Have you ever wondered how the sounds in your favorite movies and dramas are created? The soft rustle of clothing, the sharp crunch of a bone breaking, the eerie creak of a wooden floorboard, silent footsteps, gun reloads or the satisfying crunch of a bite into food—these sounds don’t always come from the scenes you see on screen. Instead, they are meticulously recreated by Foley artists, who ensure that the sound of every footstep, movement, and object interaction blends in seamlessly in the story and feels as real and perfectly natural as possible. Without their work, films and dramas would feel incomplete, lacking the depth and realism that sound brings to storytelling.

One of the most prominent figures in this field is Lee Chung-gyu, a Foley artist and the founder of Foleypam Studio. He has been shaping the soundscape of Korean entertainment industry for over 16 years, working on approximately 100 films and numerous dramas. Since starting his independent career in 2008, Lee has contributed to some of Korea’s most acclaimed films, including Bong Joon-ho’s Oscar-winning Parasite, Snowpiercer, Mother, The Yellow Sea, I Saw the Devil, The Moon, 12.12: The Day, Kill Boksoon, Broker, Cobweb, Harbin, Exhuma, and the recently released Mickey 17. His meticulous sound work has also been featured in popular dramas such as Hotel Del Luna, Mr. Queen and Silent Sea. Lee’s expertise and dedication to the craft earned him the prestigious MPSE (Motion Picture Sound Editors) Golden Reel Award for his work on Parasite, marking a major achievement in his career and solidifying his status as a leading figure in the field.

Despite advancements in digital sound editing, Foley remains an essential part of filmmaking, ensuring that raw audio captured on the artificial environments of the set, which lack depth and realism, sound natural and immersive. The term Foley artist originates from Jack Foley, a legendary Hollywood sound effects pioneer. Every sound, aside from spoken dialogue and music, is carefully designed to enhance the viewer’s experience. Unlike sound effects generated digitally, Foley sounds are created physically in real-time, using everyday objects in innovative ways. Lee has spent decades perfecting this craft– a sword slicing through the air might be achieved by swiping a metal sheet, while the slosh of water in a plastic bag could come from a repurposed blanket wrapper. His work isn’t just about producing noise—it’s about breathing life into a scene, ensuring that even the smallest sound is infused with the right emotion, making the audience feel the weight of a moment without even realizing why. As times have changed and technology has advanced, the role of Foley artists has evolved beyond simply producing sound effects. Now, they add artistic sensibility to recorded sounds and infuse them with emotion. That’s why they are called artists rather than engineers.

From historical epics to psychological thrillers, action films to period dramas, Lee Chung-gyu’s  ability to transform silence into storytelling, to make the unseen heard,have shaped the way audiences experience sound in Korean cinema. He describes sound as an ‘essential part of his daily life’—something seemingly ordinary yet undeniably extraordinary.

While exploring the artistry behind film sound, I came across Lee Chung-gyu’s work in Parasite and was curious about how those realistic sounds were created through foley work. His ability to make sound feel invisible yet essential intrigued me, leading me to interview him and uncover the world of Foley artistry. Through an email interview conducted between Feb 25- Mar 26, he shared his journey as a Foley artist, his creative process, and the fascinating behind-the-scenes stories of how some of the most memorable sounds in Korean films and dramas were brought to life.

The term ‘Foley artist’ might be unfamiliar to many readers. Could you tell us what a Foley artist does and explain their role in film and drama production?

A Foley artist is someone who creates sounds using their body or tools. For example, they might step on the vinyl inside a videotape to mimic the sound of crunching leaves, shake clothes to recreate the sound of birds taking flight, or fill a large bathtub or basin with water to produce water-related sounds. By using various objects, tools and their own body’s movements, Foley artists exaggerate everyday sounds to enhance realism by generating sounds that match the visuals in films or videos and enhance the viewer’s auditory experience. 

Among many sound engineers, Foley artists are uniquely referred to as "artists" because they express emotions through sound. For instance, to create the footsteps of a grieving parent walking in despair, a Foley artist must walk with genuine sorrow. If a scene depicts someone packing their belongings after losing their job, the artist must place objects into the box with a sense of heaviness and resignation. Since they must convey emotions through sound which fit the situation and mood of movies or dramas, they are recognized as true artists.

