Chris Giles mixes in a diner for 'Moonlight'
When I met my wife, Keri, an
actress, one of our first dates was
on a big commercial. Suddenly, this
whole new world opened up to me.
It was a really cool vibe, everyone
was hustling, doing what they did
best, way more put together than
the music biz, and it piqued my interest. I started looking at the film
business in relation to things that I
was passionate about.
Keri was asked to help as assistant director on a small project.
She asked me to come along and I
ended up meeting their sound guy,
Julio Alvarez. We hit it off almost
immediately; I ended up that day
saying “Hey, can I just help you
through the rest of this project?” I
got to work with him on some independent films, and he helped me
dive into the business and to see it
from a filmmaker’s perspective. Julio later helped me out by becoming
the boom operator on Moonlight.
I think it’s hysterical how little
I knew about sound and film. When I
showed up on my first set, they said,
“Do you want to meet the sound
guy?” I was confused; I’d always assumed that the sound was captured
directly by camera, like you see with
news crews and ADR later.
When I jumped in I was now
essentially working three full-time
jobs: pursuing this new interest,
working full time for the telephone
company, and doing FOH sound for
regular clients. It was a quite grueling time, little sleep most nights,
but it is what you have to do to build
I started buying my own gear.
Actor/host/producer Keri Maletto, Chris Giles' wife
Boom operator Julio Alvarez and Chris Giles on location for 'Moonlight'