A fun article from The New Yorker on the craft of Foley sound design, with all the frozen lettuce anecdotes you’d expect. Sprinkled throughout is an appreciation for both Marvel-Atmos-woofer-oompf and the gentle sonic warmth of classic movies:

a showing of “Everything Everywhere All at Once” felt like a maximalist sound bath. It wasn’t until I was on a plane, watching “Roman Holiday,” its quiet, nineteen-fifties plaza café augmented by the fizzes and snaps of the in-flight beverage service, that I realized the greatest complement to Foley: silence.