Nick Hexum [Interview]

So, this is another very special interview. It has a lot of personal meaning for this former 90’s kid, but it really doesn’t have to be that specific. Nick Hexum is a founding member of a band that has truly stood the time, who came from a time when it was almost never expected of a band to truly make it that long to begin with. The 90’s was a tried and true time for the “one hit wonders” of the world. But, Mr. Hexum and his band 311 have tirelessly proven that they are as far removed from that sort of title as possible.

In fact, 311 has arguably developed one of the most devoted fanbases of the modern ages. They have been the same band (literally, the same people!) for 25 years, and have been creating some of the same magic that everyone has come to know and love over the years. Nick and the gang have found a formula for success that has worked, and continue to amaze audiences across the land (and sea!) to this very day. He is a truly impressive artist, and a damn fine human being at that. And we are so happy that he was able to take a few moments out of his busy touring schedule to share a few words with us here today. So ladies and gentlemen, please enjoy so absolutely lovely words from the great Nick Hexum!

When did you first discover your passion for music? Was there an “Aha!” moment when you realized you wanted to be a performer for a living? Or did it evolve naturally? 

My parents tell me I was already set on a career in rock’n roll by the time I was in first grade. My first musical love was 50’s rock’n roll. Elvis, Chuck Berry, etc. I used to put on little performances for the family and jumped at any chance I got to be on a stage.

With an abundance of brilliant tracks in the 311 arsenal, I am curious to know what are your favorite tracks to perform live? What songs really get the crowd moving?

There’s a certain magic about playing an oldie for a crowd. We have all lived with every note for so long, it really gets the crowd moving. I find an extra thrill in getting the crowd moving to the same extent but when it’s a new song.

You have one of the most admirably loyal fan followings I have ever heard of, and that is being modest. So, to allow you to toot your own horn a bit…why do you think that is? What do you believe 311 does differently that keeps your fans so very loyal?

I guess we just struck a chord with our music and message.  It was something that was missing in our culture. It’s an honor to be a part of. People now see 311 as a way of looking at the world and the community that has developed is truly special.

I have heard some wonderful tales from the 311 Cruise, which seems like a very unique and exciting experience. Where did this idea stem from? What made you decide to take 311 to the open seas? And how has the experience been thus far?

Well after 311 Day involved into an event that people travelled from all over to be a part of, having a travel experience like the cruise was an obvious fit.  We work really hard with the cruise company to make it the ultimate vacation for 311 fans.  It’s a total blast.

After all of these years in the game, and 311 being the 4th longest running group with all original members, what is it that keeps your drive going? What compels you to continue to perform for audiences around the globe?

We still feel a hunger to explore music and spread our message further.  Music is a never ending journey.  There’s always new styles to be influenced by and new people to reach.  We still have lots of energy.

When you are out on your massive and consistently occurring tours, what does a tour diet consist of? Is it simply an endless cycling of late night diners and truck stop buffets?

We used to eat junk food in the early days.  Now we know where all the good sushi is.  Mercury be damned!

What does the future hold for you and 311? Anything you would like to plug to our readers?

I think we’ve discovered some new styles on Mosaic and we plan to get back into the studio soon and take those styles further.  Stay tuned for 311 Uplifter CBD vape products coming soon!

What  was the last thing that made you smile?

Soulcycle class today on our day off in Chicago was a lot of fun.  Nothing like a good sweat with loud pounding music.

Luz Mendoza [Interview]

Today’s interviewee is a person who I have long admired, and have been wanting to have featured on the site since the inception of Trainwreck’d Society. Luz Mendoza is an absolute genius in the world of indie folk that I have held to such a high accord for so long, and have been covering since my early days as a lowly music blogger, all the way up until now during my days as a lowly music and film blogger. She has a perfectly apt and brilliant ability to sincerely write the fuck out of a song. That is without a doubt her strongest trait. Throw on top of that a brilliant set of vocals and a being a powerhouse musician, she is the real deal people.

