and yet they ascribe it to the acting talents of Al Pacino.”
“没有任何视觉效果表明这里应该有高架火车，所以观众感觉到了某种东西，但他们将其归因于阿尔·帕西诺的表演天赋。”
“Look, Dennis, if you’re serious about being in this gang, you need to rip off those sleeves for real.” Cartoon by Zachary Kanin Link copied
“听着，丹尼斯，如果你真的想加入这个帮派，你就需要真正地撕掉那些袖子。”扎卡里·卡宁 (Zachary Kanin) 的漫画 链接已复制
Lynch described sound design as an intuitive process, one that relied on both experimentation and precision.
林奇将声音设计描述为一种直观的过程，依赖于实验和精确度。
“Let’s say there’s a woman sitting, and she’s sewing a little decal onto a sweater for her daughter.
“假设有一个女人坐着，她正在为她女儿的毛衣上缝一个小贴花。
Her daughter’s sleeping in the other room.
她女儿睡在另一个房间。
It’s late at night.
已经是深夜了。
It’s very dim light.
光线非常暗。
She’s close, making stitches.
她就在附近，正在缝针。
Coming into her house unbeknown to her is a man who’s broken in and he’s coming upstairs from the basement.
在她不知情的情况下，一名破门而入的男子从地下室上楼进入了她的房子。
And he’s listening.
他正在听。
And she, upstairs, is setting the scissors down on this sewing machine, this metal part, and it makes a little click, and he hears this little click, and he starts going up the stairs, and the stairs are carpeted, so it’s real quiet.
她在楼上，正在把剪刀放在缝纫机上，这个金属部件上，它发出一点咔哒声，他听到这个小小的咔哒声，然后他开始上楼梯，楼梯上铺着地毯，所以真的很安静。
Very, very quiet.
非常非常安静。
.
。
.
。
.
。
Every moment is do or die!
每一刻都是生死存亡！
You’ve gotta guide this whole massive thing for two hours plus.
你必须花两个多小时来引导这整个巨大的事情。
Everything is critical.”
一切都很关键。”
For all the advances in audio technologies, the fundamentals of making Foley have largely escaped the spectre of digitization.
尽管音频技术取得了巨大进步，但制作拟音的基本原理在很大程度上已经摆脱了数字化的阴影。
“I feel like a shoe cobbler,” Jana Vance, a Foley artist, told me.
“我感觉自己像个鞋匠，”拟音艺术家 Jana Vance 告诉我。
“We’re still making things with our hands, or with our feet.” Attempts to automate the work of Foley artists, such as SoundDroid, from the eighties, or AutoFoley, from 2020, tend to produce sounds that don’t compare.
“我们仍在用手或脚制造东西。”尝试将 Foley 艺术家的工作自动化，例如 80 年代的 SoundDroid，或 2020 年的 AutoFoley，往往会产生无法比较的声音。
Roesch suggested that computer-generated sound effects could someday be as good as computer-generated imagery, particularly with the help of a human operator.
罗施表示，计算机生成的声音效果有一天可能会与计算机生成的图像一样好，特别是在人类操作员的帮助下。
“The A.I.
“人工智能
will look at footsteps, look at the signal, and make recommendations,” he speculated.
会观察脚步声、观察信号并提出建议，”他推测道。
It wasn’t a future he seemed to relish.
这似乎不是他喜欢的未来。
“The bottom line is, the beauty of Foley is its originality and soul,” he said.
“最重要的是，Foley 的美妙之处在于它的原创性和灵魂，”他说。
“Each cue, each footstep, even, has the potential for beauty.” Vance said, “I’ve done Harrison Ford for a few different films.
“每一个提示，甚至每一个脚步，都具有美丽的潜力。”万斯说：“我在几部不同的电影中扮演过哈里森·福特。
I know how he moves, I know his footsteps.
我知道他的动作，我知道他的脚步。
Whenever I get him, I look forward to revisiting my character again.” Software does not have this intuition.
每当我得到他时，我都期待再次重新审视我的角色。”软件没有这种直觉。
Today’s real-world soundscapes are rich with the thrums and hiccups of digital technology: chirping cell phones, irate laptop fans, the unsettling, quiet whine of electric vehicles.
当今现实世界的音景充满了数字技术的嗡嗡声和打嗝声：手机的鸣叫声、愤怒的笔记本电脑风扇、电动汽车令人不安的安静呜呜声。
There are humming electrical cables and clicking traffic lights and the well-intended hush of white-noise machines.
这里有嗡嗡作响的电缆、咔哒作响的交通信号灯以及白噪音机器有意而为之的安静。
There are drones, and G.P.S., and the ambient sounds of A.T.M.s and automatic doors and air-conditioners and hot-water heaters.
有无人机、全球定位系统、自动取款机、自动门、空调和热水器的环境声音。
There is Alexa.
有亚历克萨。
In certain remote, rural areas, residents can register the low vibration of far-off server farms.
在某些偏远农村地区，居民可以感受到远处服务器场的低振动。
Container ships generate underwater noise.
集装箱船会产生水下噪音。
The world is getting louder.
世界变得越来越喧闹。
The same is true onscreen: C.G.I.
银幕上也是如此：C.G.I.
has multiplied the number of visuals that require sound effects.
需要音效的视觉效果数量成倍增加。
“We have to create all these sounds that have never been created before,” Roden said.
“我们必须创造出所有这些以前从未创造过的声音，”罗登说。
“Like Transformers, and anything in Marvel movies.
“就像变形金刚和漫威电影中的任何东西一样。
Thanos—his glove, his gauntlet.
灭霸——他的手套，他的手套。
Magical details, dust.” Vance said, “Things have really drifted from the natural world.
