Today we’d like to introduce you to Justin Charles
Hi Justin, so excited to have you with us today. What can you tell us about your story?
I’m a product of the ’90s, in love with film and music since childhood. Lately, I’ve been reflecting on what drives me as a filmmaker—my influences, my purpose, and my journey.
Even though I have siblings, I grew up mostly as an only child with my mother in South Los Angeles. I always knew I wanted to act. My mom, a firm believer in research and education, took me to the Inglewood Library, where I’d check out books on acting. She took it further—got me headshots, acting classes, and an agent. My first acting coach was Betty Bridges, who drilled the basics into me—like how to laugh on camera, which is harder than you think when a director yells, “Action!”
Movies were my obsession. I still remember seeing House Party as a kid, convinced I’d be friends with Kid ’n Play if we ever met. The ’90s were a golden era for Black films—Boyz n the Hood, Boomerang, Friday, Love Jones, The Best Man, Blade—and they fueled my love for storytelling.
My biggest filmmaking inspirations? Kevin Smith, Robert Rodriguez, Quentin Tarantino, Steven Spielberg, and Spike Lee. Before film school, Rodriguez’s Rebel Without a Crew was my bible. It taught me how to make movies with whatever I had—and to stop waiting for permission.
In high school, I met my friend Steven Barnes, and we started shooting short films. We went to Middle College High in Los Angeles, which was located on the Southwest College campus. Me, Steve, and our friends Johnny and Anthony shot everything—from horror to action—and even made our own Matrix remake after seeing it four times in theaters.
I’m sure it wasn’t obstacle-free, but would you say the journey has been fairly smooth so far?
Smooth Sailing? Not Even Close. In my early twenties, I made a film called Be Easy, which is now on Tubi. It was a fun, direct-to-DVD-style film, but looking back, I see my blind spots. The script was surface-level, my female characters lacked depth, and I hadn’t yet lived enough to write with real weight. Still, that film proved I could lead a team and finish what I started.
Then life happened. Marriage. Kids. A 9-to-5. One year turned into five. Then ten. Then seventeen.Seventeen years of watching other filmmakers rise, of seeing movies I wished I’d made, of hearing that whisper in my head: That could be you. But I kept pushing it aside, waiting for the “right time.”
Then, out of nowhere, an opportunity knocked.
A friend, Arthur, reached out—a production company had a deal with BET’s streaming service. They needed projects. He asked if I wanted to direct an old script we’d written. I wasn’t interested. But I had something better.
Mid City Dreamers.
A film about a music group torn apart by fame. The cost of chasing success.
“Do you have the script?”
“Not yet. But I’ll write it.”
“Can you have it done in a month?”
“No problem.”
Thirty days later, I had a full script. I was ready.
Then, in one meeting—the production company backed out.
Just like that, the opportunity was gone.
I had two choices: get bitter or get moving.
That’s when it hit me—if I kept waiting for perfect circumstances, I might never pick up a camera again.
So I stopped waiting. Drove Uber. Saved money. Bought gear.
By September 2023, I started casting. My first call? Steven E. Barnes—my day-one. He’d been in every short I ever made. This time, he was the lead.
Then came pushback.
DPs turned me down. Not because of the script, but because they saw the challenges of shooting with a limited crew. They told me: I’d need a First AC, a DIT, and a gaffer to do it right. Keeping a crew on board for the entire production would be tough. Without the proper support, stepping back might be a better option. Step back? Sell my camera?
That wasn’t an option.
I understood their concerns. But I also knew one thing: this film was getting made, one way or another. If I didn’t have the full crew, I’d learn what I needed to and push forward.
From December on, I studied. Cinematography. Lighting. Sound. Editing. I was failing forward every day.
I’d call Steve, frustrated. My lighting wasn’t cinematic. My setups weren’t working.
But I kept adjusting.
Then—another setback.
Chizuko was originally cast as Melody, but due to circumstances, she had to step away. I recast the role and kept pushing forward.
During rehearsals, the new actress started second-guessing the production after listening to another cast member’s doubts. I could see where this was headed—hesitation, uncertainty, wasted time.
I wasn’t about to let doubt derail what I’d built. So I made the call: I let her go.
Shortly after, Chizuko was able to return to the role. With my cast locked, I kept moving.
48 shoot days. Over 8 months.Music sequences. Reshoots. Cast illnesses. Location issues. Everything that could go wrong… did.
But I never stopped.
One thing I’m most proud of? Growth. Early in my career, I didn’t write female characters with depth. They were plot devices. This time, Melody had agency, purpose, and complexity. I made sure she wasn’t just part of the story—she drove it. At the end of the day, I didn’t just make a film. I reclaimed my identity as a storyteller. This journey wasn’t smooth. It wasn’t easy. But it was necessary. And now, after 17 years away from filmmaking…
I’m back.
Can you talk to us a bit about happiness and what makes you happy?
I used to think happiness was about milestones—money, festival trophies, maybe even an Oscar. But over time, I’ve realized true happiness comes from the people you build with.
Making Mid City Dreamers wasn’t just about the film—it was about the team. Working alongside Steve, Chizuko, Jeannee, Amaru, Marie, Brooklyn, Tae, Baba, Mariah, Rowe, Brian, and Arthur reminded me of the magic that happens when the right people come together.
I want Mid City Dreamers to be more than a film. A franchise. A creative hub. A movement that brings in new talent and nurtures dreamers.
Through this journey, I’ve learned something deeper than just loving movies—I put my people first.
To quote Steve’s character, Damian, from Chasing Shadows:
“I bow to my vision.”
And that’s what truly makes me happy.
Contact Info:
- Website: https://linktr.ee/Itsjustincharles
- Instagram: https://www.instagram.com/itsjustincharles/
- Youtube: https://youtube.com/@lg1981?si=qmB8qdPS8o1ebbQT
- Other: https://www.imdb.com/title/tt35473845/