Foley artistry is a niche profession in Korea and not a common career path. What inspired you to choose this field? Was there a particular moment or experience that sparked your passion for Foley? Additionally, could you share your journey of starting out in the industry and what that process was like?

The reason I chose this profession is that my college major was sound production, which naturally led me to look for careers related to sound. Then, while serving in the military, I happened to watch a TV program where I first learned about the profession of a Foley artist. At that moment, I thought, "Ah! This job seems incredibly fascinating." My mind became completely filled with the passion to become a Foley artist, and that’s how I embarked on this career. I was drawn to the idea of creating sound from the very beginning! The fact that we can recreate all the sounds around us felt truly fascinating.

Foley artists work on a wide variety of genres, including films, dramas, OTT content, games, and ASMR. I primarily worked on films, and every project I took on ignited my passion—though at times, it also became a source of stress. However, through my continuous efforts, I was able to create great sounds, and knowing that the sounds I worked so hard to produce would ultimately reach audiences and viewers became the driving force that kept me going despite the challenges.

After completing my military service, I returned to school. One day, I expressed my frustration to my department's teaching assistant about how I wished to be a foley artist but there was too little information available on becoming a Foley artist. So, they introduced me to a senior from my school who was already working in the field. That connection led to frequent communication, and I had the opportunity to observe them at work. As time passed, the company they worked for happened to be hiring a Foley artist, and they ended up selecting me for the position. In the end, I feel incredibly lucky to have been able to pursue a career that I truly love.

What types of sounds are included in Foley work, and how does Foley differ from other elements of sound design?

Generally, sounds like clothing rustling or brushing against the scene, footsteps, and objects being touched and interacted with by people, or even the faint clink of a ring sliding onto a finger— all the natural, subtle sounds we unconsciously create through small movements, are all considered Foley sounds. Conversely, sounds such as dialogue, effect sounds (like gunshots, waves, car noises, tank sounds, etc.), sounds that cannot be recorded inside a studio, and ambient noises are not Foley sounds. Foley sounds are all sounds that a Foley artist creates and records manually.

What is the process of recording Foley sounds like? 

The process of achieving the best sound work begins when the edited version of the film or drama arrives. A full sound team meeting is held, followed by individual meetings for each team, including the dialogue, Foley, effects, and ambience teams. After that, the schedule is set, recording equipment is secured, and outdoor recording locations are selected if necessary. Once everything is in place, the recording process begins and continues until all necessary sounds are captured. This is followed by the editing phase, where the recorded sounds are refined and synchronized with the visuals. After the initial editing is completed, additional recordings may be done to fill in any missing details, followed by final revisions and supplementary edits. The time required for Foley sound work varies depending on the genre. For dramas, it typically takes around two weeks, whereas historical films and blockbusters require three to four weeks to complete the process.

When recreating sounds, do you always use the exact objects as seen on screen, or do you experiment with different materials to achieve a more realistic effect?

The process of recreating sounds requires a lot of trial and error. Since sound is influenced by visuals, it must be synchronized with the scene’s atmosphere. Synchronization is extremely important, hence the foley team tests various materials, tapping them against different surfaces to achieve a natural rhythm. Matching sound perfectly with the imagery is crucial because no matter how rare or unique a sound may be, it becomes useless if it’s out of sync with the visuals. The sound varies depending on each scene and situation, but the fundamental approach is to choose the best possible sound for the object shown on screen. However, it’s not always feasible to use the exact object to create the sound. Instead, the most fitting sound is selected to complement the visuals.

For instance, in Snowpiercer (2013 film), most of the sounds had to be carefully recreated since the entire movie takes place inside a train. There’s a scene where Tilda Swinton’s character force-feeds protein blocks (yanggaeng) to a lower-class passenger. Initially, we bought real protein blocks, but the chewing sounds were too subtle on the microphone. In the end, we gave the snacks to the staff and instead used tissues and bananas, mashing them together to create the squishy texture needed for the scene.

Similarly, the sound of handling a mobile phone might not actually be recorded with a phone but with an electronic notepad. The sound of placing a coffee pot down might be recreated using a plastic water bottle and a radio. Being a foley artist, I invest a great deal of time scouring the streets for discarded objects or a hardware store, a treasure trove for Foley artists- filled with countless objects that can produce a variety of sounds, trying to find the right objects to produce the best possible sound, even if they are not the same as what appears on screen.