神奇的细节，灰尘。”万斯说：“事物确实已经偏离了自然世界。
Everything has to be a little bit bolder, a little bit bigger.
一切都必须更大胆一点，更大一点。
You have all these monsters, often—they’ll want things from us, like the skin movement, claws.”
你经常遇到所有这些怪物——他们会想从我们这里得到东西，比如皮肤的运动、爪子。”
Theatres now have higher-fidelity sound systems: Dolby’s widely used Atmos system has more than a hundred channels of sound, routed through as many as sixty-four speakers.
剧院现在拥有更高保真度的音响系统：广泛使用的杜比全景声系统拥有一百多个声音通道，通过多达六十四个扬声器进行传送。
Audiences have become accustomed to hearing all the details.
观众已经习惯了听到所有细节。
“ ‘Dunkirk,’ I had earplugs on,” Roden said.
“‘敦刻尔克’，我戴着耳塞，”罗登说。
“I worked on ‘Dunkirk.’ ” She made a noise—a kind of mnnh —in imitation of movie-theatre subwoofers.
“我在《敦刻尔克》中工作过。”她模仿电影院的低音炮发出一种声音——一种“嗯”的声音。
It sounded like getting passed by a tractor trailer on the freeway.
听起来就像在高速公路上被一辆拖拉机拖车超越一样。
“The low end affects me viscerally—I actually get sick to my stomach,” she said.
“低音对我的内心产生了影响——我实际上感到恶心，”她说。
Roden prefers to watch movies made in the forties, the fifties, and the sixties—bank heists, jailbreaks, and French film noir.
罗登更喜欢看四十、五十和六十年代制作的电影——银行抢劫、越狱和法国黑色电影。
She had recently watched Jean-Pierre Melville’s “Le Samouraï,” from 1967.
她最近看了让-皮埃尔·梅尔维尔 (Jean-Pierre Melville) 1967 年执导的《武士》(Le Samouraï)。
Many of the film’s sound effects were recorded during production, on the same track as the dialogue.
影片的许多音效是在制作过程中录制的，与对话在同一轨道上。
“The men’s shoes are made of a different material, and you hear them echoing off these alleyways,” Roden said.
“男鞋是用不同的材料制成的，你会听到它们在这些小巷里回响，”罗登说。
“The grit on their feet—so nasty.
“他们脚上的沙砾——太恶心了。
It sounds like they’re wearing women’s shoes, they’re very high-pitched.
听起来他们穿的是女鞋，音调很高。
But it works so great for this gritty, film-noir French movie.
但它对于这部坚韧的黑色电影法国电影来说非常有效。
I love it.
我喜欢它。
Love that film.
喜欢那部电影。
But to do it today—oh, my gosh, I would probably be fired.”
但如果今天这么做——哦，天哪，我可能会被解雇。”
During the spring, as I spoke with Foley artists and watched them at work, I grew increasingly attuned to the various elements of soundscapes around me: the clicking scramble of gravel, the thud of a bag of frozen strawberries, the soft shuffle of a pregnant friend, the syncopated hop of a three-legged bichon frise.
春天，当我与拟音艺术家交谈并观看他们工作时，我越来越适应周围音景的各种元素：碎石的喀哒声、一袋冷冻草莓的重击声、怀孕朋友轻柔的拖曳声、三足比熊犬的切分音跳跃声。
Though I am not an audile, I appreciated the chance to experience my surroundings with a different quality of consciousness.
尽管我不是听觉者，但我很高兴有机会以不同的意识质量体验周围的环境。
In the studio at Skywalker Sound, watching Roesch and Roden perfect footsteps for the characters in “Lightyear”—adjusting the tone and emotion by shifting their weight, moving from the sides to the soles of their shoes, the elegance and precision, like tap-dancing in slow motion—I ascended to an almost hallucinatory level of attention.
在天行者之声的工作室里，看着罗施和罗登为《光年》中的角色完美的脚步——通过改变体重、从鞋侧移动到鞋底来调整音调和情感，优雅而精准，就像慢动作的踢踏舞一样——我的注意力上升到了一种近乎幻觉的高度。
Movies felt richer, sometimes to the point of distraction; a showing of “Everything Everywhere All at Once” felt like a maximalist sound bath.
电影给人的感觉更加丰富，有时甚至会让人分心。播放“Everything Everywhere All at Once”感觉就像一场极简主义的声音浴。
It wasn’t until I was on a plane, watching “Roman Holiday,” its quiet, nineteen-fifties plaza café augmented by the fizzes and snaps of the in-flight beverage service, that I realized the greatest complement to Foley: silence.
直到我在飞机上观看《罗马假日》时，19 世纪 50 年代的广场咖啡馆安静而充满了机上饮料服务的嘶嘶声和响声，我才意识到对福利的最大补充：沉默。
♦
❖
Anna Wiener is a contributing writer to The New Yorker, covering Silicon Valley, startup culture, and technology.
安娜·维纳 (Anna Wiener) 是《纽约客》的特约撰稿人，报道硅谷、创业文化和技术。
She is the author of “ Uncanny Valley .” More: Sound Special Effects Sounds Movies California Artists George Lucas David Fincher Pixar Technology Weekly Your guide to the latest magazine and our biggest stories of the week, plus highlights from podcasts, humor, and more.
她是《恐怖谷》的作者。更多：声音特效声音电影加州艺术家乔治卢卡斯大卫芬奇皮克斯科技周刊您的最新杂志和本周最大故事的指南，以及播客、幽默等的亮点。
D.I.Y.
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安德鲁·马兰士
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理查德·布罗迪
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哈代的重写：当你在这里时，你们是两个生活在罪恶中的古怪表兄弟。
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