You want to cook with a broken arm?

Next step, CO2.

Do it.

This is a scene from season four of the TV show Breaking Bad.

One of the main characters is being forced to cook meth at gunpoint in a lab underneath an industrial laundromat.

The mood is tense, and there's not a lot of dialogue.

But that doesn't mean it's silent.

The jingling of handcuffs, ominous footsteps on a concrete floor,

the twist of a key, the mechanical lurch of a freight elevator.

Those sounds match the character's movements so precisely that you might think they

were picked up by a microphone on the set. But they were actually added in post-production by a guy

with a bunch of makeshift props and a suitcase full of shoes. My name is Greg Barbeinnell. I've been a foli artist for about 46 years.

As a foley artist, Barbeinel is responsible for creating the smallest and subtlest sounds

in film and television, from the swishing of a character's pants to the clink of a coffee

cup being set down on a saucer. In a Hollywood that has become increasingly digitized,

it's a job that still depends on the human touch.

You're getting on the floor, you're picking up this chair,

you're moving it over here,

you're grabbing a car door,

you're throwing it on the ground. You're jumping on it.

You're taking a bat and you're hitting so-and-so. You're getting in the dirt pit on your hands and

knees. For the Freakonomics Radio Network, this is the economics of everyday things. I'm

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