As I said before, I have been watching this amazing musician grow so much over the years, and have been lucky enough to indulge in every amazing Y La Bamba project she has given to the world. Each and every completed work that Luz has consistently been the best work of that given year. The singular track “Fasting In San Francisco”, now several years old at this point, is still registered as a classic in my personal listening songbook. I seriously cannot say enough great things about this amazing artist.

So, I will simply just shut up, and let you enjoy some amazing words from the great Luz Mendoza! Enjoy!

When did you decide you wanted to join the world of artistic expression? And has music always been your focus when it comes to creating your art?

My expression has never felt like a desicion I made, but rather a decision to embrace the fact that I have been in the world of artistic expression, aka sharing vulnerability. Music has been a large focus on how I create and move energy, as well as other things that extend from that such as my visual and performance art projects and social activism.

And when did Y La Bamba come into play? If you are so kind, can you give us a little background on this amazing band/project that you have been curating for all of these years?

The band started as myself in 2006. I brought a band together and since then its been a on going colaboration with friends and other talented musicians that I have had the honor of playing with as I keep growing in my expression.

As a mastermind behind the craft of beautiful songwriting, I am curious to know some things about your process. Mainly: how do you know when you a song is complete? Is there an exact moment or feeling you are looking to experience to know that a song is complete?

Songs are conversations that change and evolve as we go that or nor complete or limited. I like to encourage creative freedom with others.
I expierence that feeling of freedom when I let go of the pre conceived pressure around finishing a song.

Speaking of beautiful songs, you wrote a song that has remained at the top of my hypothetical “single’s list” since I first heard it, entitled “Fasting In San Francisco”. I still have it in rotation to this day. Would you be able to give us a little insight into this track? Where did the idea for this lovely track come from?

What a flash back! that song was written when I was so sick  10 years ago in my room learning how to record myself for the first time as I was listening to Laura Gibson, and Coco Rosie and Violeta Parra.

I was in a place of surrender, and that song is the documentation of my growth. That reflection is so important to me. It was about love and war the innocence behind my healing.

You have been working with our old friends at Tender Loving Empire for quite some time as well, releasing 5 wonderful records, including your latest entitled Ojos del Sol. So how did you manage to team up with Jared & Co. to create such amazing art together? And what keeps you working with TLE after all of these years?

Tender Loving Empire have been my Rock through out the years.
I love them dearly and support them.

Y La Bamba live @ Picakthon 2012, photographed terribly by yours truly, this is Luz and my OG blogging inspiration Ben Meyercord, a.k.a. half of Y La Bamba in 2012.

It has been 5 years since I last saw Y La Bamba, live at Pickathon in Happy Valley, Oregon. I understand you were just there again this last summer? So how did it go? And what is it about Pickathon that keeps you coming back?

I have always loved Picathon they are good to there people and the environment. I love going back and sharing those moments with friends. We played a couple of shows. There were definitely some moments where i felt ex seen and heard in my cultural identity as a latina female in this day in age then before it was however still a reminder of how out numbered women of color are in the music industry over all and often mis interpreted or un heard. It was nice to have productive conversations about things that have made me feel marginalized for years.

Pickathon tends to be a large scale event.  But, you have also done some more low key and intimate shows. Do you enjoy the large scale with packed audiences, or the intimate showings? 

I am sensitive to any crowd.

What does the future hold for you? Anything you would like to plug to our readers? 

My future as an artist is using my medium to connect and grow and heal because we really really really need eahother right now and not get into the petty overly self righteous culture that isolates us from compassion and understading.

I will hopefully record a new something something soon.

I am on a journey this year to also tour with Hijos De La Montaña in Europe.

I anticipate a lot more un expected but predictable social changes and I am trying to stay strong for myself and my community. I recorded an EP on cassettes called Red Earth in which all proceeds go to Adelante Mujeres a non profit that provides holistic education and empowerment oppurtunities to low income latina women. Below are some links and would love to encourage everyone in donating to this organization! Its so key to reach out to your community and arriving with support because help is needed.

