Catch- 22 — a paradoxical situation in which one gets stuck due to the contrary/conflicting
parameters of said situation. It’s a term coined
by author Joseph Heller in his 1961 novel to
describe the no-win position in which fictional
WWII bombardier John Yossarian and his Army
Air Force squadron find themselves.
Heller’s novel was brought to life as a Hulu
Original series developed by Luke Davies and David Michôd. The series earned two Emmy nominations: one for Special Visual Effects in a Supporting Role, and one for Sound Editing. Visually,
the series convincingly captures the world of the
1940s, but it’s the sound that makes it feel real,
from the metal rattling hull of the plane’s fuselage to the crunch of the soldiers’ boots on the
dusty ground. Those Foley sounds played a key
role in helping to bring the audience into Yossarian’s world.
Here, Warner Bros. Sound Foley artists Cath-
erine Harper and Katie Rose talk about their col-
laborative approach to Foley, the scope of Foley
on the Emmy–nominated “Episode 1,” what went
into creating a 1940s sound, and how they blend-
ed their Foley with production effects to create a
S&P: How did you two split up the Foley on
Catch- 22 Was it divide and conquer, or did
you work together?
Catherine Harper (CH): We always decide
based on sound. Sometimes one of us will have
an affinity for a certain character and will want
to perform that walk but more often than not it’s
about whose shoes we think will sound the best.
Katie Rose (KR): We like to be on the stage
together and contribute to each other as much
as possible, even if one of us is walking a single
Emmy–nominated Foley artists Catherine Harper & Katie Rose
bring a 1940s Air Force squadron to life with WWII–era props.
by Jennifer Walden