However, there are times when the best way to achieve authenticity is by using real objects. In Mother (2009 film), the chopping sound of medicinal herbs with a sickle was created by actually cutting real herbs in a storage room. The natural friction and weight of the blade against the herbs provided a sound that felt raw and immersive, something that would have been difficult to replicate with synthetic materials.

In The Yellow Sea (2010 film), there was an interesting case involving Ha Jung-woo’s legendary potato-eating scene. He’s such a natural eater that no matter how many ways I tried to chew potatoes, I just couldn’t replicate the sound he made. I experimented with various methods to match his intense eating style, but nothing felt as authentic as the real thing. In the end, we had to use the live-recorded sounds from the set because his natural eating was so expressive. Sometimes, no matter how skilled we are as Foley artists, there are moments where the actor’s real performance simply can’t be matched.

For elements that cannot be directly experienced—such as the surface of a spaceship or the sound of stepping onto it—imagination plays a crucial role. In these cases, I use references from other films, including Hollywood productions and works by senior Foley artists, as guidance. For instance, in The Moon (2023 film), the team custom-built a metal platform by commissioning a welding company to accurately capture the sound of footsteps in space. In the case of Kim Jee-woon’s I Saw the Devil (2010), there is an unsettling bed scene involving a serial killer. The eerie, fleshy slapping sound was actually created using the friction of raw chicken. The goal was to enhance the disturbing nature of the scene. Similarly, in another film, the sound of a person screaming while being dismembered was crafted by combining the sounds of slicing pork fat with a knife and tearing rubber—a chilling yet effective combination.

When sound meets visuals, it becomes reality. A Foley artist can turn a wet tissue rubbing against the skin into the sound of blood dripping, or make the sound of cutting kimbap (Korean sushi rolls) mimic something entirely different. It all depends on their creative choices and expertise.

What kind of efforts and processes went into creating your best foley work? 

The journey to becoming a Foley artist involved about six months of intensive training. During this period, I closely observed my senior colleagues at work, trying to memorize the sounds they created. I dedicated my free time, even giving up holidays, to practice walking, running, and creating various object sounds alone at the studio. Thanks to a great company and supportive mentors, I had the opportunity to work on remarkable projects right from the beginning. Of course, the process was not easy—I was often scolded, worked late into the night, and sacrificed sleep to fully dedicate myself to improving my craft.

How does the raw, unprocessed sound recorded on a film set differ from what the audiences hear in the final version? How does Foley work enhance its immersion and transform it into something more engaging?

On a film set, the live-recorded audio mainly focuses on capturing the actors' dialogue, meaning that almost no other sounds are distinctly heard. Naturally, there is no background music, and apart from the actors' voices, only ambient noises, such as mechanical sounds from the filming equipment, are present.

During post-production, the recorded audio is cleaned and enhanced, and various teams work on Foley, sound effects, ambience, and dialogue. Finally, the supervising sound editor mixes everything together with the music, creating the final sound that audiences hear on different platforms.

One of the key ways Foley enhances immersion is by addressing what the industry refers to as "studio-like" sounds (실내틱하다)—overly clean recordings that can feel unnatural. Since movies are often shot outdoors but recorded indoors, Foley artists sometimes record at dawn in outdoor environments to replicate real-life sound conditions. This adds depth and authenticity, making the final mix feel more organic.

The difference between the raw, unprocessed sound and the final mix that viewers experience is immense, with multiple layers of work transforming the audio into something truly immersive and realistic.

Sound plays a crucial role in conveying emotions in a scene. How do you approach creating sounds that reflect a character’s emotional state and feelings in films or dramas? Could you share some examples where this process was particularly challenging?

In the beginning, I struggled a lot with expressing emotions through sound, and even now, it remains one of my biggest challenges. To improve, I’ve started closely mimicking actors' performances. I imitate their dialogue, gestures, and expressions, trying to fully immerse myself in their characters.  By immersing myself in the scene, I ensure that every sound I create reflects the character’s emotions and enhances the storytelling.

The most challenging part of my job is recreating sounds that carry deep emotions. For example, the footsteps of a weary father returning home after a long day at work, or the subtle sounds of someone eating a meal alone after saying goodbye to a loved one. These scenes require the sound itself to evoke sadness, which is incredibly difficult to express. It takes a lot of time and effort, and even then, there are moments when the sound doesn’t turn out the way I envisioned, which can be quite frustrating.