What was the last thing that made you smile?

Awe I smiled at this amazing white fluffy dog this morning! that looked like  it came from another planet. As it was crossing the street it seemed like it was floating right by. Like that moment in that movie where everything slows down when the most beautiful angelic thing you have ever seen is passing right by you.

It reminded me of life.

New Music Tuesday: Grayson Capps: Scarlett Roses [Album]

I have long since considered myself a Grayson Capps fan. We had an amazing interview with him a few years ago that absolutely filled my heart with pride to have featured here at Trainwreck’d Society. But, I will admit, I sort of lost touch with what this mastermind has been up to. But then I saw his name appear in my inbox with some sort of subject announcing he was back after 6 years, and I was beyond intrigued, to say the least.

Grayson Capps has been a staple in my life for quite sometimes. His father penned the novel for film in which he would contribute some amazing tracks to, that would eventually be A Love Song For Bobby Long, a film that I would consider one of the greatest of all time. So let’s just get that out there.

To learn that Grayson hasn’t put out an album in 6 years almost made me sad to realize that I hadn’t been involved enough to notice. But, to learn that it was his own choice to let the material for a full length album just come to him was absolutely enlightening, and down right inspiring. And if it takes six years for a brilliant album like Scarlett Roses, well fucking so be it!

Scarlett Roses is a brilliant combination of Grayson’s amazing attributions towards the world of folk music and country rock. One of the most obviously lovable tracks, and the one I tend to go back to, is the amazing “Bag of Weed”. It is a simply melody that seems to poke fun at the bullshit world of modern country that is absolutely disgusting and intolerable. It is a playful, fun, and catchy track that manages to still toy with our emotions, all the while having a bit of fun. Which is a concept that many modern country artists simply can not seem to understand.

And then there is a song like “Hold Me Darlin” that is like a blast from the past to the Bobby Long days, that I will absolutely never turn down. But, the song that truly needs to be showcased is the absolutely brilliant “New Again”, which is unlike anything I have heard from Grayson before, and almost unlike anything I have heard before in the world of music in general. I truly can not say enough how much I truly love this track. It mixes so many different elements of country, folk, soul, love, loss, and miracles, that you really have to hear it for yourself to truly understand. So do yourself a favor, and do that. Listen. Don’t just hear, truly fucking listen. Now.

Are you one of our many fine Italian readers? Well, I will be god damned if you aren’t in luck! Check out these dates with Grayson all across your amazing country:

November 16Cantu, Italy – All’Una E Trentacinque Circa
November 17Milano, Italy – Spazio Teatro 89
November 18 – Ravenna, Italy – Marlin
November 19Verona, Italy – Le Cantine dell’Arena
November 22Correzzola, Italy – Cockney London Pub
November 24 Dozza, Italy – Teatro Comunale
November 26Fiorenzuola, Italy – Teatro Verdi

And don’t forget to pick up your own copy of Scarlett Roses when it is release on December 1st, 2o17. Until then, check out this YouTube lyrical preview for “Hold Me Darlin”, right here:

Tony Stevens [Interview]

When I think about what has now been deemed as “classic rock”, a lot of different feelings and images are conjured up. But the number one imagine is always going to be that of a few burn out dudes riding around in a cool car in Richard Linklater’s legendary film Dazed and Confused. For myself, and I’m sure a lot of other kids growning up in the 90’s, this was how we learned about what “classic rock” music real was. I know I’m not the only guy who would watch this film with their father and ask a zillion questions about the music we were hearing. This film alone introduced me to so much of the amazing work that came around in the 1960’s and 1970’s. This is also when I learned that some of the best music in America at that time, was actually coming from across the pond from a country that I had no idea as a nine year old kid that I would eventually call home. I am of course talking about the nation of Great Britain. England. You know.

