Wesley’s love for sound began after watching the city symphony scene in Kirsten Sheridan’s August Rush, where sound was used as a metaphor for the deep connection between all things. That moment sparked his fascination with how sound shapes storytelling and emotion.

He went on to study Sound Design and Music for Film at the Academy of Art University. Though the journey came with its own challenges—he often jokes that it “cost him another leg” (he’s a below-the-knee amputee)—it was worth every bit of growth and inspiration it brought.

After spending countless hours editing black-and-white footage of everything from serene cityscapes to the surreal (like elderly women pushing baby strollers down stairs), Wesley transitioned into production sound, where he could capture the world’s textures in their most authentic form—be it documentary, narrative, or something apocalyptic. His background in post-production has made him a more intuitive and detail-oriented production sound mixer.

Let's make some movie magic :)