I once had the opportunity to ask actor Jung Sung-hwa how he gets into character, and he shared that he draws from personal experiences to express emotions in his performances. Inspired by this, I began following the actors’ movements and emotions while recording, aiming to capture the depth of their feelings through sound.

Despite the existence of extensive sound libraries filled with pre-recorded everyday sounds, Foley artists still recreate them from scratch. That’s because every sound carries emotion. In scripts, these nuances may be reduced to simple onomatopoeic words or vague descriptions, but in reality, these sounds are carefully layered onto the visuals, seamlessly blending in and disappearing as they fulfill their role in storytelling. 

Even the sound of footsteps varies depending on the character and situation—the cautious steps of a detective, the hurried steps of a part-time worker, the hesitant footsteps of someone about to receive bad news, the triumphant strides of a job applicant who just got accepted or the leisurely steps of an elderly person on a stroll. Footsteps alone can convey a multitude of emotions, regardless of external factors like weather or terrain. One of the most memorable scenes I worked on was from I Saw the Devil, where in the final scene, Kim Soo-hyun (played by Lee Byung-hun) walks away after his revenge, smiling through his tears. His footsteps had to not only convey a mix of sorrow, vengeance, exhaustion but also the emptiness of realizing that he’s become the devil. It’s hard to pinpoint exactly how I achieved it, but I focused on capturing the weight in his steps—the way he drags his feet and how his posture subtly shifts as he walks—to bring out the emotions in the sound. It was incredibly difficult, and I remember spending hours perfecting just that scene. I was scolded many times by my seniors, but when the final recording was completed, I felt an immense sense of accomplishment.

Another challenging scene was from S.I.U. (2011 film) , where Kim Seong-beom (played by Uhm Tae-woong) storms out in frustration, exclaiming, "Ah, damn it!" His footsteps had to express his irritation, but it didn’t come through strongly enough at first. I had to redo the recording multiple times, and through this process, I realized how many different ways frustration can be conveyed through sound alone.

Looking back at the early days of your career, were there any misconceptions you had about being a Foley artist? How has your perspective on Foley work evolved over time?

Since I had the chance to observe senior Foley artists at work, I didn’t have any major misconceptions about the field. However, while I was aware that it required a lot of time and left little room for personal life, experiencing it first hand made me realize just how physically and mentally demanding it truly is.

In the beginning, my focus was solely on producing sounds, and I lacked a deeper understanding of the overall work. I now spend much more time thinking about the project as a whole—not just the characters, but also how to enhance the overall impact of a scene through sound. I constantly practice and explore ways to create better, more immersive audio that elevates the storytelling experience.

What challenges and difficulties have you faced in this profession? How have you overcome them?

The job can be demanding, often requiring long hours of work. There are times when I stay up all night, making it challenging to maintain a healthy work-life balance. Deadlines can be tighter than expected, and if a sound doesn’t turn out right the first time, I might spend days—or even nights—perfecting it. 

Initially, there were many times when I was severely sleep-deprived and felt like there just weren’t enough hours in the day. Every project was challenging in its own way, and in the beginning, I often thought about quitting. However, my colleagues were incredibly supportive—they encouraged me, treated me to drinks and meals, and even invited me over to play games and unwind. Their kindness helped me push through the toughest moments, and to this day, I still keep in touch with them, always grateful for their support.

How would you define the role of a Foley artist in film and drama production? What do you believe are the key indicators of a truly successful Foley performance in a movie or TV series? How do you know when you've done your job well?

In film and drama production, I would define the role of a Foley artist as character expression. Ultimately, I believe this is the most significant aspect of what we do. I always strive to create the most natural sound possible. I don’t want the audience to think, ‘That’s a fake sound.’ The true measure of a successful Foley performance is when our work gains recognition among industry professionals as having great sound or when general audiences don't even realize it's been added in post-production but simply feel that the sound is incredible. That, to me, is the mark of a truly successful Foley artist.

As a Foley artist, what has been the most memorable moment in your career? Additionally, is there a particular sound you’ve worked on that stands out as the most unforgettable one?

As a Foley artist, the most memorable moments for me are the effort and recording process I put into each project, which remain in my mind like photographs. I find that part of the process to be the most enjoyable and rewarding.