And when you think about “classic rock”, or Dazed and Confused, or the “British invasion”….one brilliant band really fits into all of these sectors, and I don’t know how you couldn’t have already figured out who I am talking about. I am talking about Foghat. This is a band that holds not only a special place in my heart, but a special place in Dazed & Confused, with their single “Slow Ride” being a stand out feature of the film. No matter what happens in life, I know that Foghat is always going to be one of those pure, original, and absolutely amazing bands that will continue to stand the test of time. And ladies and gentlemen, we are fortunate enough to have one of their founding members with us here today at Trainwreck’d Society.

Tony Stevens was there from the very beginning of Foghat. He spent years in their earliest renditions of the band, would eventually leave only to return a couple of decades later, and leave again to form a different and far more complex version of the band under a new name. But, we will obviously discuss all of that in the conversation below. Just let it be known that Tony Stevens very much IS rock and roll. He has been on the road for over 50 years, delighting audiences across the globe. When it comes to the world of rock and roll, there is very little this man hasn’t already conquered and lived to tell about.

So with that, how about I stop rambling, and share these amazing words from the brilliant musician, Mr. Tony Stevens!

What were those early days of Savoy Brown and Foghat blowing up to be the legend that it has become today? I am always fascinated about the times prior to gaining such success. So how was that?

Long and arduous. Travelling up and down the motorways with Savoy playing small clubs and blues bars. We did festivals in Germany with the Moody Blues and  The Nice, then over to the States for our first American tour playing small clubs and blues bars De ja vu.
It culminated with three of us leaving Savoy at the end of 1970 and formed Foghat. For a year and a half the three of us funded the band with our new guitarist, Rod Price, being paid a wage. When we got our record deal with Bearsville Records it was manner from heaven.

I’ve heard through biographies and stories about the explosion and love for American blues that occurred in England during the 1960’s, and the ways you were able to collect certain sounds in those pre-internet times. But, I’v never had the chance to ask about it directly to someone. So how about it? How did you become interested in not only listening to American blues music, but wanting to perform it as well?

Well I was playing the Blues, albeit on lead guitar, when I was 13. I had a band called the Down and Outs and the singer/ harmonica player had an amazing record collection We were playing stuff by Howling Wolf, Muddy Waters,Joe Turner and Josh white to name but a minimal few of our repertoire.

I think I can say that the Americans boycott of great Black artists drove their sound to England, on the radio, to the likes of John Mayall, Alexis Corner,The Stones and Beatles and Long John Baldry and many, many more of Blues Rock bands..ala..Savoy Brown. We took the American sound and turned it round, gave it power and sent it back to you through the Stones and Beatles. All of a sudden, America was listening and wanted to know the roots of those groups music. It still was a hard task for the black artists to be accepted but England seemed to pave a way. Chuck berry being the most copied of his music by us Brits.

I understand you also worked on the legendary project from The Who known as Tommy. This production still remains as a classic in my heart, as well as with the millions who watched and heard it. I am wondering if you wouldn’t mind telling us a bit about this project? What were some specific details you put into it, and what makes you most proud to have been a part of it?

Tommy. Just to clarify, it was the film Tommy soundtrack that I played on, not the original opus by Pete. It was great fun. Three days in the Who’s studio, Ramport, with an open bar with the likes of Ronny Wood, Kenny Jones, the Who’s new drummer, Chris Stainton, Eric Clapton, and Ken Russell, the films director. The soundtrack was produced by a friend of mine, Ronny Nevison Of Course, all the Who were there plus different guitarists and bass players. It was great
Also, I was involved with Andrew Lloyd Weber on the original album( Cast and Stage show )of Evita. Julie Covington and David Essex to name but a few of the star studded cast. Great Fun and Lord Weber, as he is known now, was a true gentleman.

After all the time that has past, what compelled you to return to the Foghat world by forming your latest band, Slow Ride? And what has it been like to get back into this world?

