Issue 32: In The Making
Currently on what's been in the making.
Media has always been my way of making sense of the world and connecting with others. If we’ve talked in person, there’s a good chance I’ve asked, “Have you seen this show?” or “May I recommend a movie?” Eventually, I realized I was having the same conversations over and over. And that’s how Currentss was born—a singular space to share my thoughts on the stories I love with those curious enough to tune in.
And it’s been really rewarding. People often reach out to say they loved something I recommended or jump into conversations about a piece I’ve covered, picking up right where the newsletter left off. A few of you have even subscribed to support this project—thank you. It’s humbling to know my thoughts on media resonate with you.
But having subscribers brings a self-imposed responsibility to post regularly, and lately, I’ve spent more time writing about other people’s work than focusing on my work. So if you’ve noticed fewer issues recently, that’s why. I’ve been dedicating more energy to my work. Here’s a bit more about what’s been in the making.
I’m currently working on a short film titled Last Looks. But before I dive into what I’m creating now, I’d like to go back to where it all began.
In the Beginning
In 2004, movies like Primer, Eternal Sunshine of the Spotless Mind, Garden State, Before Sunset, Wicker Park, Mean Girls, Saw, Collateral, Shaun of the Dead, and The Notebook were released (holy shit what a year). As an impressionable 17-year-old discovering my interests and identity, these movies had a big influence on me. My social media handle at the time was “hiddencinema” because I was fascinated by all the moving parts behind the scenes that go into making a movie. And that’s how I saw myself—someone quietly obsessed with movies. That’s when I learned to love film.
In 2007, I moved to Austin, TX. I lived within walking distance of the Alamo Drafthouse, where I’d watch advance screenings and indie programming that opened up new perspectives. Immersing myself in the energy of festivals like Austin City Limits, SXSW, and Fantastic Fest motivated me to explore screenwriting. I took a class, and soon after, I was interning on a documentary. That’s when I learned to write.
By 2010, I had a camcorder and began documenting life around me. Concerts, friends, skateboarding—capturing moments and piecing them together. That’s when I learned to edit.
In 2013, I launched a board game company. We published five games—a mix of original designs, new designs from other creators, and imports from overseas. Through that, I learned to collaborate.
In 2018, I took an interest in film photography. I started focusing on the mundane moments—the ones often missed. I released photo books, had work featured in magazines, and participated in art shows. That’s when I learned to notice.
And in 2024, I decided to take my love for film seriously. I started going to film festivals, hosting screenings, writing reviews, and learning what it takes to make a film. This past summer, I had the chance to work on two feature-length films—one a DIY, guerilla-style shoot and the other more traditional. That’s when I learned how to be on set.
In the Making
Which brings me to today. I’ve always wanted to make a film, but I never knew how to start. It felt impossible: Where do you find a team? Where do you get equipment? How do you pay for it? Distribute it?
But when I step back, I can see how every project I’ve ever worked on—whether it was a business, a book, a game, a mobile app, an art show, or an event—was a stepping stone. Each taught me a valuable lesson in the filmmaking process: how to write, market, produce, revise, collaborate, and share.
Now, I’m working on Last Looks, a short film loosely inspired by the movie Elizabethtown. The question at its heart is: “If you knew you were going to see something for the last time, would it change how you act or what you say?”
The original concept was about a character moving away, a sprawling story across multiple locations with colorful environments. But as I thought about budget and complexity, I simplified the setting to a single location: an art gallery. And the title of the fictional art show is Last Looks, mirroring the story’s theme.
As I thought about filming and editing, I simplified the style to be shot in one take. I want the film to feel immersive, from the perspective of the artwork. This idea came from my love of eavesdropping in art galleries—listening to strangers critique the pieces on the walls—and from films like Before Sunrise and Frances Ha, where movement and dialogue guide you through an emotional journey.
To structure the story, I turned to a framework called The Story Circle. It’s a simplified hero’s journey: You. Need. Go. Struggle. Find. Take. Return. Change. The idea is that a character starts in their comfort zone, steps into chaos in search of something, and returns changed.
But I hit a wall with dialogue. Fabricating what I thought people would say felt forced. Then I stumbled upon advice from Quentin Tarantino: write what you feel, write what you know, and write dialogue you want to hear. That freed me to draw from personal experiences, to simplify, focusing on facts and feelings instead of inventing conversations from scratch.
From there, I started unloading everything I’d been simmering on for months. I mapped out the story with the eight steps of the Story Circle, created an outline, and then sketched out a storyboard to visualize it.
Now, I have a title, a story, a vision, a framework, a storyboard, and a growing network of creative collaborators. And I have all of you—this supportive community that encourages me to keep pushing forward.
Even when this project is complete, I know it will be just one step in a longer journey. It’s a stepping stone—an artifact of who I am right now, in the making.
Thanks for being here.
— Justin