Among all the sounds I’ve worked on, the ones that stand out the most are those created for space-related dramas and films like The Silent Sea (2021 series) and The Moon. Since these were sounds I had never experienced before, crafting them one by one and finally completing them was an incredibly thrilling experience that I still vividly remember the pleasure I felt when I made these sounds.

Could you share any fun or interesting behind-the-scenes stories from the Foley work you've done in various films or dramas?

Recently, there haven’t been any particularly funny episodes or behind-the-scenes stories. Instead, I think the moments when I made mistakes were more amusing.

One memorable experience was while working on the 2009 film “Lifting King Kong.” There was a scene where a teacher hits students on the backside with a stick. My senior told me that the best sound would come from actually getting hit, so I ended up recording the scene while getting smacked with a real stick. That moment still sticks with me! 

Another interesting memory comes from Mother, my first major project as a full-fledged Foley artist under director Bong Joon-ho. I was responsible for all the Foley work, which was both exciting and nerve-wracking. One of the most challenging scenes involved Won Bin’s character urinating against a wall while his mother (played by Kim Hye-ja) watches. Director Bong emphasized that the urination sound needed to be exaggerated and intense, reflecting the character’s intellectual disability.  At first, we tried using a water gun and pouring water from a bottle, but it didn’t sound natural enough. We even flooded the Foley room with water in our attempts! Eventually, we decided to record actual urination sounds. Since recording in a bathroom would cause too much echo, we went outside to an elementary school near our company in the middle of the night. After holding it in for as long as possible, we recorded the sound—layering both my own and a senior Foley artist’s recordings to create the final right effect. 

One of the most challenging yet rewarding aspects of working on 12.12: the Day(2023 film) was capturing the sound of military boots. The director placed great importance on getting the right sound for the boots on Dokki Dai flooring—an old type of marble-like flooring found in military offices and old schools. Since this type of flooring is rare today, we initially struggled to recreate the sound. We tried recording in various locations, but none sounded quite right. Eventually, we discovered that the hallway in our Foley studio had a similar acoustic quality. We had a Foley artist wear military boots and walk on it, and when we sent the recording to the director, he loved it. So, we scrapped everything we had done before and re-recorded all the boot sounds there. Another key sound element in the film was cigarettes. Smoking appears in almost every scene—whether characters were having meetings, talking, or even just standing around. The problem? None of us were smokers. To get realistic recordings, we had to bring in our manager, who smokes, and record every detail—lighting the cigarette, flicking the ashes, inhaling, and even the subtle crackling sound of burning tobacco. After a long recording session in a sealed room, the space was filled with smoke, and I left smelling like a smoker. Some people even mistook me for one! The film also featured a lot of metal desks with glass tops, commonly found in military offices. Instead of using a real metal desk, we recreated the sound using unexpected objects—a metal dryer, an electric register, and an old metal sink panel. For the glass surface, we used a large glass sheet, which we had to move around constantly. Every time I thought we were done with it, we needed it again, so I kept bringing it back.

For Escape(2024 film), I remember struggling at first with preparing props because the film is set in North Korea—something I’ve never personally experienced. I had to imagine what their military uniforms and boots would be like, and I assumed they’d be old and worn-out. After watching the film, I realized my guess was pretty accurate, which was a huge relief! One of the uniforms I used was actually from my own time in the army, and since it was so old, it made really authentic sounds during recording. One scene I can’t forget is when the characters eat wild boar. On screen, it looks delicious, but in reality? It was just a prop. We used convenience store chicken breast to create the eating sounds. The funny part? I had already eaten a big lunch before recording, so I was completely full but still had to make it sound like I was enjoying every bite! Another interesting moment was creating the sound of butchering the wild boar. Of course, we weren’t actually cutting meat, so we had to get creative. We used raw chicken and even dampened tissue to get that fleshy slicing sound. It’s one of those details that most people don’t think about but makes a huge difference in the final film. And then there were the running scenes. We had to wear military boots, which are really heavy, and getting the right sound was tricky. The leather kept rubbing together, making unwanted noises, so we had to fold the boots or apply cream to reduce the friction. Plus, since a lot of scenes took place in dusty environments, we worked with real dirt in the studio. The problem? The dust had nowhere to go! By the end of the session, our hair, clothes—everything—was covered in dust. It felt like being back in school, playing soccer on a dirt field. Even drinking water during recording was a challenge. The microphones are so sensitive that even the sound of water moving in our stomachs got picked up! So we had to be really careful with how much we drank. The film’s title, Escape, immediately made me think of intense scenes—running, struggling, breaking free. And that’s exactly what it was! The characters run through forests, mud, water—everywhere. The actors gave it their all, rolling on the ground and sprinting through tough terrain. And I had to do the same! When they ran through the mud, I stepped into mud. When they rolled in the dirt, I rolled in the dirt. It was exhausting, but so rewarding.

