Andrea Arnold’s “American Honey” has racked up critical acclaim on the festival circuit all through the year for its portrayal of youth, dreamy imagery, and for capturing the recklessness of the open road. The film follows Star (Sasha Lane), an 18-year-old girl with nothing to lose who joins a traveling magazine sales crew run. While journeying across the Midwest, Star falls for top earner Jake (Shia Labeouf) against the rules of supervisor Krystal (Riley Keough), and soon learns the harsh realities of life on the road. Watch an exclusive clip from the film below.
Read More: Review: ‘American Honey’ Proves Andrea Arnold is One of the Best Working Filmmakers and Finds a Breakout Star in Sasha Lane
This is Arnold’s fourth feature film. She previously directed “Wuthering Heights,” an adaptation of Emily Brontë’s 1847 novel; “Fish Tank,” about the life of an isolated 15-year-old girl, which won the...
Read More: Review: ‘American Honey’ Proves Andrea Arnold is One of the Best Working Filmmakers and Finds a Breakout Star in Sasha Lane
This is Arnold’s fourth feature film. She previously directed “Wuthering Heights,” an adaptation of Emily Brontë’s 1847 novel; “Fish Tank,” about the life of an isolated 15-year-old girl, which won the...
- 10/11/2016
- by Vikram Murthi
- Indiewire
Before she was a three-time Cannes Film Festival Jury Prize winner, as well as an Oscar winner, Andrea Arnold was captivated with depicting reckless behavior and the subsequent consequences, as proven by her debut short film, “Milk.” With a shoestring cast and a ten-minute runtime, “Milk” cuts straight to the core without wasting a breath.
Read More: Review: ‘American Honey’ Proves Andrea Arnold is One of the Best Working Filmmakers and Finds a Breakout Star in Sasha Lane
Following a miscarriage, Hetty (Lynda Steadman) decides not to attend the funeral for her child, despite her husband’s (Stephen McGann) pleading. After wandering around town, she meets Martin (Lee Oakes), and together they embark on an impulsive, drunk joyride in his car. Unconventional and uncompromising, Arnold’s debut short packs the emotional wallop critics audiences have come to admire in her work.
“Milk” was followed by two more short films, “Dog” and “Wasp,...
Read More: Review: ‘American Honey’ Proves Andrea Arnold is One of the Best Working Filmmakers and Finds a Breakout Star in Sasha Lane
Following a miscarriage, Hetty (Lynda Steadman) decides not to attend the funeral for her child, despite her husband’s (Stephen McGann) pleading. After wandering around town, she meets Martin (Lee Oakes), and together they embark on an impulsive, drunk joyride in his car. Unconventional and uncompromising, Arnold’s debut short packs the emotional wallop critics audiences have come to admire in her work.
“Milk” was followed by two more short films, “Dog” and “Wasp,...
- 10/7/2016
- by Mark Burger
- Indiewire
At the Tribeca Talks series at the 2016 Tribeca Film Festival, filmmaker Ira Sachs ("Love is Strange") interviewed U.K. writer and director Andrea Arnold about writing, filmmaking, and surrendering.
In 2005 Arnold’s short film, Wasp, earned an Academy Award. She also received two BAFTA awards and two jury prizes at Cannes, as well as a multitude of festival accolades for her films, "Milk," "Dog," "Red Road," "Fish Tank" and "Wuthering Heights." On television she has directed two episodes of "Transparent." Arnold's latest film, "American Honey" starring Shia Labeouf and Riley Keough (recently acquired by A24) about a crew of teens who sell magazines across the Midwest is her first to be filmed in the U.S. "American Honey" is one of just three films from female directors in the 2016 Cannes Film Festival’s main competition and one of two from the U.K.
On Filmmaking
In Andrea Arnold’s films many of the actors are non-actors and they employ street casting.
Sachs: The shooting process has surprises, dangers, and risks.
Arnold: I love that. It brings life. I don’t like knowing everything that’s going to happen on the shoot.
Sachs: What frightens you in filmmaking?
Arnold: I like the obstacles. In the last one (‘American Honey’), I think I pushed it. It was very tough, there were days I had scenes with loads of non-actors, and there were a few days I really pushed it. What are you frightened of?
Sachs: I’m burdened by everything.
Arnold: The money?
Sachs: Yes, the money. It’s fear and fearlessness. You navigate between the two; I don’t panic in it.
Arnold: I remember before starting the film, I was taking a lot of risks that definitely entered my head. I try not to let the money stop me, you worry too much then you don’t push it. I do feel responsible for the money.
Sachs: Do you think your filmmaking has changed?
Arnold: I feel like the last film I made was the most me I’ve ever been. I trusted myself totally, the most I’ve ever done. In that way it has changed.
About Screenwriting
Sachs: How do your ideas for film begins?