You might have heard many stories of what happened between me going from Foghat in 1975 and then rejoining the band in 1993 and leaving again in 2005 to form Slow Ride. Phone me Ron and I will give you the undiluted facts. In basic: Trust and Ego were the biggest problems.

In your obviously professional opinion after decades in this business, what would you say is the most pivotal moment in a live performance? Is there a single element that is absolutely necessary to exist when you are performing? Or a collection of several different smaller elements perhaps? Basically, what makes for a perfect live show for you?

Really Ron, I think it is not the size of the gig or stadium ( we played to 250,000 fans in Evansville Indiana in the early 70s ) For me, after 50 years of touring this year, has to be the fun you have with you fellow musicians on stage. Slow Ride is my pinnacle of musicianship mixed with high jinks. It really was not their for the latter part of my stint in 1974/5. It was there, always, with Dave Peverett. He was a gem but, after he died in 2000, the band lost it’s sparkle and Egos took over. One of many reasons to form Slow Ride.

Recently you performed in my hometown of Longview, Washington at their highly anticipated annual event known as Squirrel Fest. Was there anything exceptional about this event, or was it simply another gig?

Ron, The weekend that we spent in Longview was great, great great. From the time we got off the plane and Don, our man of the moment, took us to Saltys’ for dinner. Then to the Montecello hotel. A great 30s/40s hotel that is being revamped back to its former glory. Then, with no more that a 100 yards to walk to the stage for a sound check Then, off to a pot farm and shop…the rest is censored. Lunch, and back for the old men to take a nap before treating the 7,000 fans to some ” Gut ole Rock n Blues. Next day, breakfast then a fantastic trip to Mount St. Helens. What a trip. Back to the airport and waving bye bye to Washington State.

Again, I must thank Don and Peter for their time and unending kindliness. I loved the Squirrel Bridges.

What does the future hold for you? Anything coming up that you would like to plug to our readers?

Always with Slow Ride it is a ” Watch this Space “situation. Unfortunately, our agent was diagnosed with Lukemia and had to undergo Chemo. Our heart is with him.

What was the last thing that made you smile?

Okay. Last year I had a major operation on my Prostate. I was told that after the Op my libido would wane and erections would be few and far between. Two weeks ago I woke up from a naughty dream and found that I had a boner. I laughed all day. In the words of Malcolm McDowell in A Clockwork Orange: ” I was cured my Droogies “

Sunday Matinee: ADDicted [Film]

“Like most college kids, Drew’s life is chaotic. Demanding classes. Football. Finals. A bad break-up. An overbearing mother. But what helps keep him balanced is his Adderall, a prescription he’s been on since age 10 for ADD. But now he finds himself suspended from the football team for plagiarism. As his life starts to spiral out of control, he turns to his professor, but is it too late? What will it take for Drew to find peace with himself instead of a pill bottle?” – Vision Films

Director Dan Jenski had a clear and concise vision when he was developing ADDiction, that is something very obvious. He gave himself the task of dramatizing one of the most oddly common and wildly misrepresented struggles of modern day humanity. Within each and every one of us is a yearning to be both excellent and loved. Our internal drive to succeed, or at least get by, is rarely turned off for many of us, but some of us lack the physical make up to bring ourselves out of the everyday mundane sense of existence. This is when something like Adderall can be a literal wonder drug. While often times misdiagnosed, the threat of ADD is a real one. It does exist. And Jenski is the man who decided to show us what would happen if we took Adderall usage to an all time high, or low, depending on how you look at it.

And his end result was the masterfully done film that is ADDicted. It is an overall brilliant film about the struggles of an average upper-middle class college kid who enlists the help of an ambitious woman who obviously just doesn’t have all of her shit together. So when these two team up, it is quite bloody obvious that it isn’t going to go well. The internal and external tension of these two with their family and those around them is the sort of thing that makes for some of the most delightfully awkward cinema you will ever witness.

