翻譯整理/燒聲S編
”One of the challenges that we are facing, is to be able to maintain the creative process. For me doing foley is art and part of the creative process which can really help the storytelling. So in the beginning, it’s also good to think about what we are able to do within the resources of each project. Every film is different, with different budgets, but still there are a lot of possible ways to tell the story.“
「其中一個我們面對的挑戰，是保留創作的過程。對我來說擬聲音效是藝術，也是創作過程中的一環，它真的能夠幫忙呈現故事。所以在最開始，如果我們能先思考，在這個案子的資源中，有什麼是我們能做的？每一部片都不一樣，有著不同的預算，但仍然會有很多可行的方法，去說故事。」
".....When I watch the upcoming project (Last Men in Aleppo, 2017) for the first time, I try do it without thinking about any foley. I just try to feel and carry these feelings with me through the project. When doing the actual work I use these feelings as my guide."
「(在講一部敘利亞內戰的紀錄片)....當我在看這個即將要執行的案子 (終守阿勒波, 2017)，第一次嘗試不去想任何擬聲音效，而是單純去感受並帶著這些情緒看完整部片，當我真的要開始工作時，我用這些情感當作指引。」
”Jack Nicholson has said that he has lived as many lives as he has had roles. I feel that it’s the same thing with doing foley. My job is to go under the skin of the characters and the story. Doing that is emotionally rich, but also hard sometimes. At the same time, it is almost impossible to do good foley if I’m not able to feel the story and the characters.“
「Kack Nicholson說過他活過每一個他演過的角色，我覺得做擬聲音效也說如此，我的工作是深入角色性格和劇情故事，這件事需要投入大量的情感而且有時候很困難。在此同時，當我沒有辦法感覺到故事和角色時，是幾乎不可能做出好的擬聲音效的。」
S編小記：
這也是我一直在學習與自我訓練的事情，讀懂故事。如果看懂每一個人物的角色設定和人物彼此之間的關係、對鏡頭的功能，就能幫他們在故事中扮演的角色增強性格，而幫忙到劇情。
前陣子做了一部片，對我來說故事線和角色都跳來跳去不連貫，讓我沒辦法感覺到這些人物如果做什麼事情或說什麼話; 是恰當還是不恰當。尤其男主角從頭到尾都沒有清楚刻劃出自己的性格，一開始的設定好像是個能力很強很有正義感的衝動青年，但有時候又流露一股油條囂張的氣息，有時候很懦弱，有時候又要展性以前的傷疤可憐感性的一面，我一直沒有辦法同理他的整體性格，最後就只能按照劇中的情緒和畫面上的身體語言去做，但最後呈現真的讓我自己非常不滿意，也覺得對角色和故事一點幫助都沒有。
一個對比，最近在做的另一部片，裡面有一個人物一開始我覺得他的演法誇張得很奇怪，但在開會後，發現導演其實已經把這個人物的性格想清楚了，原來他雖然位階高管理很多人，但其實是一個真性情的大老粗，理解這些設定能幫助我更深入補充角色的日常行為。
”One of the main things foley wise was to make a sonic difference between slaves and white people concerning their feet, housing, everything. I tried to create different textures, which tells about the poor situation of slaves and how hard life was next to the cotton fields.“ --- (The Birth of a Nation, 2016)
「一個很重要的方法能聰明地做出好的擬聲音效，就是創造出奴隸和白人之間的差異性，考慮到他們的腳、房子所有東西，我嘗試創造不同的質感來訴說奴隸貧窮的處境，還有在棉花田的生活有多麽困難。」--- (The Birth of a Nation, 2016)
”The texture of a location which is abandoned means dusty, dirty and rattling to me. At the same time, I need to be aware of the things which are not old and rusty. Like some additions for the future machinery.“ --- (IO, 2019)
「對我來說一個廢棄地點的質感，代表著灰塵、泥土、搖搖欲墜的。在此同時我也要注意到，這些東西其實並不是真的很老舊鏽蝕，反而比較是有未來感的機器。」--- (IO, 2019)
”We wanted to make the sonic difference between characters with the different kinds of dresses that the main characters were wearing. And they should sound like the right kind of cotton, woolen and silk when needed. Not just generic rustling. I felt that The Beguiled was kind of a chamber movie with silent scenes, where there is room for many details. The feeling of a wooden house, which should also sound like a house where only women live, with no men around taking care of the daily things. “--- (The Beguiled, 2017)
「我們（HK和Richard Beggs）想把主要角色的衣著布料質感做出區別，必須棉質聽起來是棉質; 羊毛是羊毛; 絲綢是絲綢，而不只有一般的沙沙聲，我感覺這部片是那種有很多安靜場景而且都在室內的電影，因此有更多空間去呈現細節。木頭房子裡必須聽起來是只有女人在裡面生活的木頭房子，沒有男性存在的任何日常聲響。」--- (魅惑, 2017)
S編小記：
我真的很喜歡這個部分，每一個細節都會建構起整個環境，尤其衣服布料的摩擦聲這件事，往往我們會忽略它，想說應該聽不出來吧，應該沒差吧，但其實就是有差！不一樣的質料、厚薄、輕重、有沒有鈕釦拉鍊、鈕扣是金屬還是木質還是礦石，都會造成角色質感的不同。當然也不一定什麼材質就一定要用那種材質來做，而是說它必須聽起來像那種性格質感。有時絲綢就是太軟怎樣都發不出聲音，那我可能要用很光滑輕薄的polyester去創造綢緞的平滑感。
“ DS: I see that you did the foley on The Little Prince, how does your choice of sounds in animation differ from a live action film?
HK: With animations we record more with closeup miking and mostly with one mic. Supervising sound editor Tim Nielsen made a really good spotting session, picking up great ideas and small details. One of them was to create the stop-motion world with two foley layers: naturalistic and paper layers. Animation requires quite often more characteristics and sweepy sounds. Exaggerating is also preferable. But as I said before, there are no rules. Every project is different and rules are for breaking."
「（以小王子為案例，動畫和有現場收音的電影在擬聲效果上的選擇有什麼差異？）對於動畫，我們比較偏向較近且只使用一支麥克風收音...（略）...其中一個Tim Nielsen想出的好點子，是把暫停的畫面切割成兩個層次的擬聲音效：自然的聲音和紙的層次，動畫的需求通常是很角色和清脆導向的聲音，也會傾向比較誇張的做法，但還是如果之前所說，沒有標準，每個案子不同，規則也是可以一再被打破的。」