“Sound and Music are Fifty Percent of the Entertainment in a Movie…“
– George Lucas
From home grown Indy documentaries to major label blockbusters,
Chris can work with budgets of any size.
Chris holding Al Nelson’s Oscar (Top Gun), Chris dreams of one day having his own!
Chris was nine years old when he first heard Ben Burtt’s groundbreaking sound design for Star Wars. It was his first glimpse into the extraordinary power of sound to bring an imaginary world to life.
Years later, Jurassic Park sealed it.
“I remember walking out of the theater just shaking. Gary Rydstrom’s work was so realistic and powerful that the dinosaurs felt absolutely real. For a few minutes, I honestly expected a Velociraptor or T-Rex to come crashing through the parking lot. I knew I wanted to make sound for movies.”
After more than two decades working in music, Chris was ready for a new challenge. In 2010, longtime friend Leff Lefferts—who had made his own journey from recording music to a career in film sound at Skywalker Sound—encouraged Chris to make the leap.
That introduction opened the door to Skywalker, where Chris began learning the craft from some of the best sound artists in the world. His first film as Sound Designer and Sound Effects Editor, The Devil’s Dosh, went on to win Best Narrative Short at the Oaxaca FilmFest.
Since then, Chris has built a career at Skywalker Sound working across feature films, television and streaming productions as a Foley Mixer, Sound Effects Editor, Foley Editor, Sound Designer, Dialogue Editor, Re-Recording Mixer and Sound Supervisor.
His work has earned numerous industry awards and nominations, including an Emmy for sound, on projects for some of the world’s leading filmmakers and studios.
More than anything, Chris remains fascinated by what first struck him as a kid watching Star Wars: the ability of sound to create a world, shape an emotion and transform the way an audience experiences a story.
His philosophy is simple:
Let sound tell the story—and make the audience feel something.