While I have already stated that Jenski has turned in a brilliant product of a film, so much credit has to be given to Kathreen Quinlan, Gil Bellows, Luke Guldan, and Lauren Sweetser who turned in some of the finest performances of their careers. ADDicted is a brilliantly written tale about a very real problem in our modern society that simply needed to be told. And we should all be so pleased that it was decided that this would be how it was told. If any real change is happen on our society when it comes to dealing with the mental and physical travesties of prescription medication, I truly believe that a dramatization such as this could truly be a step in the right direction.

Maisha Closson [Interview]

We are back to the writer’s block folks! We wanted to jump right back into interviewing some pretty amazing writers in the world of television quickly after our frightening month of October. And I will be damned if we weren’t able to land one of the finest in the business!

Today’s interview is with the legendary Maisha Closson who is yet another amazing woman working in a male dominated space, but breaking down barriers with every project she works on. Just like some of the fine female writers we have spoken with before, she is a talented individual not because of her gender, but because she was simply born with the ability to write in the world of comedy, drama, and more. Unfortunately, the fight for equality seems to be never-ending, and we aren’t quite in a space where we can’t mention that she is a woman who can not only hang with the male dominated force, but surpass them in each and every way.

Also, she wrote final season of Becker, and given our past interview subjects, you know that this show is gold in our opinion, and we are so happy to have another contributor to this amazing program!

So ladies and gentlemen, please enjoy some words from the amazing Maisha Closson!

When did you discover you had a passion to live and work in the creative world? Was it an early aspiration?

Middle school was when I really got into writing short stories and poetry. I wrote a poem when I was in 7th grade called “Beneath the Pile.” It was for a contest sponsored by a local temple and the subject had to be the Holocaust. My poem was about a woman who survived in one of the camps by hiding under a pile of corpses. I won and a local anchorperson read my poem to a room full of mostly Jewish people, some of them Holocaust survivors. It was intimidating sitting there while everyone listened but when they applauded and some people were crying I felt that I’d done okay. I’m pretty sure everyone was surprised to see a black girl go up and accept the award.

You have working in the world of television since just before what I like to call the ‘Soprano Renaissance”, when the world of television became the benchmark for brilliant writing and storytelling. But, does it ever feel like there are becoming just too many options? Are the advancements in streaming media and having dozens of networks out there acting as a hindrance? Or is it simply just furthering opportunities for new talent? What are your thoughts on the matter?

The choices are overwhelming speaking as a consumer/viewer. I still haven’t finished season 2 of The Americans and I’m way behind on The Walking Dead! But for writers, more content equals more jobs so it’s good. It’s also encouraging to see shows with smaller stories to tell like Master of None and Better Things.

Now, I know it was quite a while ago, and not an extensive gig…but, you are credited for writing a couple of episodes for one of my favorite, and what I believe to be a highly underrated, television shows of all time. It was Becker. I’ve tried to track down just about everyone behind this magical program, and now here you are! So simple question: How did you find yourself working on Becker? And how was your experience?

Ha! Yes, I worked on the last season of Becker. That came to be because CBS wasn’t sure whether or not it was going to pick the show up. Dave Hackel, the EP, didn’t think it was fair to keep his staff waiting and unable to accept other work so he released all the writers. Then CBS decided to pick the show up and Dave had to hire a new staff. So basically, I got hired because Dave was desperate. I went in thinking the experience was going to suck because I was the youngest person in the room, the only woman and the only person of color. But it was actually fantastic. I’m still in touch with Dave and some of the other writers.

I am intrigued by, yet uniformed about your latest project, Claws, that airs on the TNT network. It appears to have a brilliant cast (Niecy Nash being one of the greatest comedic actresses of our generation!) and wonderful premise for a program. So how did this project come about? And what should new viewers such as myself be looking forward to?

