I enjoyed creating the foley for this film as I got to experiment and find lots of creative solutions- I had to cover a giant walking octopus, a sentient tree, humanoid rabbits, assorted robots and all sorts of weird and wacky props and events varying from spaceship crashes to dream sequences. The clip below gives a sense of one of the worlds that the characters inhabit . The award nomination was the icing on the cake.
Below is a link to a long article I wrote concerning the thought process and methodology used while covering the Foley for Gods own Country.
Nb It’s quite long so I’m keeping it off my wall so as not to clog up my time line. Copies of some of the pictures used attached below
More foley debris for GOC
Foley debris on final day of GOC
Bringing Yorkshire Mud to South Australia
Red White and Blue continues to get prizes and great reviews on the festival circuit. It went out on VOD as of 25th September via IFC Films and will go on a limited US theatrical release starting in New York on 8th October. Fingers crossed from there. For more on the release go to the website or read my previous post on the film, my involvement and the approach taken to the audio post.
Following screenings at SXSW, CANNES, and winning the Best Film Prize at the Boston Underground IFF, Red White and Blue gets its UK premier at 6:30 Pm on 30th August at the main screen of The Empire in Leicester Square as part of the Film Four Fright Fest.
Be warned this film is very disturbing. It starts slowly, giving you time to engage with the characters before events spiral out of control. I think that one of the strengths of this film is that -Unlike standard Hollywood fare- there is no clear good or evil, just very flawed people living with the bloody repercussions of their own actions. If you want to categorise it, you could draw a lot of parallels with the Jacobean strand of the revenge play genre. (so not your run of the mill slasher film) The film maintains lot of grey areas- the music remains unempathetic for many of the most extreme scenes.
I did this job through the Sonic Mix Audio Collective . So I handled the foley and dialogue edit, working alongside Vincent Watts who handled the Sound design and mix. There are bits of extrovert sound design care of Vince, but my brief was to maintain a documentary feel. The foley was kept really understated and wheras you would usually expect to replace large chunks of sync sound with polished post production, I kept as much as possible of the sync sound when handling the dialogue/sync edit. We stuck entirely to dialogue recorded on location, used no post sync looping sessions + tended towards layering up extra surround sound ambiences on top of existing ambiences recorded on set. Certain set pieces aside, the aim throughout the audio post process was to keep things sounding natural and complement the documentary feel of the picture.
Use the link below for details on how to get tickets etc.
Feel free to check out the Trailer (caveat emptor, the film would most definitely get an ’18’ rating)
Hello! I am Stephen Goldsmith (otherwise known as Mr Steve) and this is my website.
The tabs at the top supply info about me Feel free to have a poke about for more information on kit lists, verification of film track record via my IMDB profile, skill sets formal or click to download my
CV etc
The links on the left give updates on films I am working on a
The blog feature and extras tab are an informal way of distributing side projects and field recordings to friends, family and anyone whose boat it floats. Also I’ll give plugs to projects that I’ve stumbled across through work that I have enjoyed.
Am hoping that once I get the formal stuff out of the way + give a bit of background on who I am, I can fade into the background and concentrate on writing about films and audio stuff that are of more interest.