Arnold: Usually what starts driving me is an image I have that won’t go away. For ‘Fish Tank’ I had an image of a girl pissing on the floor in someone’s house, it wasn’t her house. And I thought ‘What is this girl doing?’ and then I start thinking about what that means and who she is, where she comes from, why she’s doing that, and so I start a mind map.
Surrendering
Arnold: Sometimes when you’re filmmaking things don't always go the way you were expecting. You know, I have such a beautiful vision in my head in my head before the shoot, and then we get there and of course it's different.
On Improvising
Sachs: With your screenplays, does the dialogue or the action ever change when you're shooting? Is there any improvisation? How concerned are you with preserving what you've written?
Arnold: I always have this romantic idea about improvising but then we go on set and there's no time to get the same coverage. I think it's sometimes valuable when you have scenes that might not be working. And this last film (‘American Honey’) we did more than normal. I let them put in some of their own words but it's definitely my story but they did do it in their own kind of way.
Sachs: I never liked improvisation. I want it restrained.
Using Film
Arnold: We did start with film, but it was way too difficult; we had to keep changing magazines. I like film a lot. Somebody said the other day, which I thought was a very good way of describing it; “When you see a shot of a man in an empty room, on video, you think someone has left the room, and when you see it on film, you think someone is about to come in.” There’s nothing like film.
On Rehearsing
Sachs: Do you give actors the whole script? Rehearse?
Arnold: I haven't rehearsed in a long time. I don’t like to rehearse. In ‘Fish Tank’ I gave them pages once a week and they learned it bit by bit. On this last one, ‘American Honey’ I gave them pages every day -- they didn’t know what was coming!
Final Words
Sachs: Advice for first-time directors?
Arnold: Be yourself. There's only one of you. Be unique, trust that.
Award-winning screenwriter and filmmaker, Susan Kouguell teaches screenwriting at Purchase College Suny, and presents international seminars on screenwriting and film. Author of Savvy Characters Sell Screenplays! and The Savvy Screenwriter, she is chairperson of Su-City Pictures East, LLC, a consulting company founded in 1990 where she works with writers, filmmakers, and executives worldwide. www.su-city-pictures.com, http://su-city-pictures.com/wpblog...
In 2005 Arnold’s short film, Wasp, earned an Academy Award. She also received two BAFTA awards and two jury prizes at Cannes, as well as a multitude of festival accolades for her films, "Milk," "Dog," "Red Road," "Fish Tank" and "Wuthering Heights." On television she has directed two episodes of "Transparent." Arnold's latest film, "American Honey" starring Shia Labeouf and Riley Keough (recently acquired by A24) about a crew of teens who sell magazines across the Midwest is her first to be filmed in the U.S. "American Honey" is one of just three films from female directors in the 2016 Cannes Film Festival’s main competition and one of two from the U.K.
On Filmmaking
In Andrea Arnold’s films many of the actors are non-actors and they employ street casting.
Sachs: The shooting process has surprises, dangers, and risks.
Arnold: I love that. It brings life. I don’t like knowing everything that’s going to happen on the shoot.
Sachs: What frightens you in filmmaking?
Arnold: I like the obstacles. In the last one (‘American Honey’), I think I pushed it. It was very tough, there were days I had scenes with loads of non-actors, and there were a few days I really pushed it. What are you frightened of?
Sachs: I’m burdened by everything.
Arnold: The money?
Sachs: Yes, the money. It’s fear and fearlessness. You navigate between the two; I don’t panic in it.
Arnold: I remember before starting the film, I was taking a lot of risks that definitely entered my head. I try not to let the money stop me, you worry too much then you don’t push it. I do feel responsible for the money.
Sachs: Do you think your filmmaking has changed?
Arnold: I feel like the last film I made was the most me I’ve ever been. I trusted myself totally, the most I’ve ever done. In that way it has changed.
About Screenwriting
Sachs: How do your ideas for film begins?
Arnold: Usually what starts driving me is an image I have that won’t go away. For ‘Fish Tank’ I had an image of a girl pissing on the floor in someone’s house, it wasn’t her house. And I thought ‘What is this girl doing?’ and then I start thinking about what that means and who she is, where she comes from, why she’s doing that, and so I start a mind map.
Surrendering
Arnold: Sometimes when you’re filmmaking things don't always go the way you were expecting. You know, I have such a beautiful vision in my head in my head before the shoot, and then we get there and of course it's different.
On Improvising
Sachs: With your screenplays, does the dialogue or the action ever change when you're shooting? Is there any improvisation? How concerned are you with preserving what you've written?
Arnold: I always have this romantic idea about improvising but then we go on set and there's no time to get the same coverage. I think it's sometimes valuable when you have scenes that might not be working. And this last film (‘American Honey’) we did more than normal. I let them put in some of their own words but it's definitely my story but they did do it in their own kind of way.
Sachs: I never liked improvisation. I want it restrained.
Using Film
Arnold: We did start with film, but it was way too difficult; we had to keep changing magazines. I like film a lot. Somebody said the other day, which I thought was a very good way of describing it; “When you see a shot of a man in an empty room, on video, you think someone has left the room, and when you see it on film, you think someone is about to come in.” There’s nothing like film.