Claws is so much fun! I enjoyed writing every word of my script and had a good time shooting it. Eliot Laurence, the creator, gave us this noir, crazy, messy world with characters who burst off the page. HBO had bought it a while back, then it went into turnaround and TNT snatched it up. I think when HBO bought it, it was a half hour. TNT wanted it re-envisioned as an hour dramedy so Eliot retooled it. The five women who work at the nail salon are the heart of the show and are perfectly cast. Viewers can look forward to seeing more southern fried mayhem and learning more about the ladies of Nail Artisans of Manatee County while crying, screaming in shock and laughing their asses off.

You have written and produced in some very diverse settings. Many of your projects don’t appear to be much like the other, which is extremely impressive. A Rodney Carrington vehicle is quite different from MTV’s Skins, and shows like Claws and Training Day have all been a world of their own as well. Is this something intentional you try to do? How do you choose what projects you want to bring to the viewer’s world?

Well, I started in comedy so my early credits involve a lot of multi camera network half hours. And in those days, I went wherever the offer was. After several seasons of comedy, I wanted to try writing drama. I asked my reps to start shopping me as a drama writer and the first offer I got was on Skins for MTV. After that, I wanted to stay in the one hour world. My writing samples are varied–I have a sample we use for procedurals, a sample for cable fare, a character driven network sample, etc. That’s why I tend to meet and get offers on different kinds of shows. After I worked on Chicago PD for two seasons and Training Day for a season, I thought I’d stay in the procedural world. Then I got an offer on Claws which has brought me back to my comedy roots! At this point in my career, I have a little more choice so I try to pick shows with darkness and light. And I love strong, complex characters who get to say funny shit.

What does the future hold for you? Anything you would like to share with our readers?

I’d love to sell my own show so I’m working on that right now. But if that doesn’t happen, I’m happy to continue working on shows I enjoy. For your readers- I guess I’d share that I’m on IG as @maisha_closson where I try to highlight/introduce/pump up lots of different tv writers so that people appreciate the folks behind the words. Writers get so little love!

What was the last thing that made you smile?

Lena Waithe’s speech at the Emmys.

Dylan Clark Tuomy-Wilhoit [Interview]

Here at Trainwreck’d Society, we have always attempted to reach out to folks from all across the spectrums of the expansive artistic community. It is a known fact that it takes a whole lot of folks to make a great project truly work. We have spoken with not only writers and directors, but art directors, editors, cinematographers, choreographers, location scouts, and on and on. But, one profession we haven’t really gotten into enough, would be in the art of sound. Which is obviously something that needs to be recognized and respected.

So, why not go to one of the best to discover what it makes to create the art of sound within the world of film and television and even video games! Today’s interview subject is none other than the Emmy Award winning foley artist and sound designer Dylan Clark Tuomoy-Wilhoit. This young man is an incredible talent who has worked on some amazing shows and films of the highest caliber. He has won a couple of Emmy’s for his work on such esteemed projects like Black Sails and Game of Thrones, and has provided outstanding work to film projects like Furious 7, and a film that we have been raving about for months entitled The Glass Castle. He is a genius in his field, and we were so excited that he was willing and able to share a few words with us.

So ladies and gentlemen, please enjoy some amazing words from the great Dylan Clark Tuomoy-Wilhoit!

How did you find yourself in your line of work? When did you discover you had a passion for the world of sound design?

