DEC 6th 2014
Passion & Integrity
Commerce & Creativity
Equality Not Hierarchy

Alyson Dee Moore
The Sound Award - USA

Alyson Dee Moore
Foley Artist
For her extensive body of work as a Foley artist and being instrumental in 1998 to organize the United Foley Artist Association to ensure that women and men could be represented by a union and have a voice, Alyson Dee Moore is the recipient of TheWIFTS Sound Award 2014.

Alyson Dee Moore was born and raised in the San Fernando Valley. Her parents were both actors. Her father was notable character actor Alvy Moore who played Hank Kimball, the County Agent, on the CBS television series Green Acres. He then went on to produce many low budget features, the most well-known being A Boy and His Dog, starring a then unknown Don Johnson. Having grown up around studios and location shoots, Alyson always knew that one day she would love to work in the film industry. Her career started with a few small acting roles when she was eight years old. At age ten she got a job as an anchor on a local news program for children called Elementary News and received a Golden Mike Award.

At sixteen, she dropped out of high school and got a job as an assistant to a sound effects editor, where she was introduced to the Foley stage, at a time when only a handful of people were professional Foley artists. Moore was fortunate to apprentice with some of the best, and worked on Falcon Crest and Knots Landing. In 1984, she teamed up with Patricia Nedd and started working for Glen Glenn Sound and Todd AO on Beverly Hills, 90210, Melrose Place and Twin Peaks, just to name a few. As their reputation grew, three more women were introduced into the team which worked together for fifteen years. In 1997, Moore won an Emmy Award for her work on the miniseries The Shining.

Trailer: Interstellar

What is a Foley artist? A Foley artist creates one of a kind, custom sound effects to films, television shows, commercials and video games. The sounds are made in sync with picture, so timing must be perfect and fit seamlessly into the production sound. Most Foley artists got their start by being dancers and were be paid by The Screen Actors Guild (SAG). Back in 1988, there was no category for Foley and most were working without a union. Moore established Foley Artists so there could be representation. It took five years of negotiating with three different unions: SAG, Teamsters and Local 700 (Sound Guild), and they eventually joined Local 700. Foley artists now receive health benefits, a pension and have a standardized pay scale and overtime. Moore is currently a board member of the Local 700.

In 1999, she started working at Warner Bros. Studios. There she became partners with Foley artist John Roesch and Foley mixer Mary Jo Lang, and shifted into the feature film world, honing her craft. Part of one of the top teams in Hollywood, she has worked on many films that have won Academy Awards for Best Sound Editing, including The Dark Knight and Inception.

Working at Warner Bros. has been a great experience for her. Moore says: "I remember being little and thinking that when I grow up, I want to work at the studio because for me, it just felt like home. And now I work at Warner Brothers in Burbank. Every time I drive through that gate, I'm just excited that I work there."

Ms. Moore is very involved with The Motion Picture Mothers, an organization that raises money for the Motion Picture Fund. She also enjoys speaking to film students and teaching them how important Foley is to their student films and future film projects, and has spoken at USC and The Art Institute.

Moore's extensive body of work as a Foley artist includes in 2014 - Frozen; Interstellar; Big Hero 6; Gone Girl; and The Judge. She is currently working on the documentary Rwanda and Juliet, about a Dartmouth professor that brings Shakespeare to Rwanda and stages a version of Romeo and Juliet.

TheWIFTS Foundation: Sound is an intricate element in a film, an element that is taken for granted. The Sound department on a film is composed of many artists, each essential to achieve the perfect tone the director requires in any frame of the film. It's an area which is underrepresented with women, and where it's rare for a woman to receive recognition.

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