One of the most crucial sounds in Exhuma (2024 film) was the coffin. We had to make sure it felt aged, heavy, and just unsettling enough. Real coffins are made of wood, sure, but when you record their actual sound, it just doesn’t have the right cinematic weight. So, I ended up using this wooden prop from another film that I just ‘held onto’ for a bit longer than planned. But it turned out to be the perfect material for those eerie creaks and breaks. We layered different wooden textures to bring out the eerie quality and even tweaked some of the frequencies to make sure it had that unsettling, old-wood feel. For the infamous eating dirt scene, the actors weren’t actually eating dirt—that would’ve been awful. Instead, we used a mix of sugar and salt to get that gritty, crunching sound when they chewed. The goal was to make it feel real, like the characters were actually chewing on soil. It’s funny because when we recorded it, every little detail was so crisp—the tiny bits grinding, the slight stickiness—but in theaters, some of those subtle elements got lost in the mix. Still, I think the overall effect worked well in making that scene feel raw and disturbing. Since the whole film revolves around graves and burials, the sound of soil was everything. If it didn’t sound right, the atmosphere wouldn’t hold up. But here’s the tricky part: soil doesn’t just sound like ‘soil.’ It depends on how you interact with it. Is it dry? Wet? Packed tight? Loose? Are you stepping on it, digging into it, throwing it? We spent so much time making sure the soil had variation in textures—you can’t just use the same dirt sound over and over, or it starts feeling fake. I wanted every moment to sound as raw and natural as possible. But the hardest part? Digging for hours. We recorded so many digging sounds—digging slowly, digging frantically, digging carefully, digging aggressively—you name it. The biggest challenge? We couldn’t actually dig up real ground in the studio. So, we brought in actual soil to manipulate by hand, making sure it sounded right. And it was exhausting! After hours of recording, we were completely out of breath. And then we had to go back and remove all our heavy breathing in the final mix. And that eating scene—when the ghost is devouring food in the background? That was actually me! I was so happy when people noticed it in theaters. We used chicken breast, tomatoes, and tangerines to get that wet, fleshy texture. Then there’s the moment when the old man ghost rips out the heart—we had to mix ketchup, bananas, and jelly to sound soft but also fibrous, like something was actually being torn apart. Honestly, even while working on it, I felt a little queasy listening back to the final mix. Oh, and the shaman ritual scene—everyone talks about how intense it was. The way the character smeared animal blood all over their face? We actually created that thick, sticky sound by mixing tomatoes and bananas into a kind of fruit juice. Even though the music overpowered some details, we made sure to include tiny elements, like the sound of coins rattling on the ritual drum. The fish-eating scene was a real challenge. We needed the perfect mix of textures—something that sounded soft but also had a bit of firmness and chewiness. Using an actual fish wasn’t an option. Sashimi wouldn’t work because it’s too smooth, and biting into a whole fish wouldn’t give us the right effect either. So, what did we do? We used sausages! Frankfurter-style sausages had that slight ‘pop’ when bitten into, which mimicked the sensation of breaking through fish skin and tiny bones. But it still wasn’t quite right—it sounded too much like someone eating a sausage. We needed to add moisture to make it feel more like raw fish. That’s when we combined it with a juicy tomato. I still remember—at first, we were hesitant about eating this strange combination, but after a few takes, we just went with it. And honestly? It wasn’t bad! The final sound was exactly what we needed, and we had a good laugh about it too. The fox cutting the tiger’s spine scene was one of my favorites. The moment Choi Min-ji’s sword got stuck and wobbled—it completely pulled me in. It was a turning point in the story, a moment where the narrative shifted in a powerful way. The weight of the sword had to match the weight of the sound, and I think we nailed it. For the stabbing effect, we didn’t use stock sounds. We actually stabbed a real knife into different materials. A plastering trowel added weight to the impact. But the real challenge was making the wobbling feel natural. I remember we used a flexible metal strip and shook it slightly to create that vibrating effect. When I listened back, I got goosebumps—it felt so real.

