“Better Days,” by director/actor Matthew Leone, is a gritty Super 16mm tale of a down and out Italian-American man in New York struggling to stay afloat. We asked Leone how the project started, his creative process, and a recent film that really blew him away…

1) Can you talk briefly about your background, and how you first got interested in movies?

I first became interested in movies when I was around 8 or 9. I remember feeling abnormally underwhelmed by reality and when I was introduced to cinema I realized there were entirely different worlds, cultures, languages, ways of interacting and existing I could escape into. Storytelling became a reference point that gave me something to look forward to and to strive towards. It made me ambitious and I’ve sought refuge in it ever since. 

2) What’s the origin story of this project? What sparked the idea, and how did you make your first moves to get it rolling?

The origin of this film really stemmed from a burning desire to tell a story that encapsulated the diversity I was fortunate enough to grow up around and the way these cultures intersect for me in both their simplicities and complexities. Having such a small budget, I looked at every location I knew I had at my disposal and then figured out how they might be able to work together in a story. The first move I made to get rolling was deciding that this had to be shot on 16mm film. I found my cinematographer, Robert Orlowski, and we shot a test shoot together that affirmed that decision. It was important for me to depict these worlds in certain colors and textures I feel only exist in film. I also wanted the time period to feel a bit ambiguous. I allocated the majority of the budget for film stock, processing, scanning, etc. 

3) I’d love to hear a bit about your processes — your writing process, your preparation for filming, how you prepared for your performance? Great performance by the way.

The process of this entire film felt a bit unorthodox from beginning to end. The majority of it was run and gun type guerrilla style filmmaking because we just didn’t have the time or money to get comfortable in any shape or form. Though we had permission for locations, they were all time sensitive which limited our freedom but also added a level of excitement. I had a script that I’d written but I used it more like an outline and trusted we’d tell the story somehow. Because the majority of the cast were non actors, (friends and family) I wrote their parts for them specifically and knew improv could work well in telling the story and adding to the realism I was aspiring towards. I wanted the film to feel a bit like a documentary which is why there are longer takes that pan back and forth to characters in conversation. There was also something incredibly exciting about shooting on film and not having the luxury of unlimited takes. It really forces one to make a choice and trust that it’ll all be there somehow.

4) What’s a film you’ve seen recently, new or old, that really blew you away, and why?

Nadine Labaki’s “Capernaum” absolutely blew me away. The performances she was able to get from the children in it were remarkable. The subject matter of the film is incredibly sensitive and I appreciated the humanity in her characters despite their volatility. I feel she really succeeded in encouraging the viewer to consider all points of view regardless of whether or not you agree with a character’s moral compass. The way she captures behavior and all of it’s nuances is moving. 

5) What’s next for you?

I’m currently working on a script for a short that centers around a young Mexican American boy who hustles candy on New York City subways to help his undocumented mother put food on the table. I’m hoping to shoot sometime in the fall. 

Contact Info:

Email: matthewjudeleone@gmail.com