Joe Chris considers himself a filmmaker before a musician. Where most composers start with sound, he starts with story -  with character, with theme, with the question every great drama is quietly asking: what does it mean to be alive right now? That question drives every creative decision he makes, and it's what gives his work a consistent emotional voice whether the palette is intimate and orchestral or expansive and atmospheric. He studied under Emmy-nominated composers Mason Daring and Sheldon Mirowitz and Grammy-winning composer Claudio Ragazzi at Berklee College of Music, and has assisted composers such as Trevor Morris (Vikings: Valhalla) and Trey Toy (Castlevania: Nocturne).

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His artistic philosophy holds that drama's greatest power is making audiences feel the full weight of being alive: the grief that contains love, the darkness that reveals beauty, the ordinary moments that turn out to matter most. He treats the audience's emotional experience as the real deliverable, not the score itself. For Joe, the composer's job in a drama is never to tell the audience what to feel: it's to create the space where they feel it themselves.