Similarly, working on Parasite(2019 film) had its own unique hurdles. Do you remember the scene with the stacked pizza boxes? If it had been just two or three boxes, our Foley team could have simply ordered pizza and used them. However, since the scene required a huge pile of boxes, ordering pizza every day wasn’t realistic. Instead, we started collecting used pizza boxes from recycling bins around the neighborhood during lunch breaks and after work. Luckily, we timed it well—many residents happened to order pizza frequently, so after a few days of searching, we managed to gather enough boxes. Thanks to that, we could create authentic sounds of folding and stacking pizza boxes for the film.

With advancements in AI and digital sound generation technology, do you think the role of Foley artists could eventually be replaced? 

AI may be able to replace certain aspects of the job, but I don’t think it can fully take over. In the end, a Foley artist’s role is to convey emotions through sound they create, and I have my doubts about whether AI can truly capture and express those nuances effectively.

Since you constantly listen to and create different sounds, don’t you ever get tired of it? Do you have any specific foley artist habits?

I don’t really get tired of sounds. But sometimes, when watching a film, I focus so much on the sound that I don’t absorb the story at all. Instead, I find myself thinking, “That must have been so hard to create.”

Because I work with sounds all the time, I’m always on the lookout for interesting sounds. I usually find new sounds in unexpected places—sometimes even in junkyards, where people throw things away. When I see discarded furniture or random objects on the street, I don’t just walk past them. I examine them closely, wondering, “Can I use this for a sound effect?” I also listen carefully to everyday noises to see if I can incorporate them into my work. I can’t just walk by anything without analyzing it!

What do you find most appealing about being a Foley artist? How would you describe the current job market for Foley artists, and what are your thoughts on the future prospects of this field?

As a Foley artist, one of the most rewarding aspects of the job is getting to experience projects in advance and knowing that the sounds I create help viewers immerse themselves in the story. Seeing audiences engaged and entertained because of my work is truly fulfilling. One of the most rewarding moments for me is seeing my name in the credits of films or dramas and having industry colleagues—whether seniors or juniors—come up to me and say, "That sound was amazing!" Compliments like these bring me a great sense of pride.

However, I don’t think the current job market for Foley artists is very strong. Compared to the past, there seems to be a decline in content production, and I don’t expect this issue to be resolved quickly. As for the future, I’m honestly unsure. While content is still being created on various scales, many projects don’t necessarily require Foley artists, so I can’t say I have an optimistic outlook.

Lastly, could you share a few words of encouragement and a message for Korea.net readers who are interested in Foley artistry? What do you think are the key skills or qualities needed to succeed as a Foley artist? Additionally, what kind of preparation or areas of interest would you recommend for those aspiring to enter this field?

Hello, Korea.net readers! It’s a pleasure to meet you all. I’m truly grateful for this wonderful opportunity, and I hope we can connect again in the future. I appreciate your interest in Foley artists, and I’d be grateful if you continue to enjoy and support the diverse content being created. It’s an honor to be here!

Since Foley work revolves around sound, having a solid understanding of its core principles and nuances is essential. While it’s possible to study independently, self-learning can be quite challenging. That’s why enrolling in a university or academy that offers courses in sound engineering is beneficial. However, there are no institutions that specifically train Foley artists. Even if training programs existed, the industry is too small to absorb a large number of professionals.

Instead, aspiring Foley artists must first build a foundation in sound-related studies and then learn the craft by joining a company or training under experienced professionals in the field through a traditional apprenticeship system. Learning the theory behind sound is just as important as creating the sounds themselves. A strong foundation in audio principles will help a lot when starting out in this field. Gaining expertise in sound design requires hands-on experience and time.

If you’re interested in becoming a Foley artist, I’d say the most essential qualities are good health and stamina. This job requires long hours of work and a lot of physical activity, so staying fit is crucial. Having good physical coordination is an advantage since many sounds are created through body movement. Additionally, Foley artists must imitate the characters’ actions and facial expressions while performing sounds, which means some level of acting skill is also required. At the same time, paying close attention to the sounds in films and dramas, remembering them, and building a strong ‘reference’ mental library of great sounds will help you on the path to becoming a skilled Foley artist.  It’s not just about knowing sound theory—it’s about actively listening, observing, and recreating sounds through trial and error. To create a good sound, you first have to be good at listening.