At first, I got into audio through my love for music. Growing up I was always singing and dancing, in choir, and going to music festivals and shows as much as possible when I first graduated High School. I wanted to make music, both acoustic and dance music- the two types of music that have influenced me the most. I had a few options for college- I could have majored in Music/Opera singing at UCLA, gone to CSUN for Computer Science, or join the Officer’s Academy to become an Air Force pilot… I took the year off and made my way into a Trade School called SAE Institute in Los Angeles. At SAE I learned the skills required to become anything I wanted to be in the audio world, only to find myself fascinated in Video Game Sound Design. Soon afterwards, my father Jeffrey Wilhoit began mentoring me in his studio as a Foley Artist.
And what keeps your passion going? You’ve obviously had some great success in this world, but what is it besides monetary triumphs that makes you want to continue working in your field?
In MEDIA I have the luxury of creating a sound and music atmosphere that engulfs viewers into other worlds and stories. Music and Sound Effects are such a vital part of creating these other worlds and experiences for people, and I am proud and excited to be a part of that. When people come up to me excited, saying “oh my god that episode was amazing! How did you make that scene sound so real?! I almost puked when that guy’s head exploded!”  Making people FEEL through sound… those are the rewarding moments of my job 😛

For those of us who may be ignorant to the oh-so-important behind the scenes work that goes into creating wonderful cinema and television….can you tell us what a Foley Artist really is? As a very experienced professional in the field, please let our readers know why a Foley Artist is absolutely crucial to a project.


When a movie has finished recording there is little to no sound in the movie because the microphones on set were there to pick up the actor/actress’s voices… So the actor’s footsteps, the sound of people drinking from cups, and even the sound of drawing and sheathing their sword are all lost. Even when some sound does stay after filming, actors and actresses often use props so their sword may actually be plastic, and we add the steel sounds to create realism. Additionally, many movies are filmed on sets- So everyone’s footsteps in a big cave may sound like they are walking on hollow wood instead of hard gritty stone, or dirt.

Now imagine a room full of microphones and random stuff like bicycles, bowling balls, swords, weapons, and ski boots. The Foley Artist Performs all needed sound effects to the picture almost like playing that game Dance Dance Revolution, where you have to stomp on the correct arrow as it passes the screen, but with Foley, your ‘arrows’ are human actions… And instead of stomping on a pad, you are wielding a sword, breaking glass, or stepping to rhythm of Jon Snow walking up stairs. The human quality ensures that there is a natural ebb and flow to every action and motion you can hear on screen.

Without a good Foley Artist, the project’s sound is unnatural… pulling people out of the world or story.

And how does your work in sound design differ between projects? Beyond the most obvious differences, what is the difference between foley work on a series like Game of Thrones to, say, a film you worked on featuring our old friend Dominic Bogart entitled, The Glass Castle? How does setting and scenery effect your work?


Every project is different- although some ‘tricks’ can be used to recreate similar sounds, there is an inherent energy in every story. Game of Thrones is a very gritty and violent world with lots of energy, therefore dirty texture is very important. Texture brings worlds to life, like the sound of a leather saddle while riding a horse, or adding wet dirt to a blade when it is picked up off the floor to make it sound connected to that gritty world.

In projects like The Glass Castle there are scenes that take place in very different places. There are very clean, high fashion type of scenes where everything must be very clean and almost “shiny” sounding. When people are at a nice dinner party, we use finer cloth when making the sound of dresses, harder shoes to make the sound of business shoes or heels, and we clean off all of our surfaces so that there is a very ‘clean’ element to every sound. During other parts of the movie, we are in poorer areas, where there is more dust, rough clothing, and softer shoes.

We always ask our statue holding friends this one question: Where do you keep your Emmy’s? And does their physical location hold any sort of real significance to you?


Both of my Emmy’s are on display at home where they are easily seen. I’m proud of my work, and they are fantastic decorations 😉

What does the future hold for you? Anything coming in the near future you can tell our readers about?


Through the end of this year and next year our team already has some really cool projects lined up, most of them I can’t mention or talk about. But for my personal future, I am beginning to move away from Film/Television and move into more Video Games/Virtual Reality work.  I may always do Foley, but I am looking towards a Sound Supervising and Design career in Video Games.

What was the last thing that made you smile? 

This question made me smile, to be honest. What a great thing to think about right?!  I smile a lot, but I think the biggest smile i had today was when my cat woke me up by coming under the blankets and snuggling with me this morning. The simple things 🙂