On Rehearsing
Sachs: Do you give actors the whole script? Rehearse?
Arnold: I haven't rehearsed in a long time. I don’t like to rehearse. In ‘Fish Tank’ I gave them pages once a week and they learned it bit by bit. On this last one, ‘American Honey’ I gave them pages every day -- they didn’t know what was coming!
Final Words
Sachs: Advice for first-time directors?
Arnold: Be yourself. There's only one of you. Be unique, trust that.
Award-winning screenwriter and filmmaker, Susan Kouguell teaches screenwriting at Purchase College Suny, and presents international seminars on screenwriting and film. Author of Savvy Characters Sell Screenplays! and The Savvy Screenwriter, she is chairperson of Su-City Pictures East, LLC, a consulting company founded in 1990 where she works with writers, filmmakers, and executives worldwide. www.su-city-pictures.com, http://su-city-pictures.com/wpblog...
- 4/26/2016
- by Susan Kouguell
- Sydney's Buzz
A good four days after all hullabaloo of Thierry Frémaux’s Main Comp plus Un Certain Regard announcement takes hold the film world, it is the programming team lead by Artistic Director Charles Tesson that get to unwrap an approximate baker’s half-dozen gifts of their own. On the 21st, the selections for the 53rd edition of the Critics’ Week will be announced with the closing film to be held back for a later mention, and because our Cannes bound Ioncinema.com team comprised of Blake Williams, Nicholas Bell, and I (Eric Lavallee) are always up for the challenge in prognosticating what is easily the most futile festival guessing game of them all, we’ve gone ahead and listed eight films from first and second time feature filmmaker for the seven plus 2 or 3 special screening slots for the upcoming edition.
If we build off what Tesson et al. programmed in...
If we build off what Tesson et al. programmed in...
- 4/16/2014
- by IONCINEMA.com Contributing Writers
- IONCINEMA.com
Brit filmmaker Andrea Arnold ("Wuthering Heights," "Fish Tank") will preside over the jury of the 53rd Semaine de la Critique, otherwise known as the Cannes Critics Week. This means she and her jury will award one film of the seven in-competition features with the Nespresso Grand Prize. Arnold has a personal history with the Semaine, as her short film "Milk" screened as part of its lineup in 1998, essentially launching her career. Meanwhile, her first two features, "Red Road" and "Fish Tank," both nabbed the Jury Prize at Cannes several years later. She is still one of the few women filmmakers to be awarded at the prestigious French festival. Last year's winning Critics Week film was Fabio Grassadonia and Antonio Piazza's "Salvo." Cannes runs May 14 through 25.
- 3/27/2014
- by Beth Hanna
- Thompson on Hollywood
After her stint on the Cannes competition jury last year, British director Andrea Arnold has now been designated the president of this year's jury for the Semaine de la Critique (Critics Week) section at the festival. Arnold, who will be leading a jury composed of four journalists to pick a winner from seven feature films in contention, will present the Nespresso Grand Prize to the winning filmmaker. Arnold has made it into Cannes herself on a number of occasions, both as juror and filmmaker. She won the same award she will be presenting at the festival in 1998 for her short film "Milk," while her feature films "Red Road" and "Fish Tank" both ended up winning the festival's jury prize. The prestigious Semaine de la Critique Grand Prize has also been awarded to a number of notable filmmakers alongside Arnold, including Alejandro Gonzalez Inarritu and Guillermo del Toro. Read More: Andrea Arnold...
- 3/27/2014
- by Ziyad Saadi
- Indiewire
Jury includes four international journalists who will award the Nespresso Grand Prize to one of seven feature films in competition.
British film-maker Andrea Arnold [pictured] will preside over the jury at this year’s Cannes Critics’ Week.
Arnold heads up the jury made up of four international journalists who will award the Nespresso Grand Prize to one of the seven feature films in competition. Last year, the Grand Prize was awarded to Fabio Grassadonia & Antonio Piazza’s Salvo.
“I was so excited when Milk screened in La Semaine de la Critique that I kept crashing into things. When I got home I counted 19 bruises,” commented Arnold.
“I am just as excited about being asked to be President of the Jury of the Nespresso Grand Prize for La Semaine de la Critique and I think it might be a good idea to put away the china.”
Arnold’s Red Road and Fish Tank both won the Jury Prize at Cannes...
British film-maker Andrea Arnold [pictured] will preside over the jury at this year’s Cannes Critics’ Week.
Arnold heads up the jury made up of four international journalists who will award the Nespresso Grand Prize to one of the seven feature films in competition. Last year, the Grand Prize was awarded to Fabio Grassadonia & Antonio Piazza’s Salvo.
“I was so excited when Milk screened in La Semaine de la Critique that I kept crashing into things. When I got home I counted 19 bruises,” commented Arnold.
“I am just as excited about being asked to be President of the Jury of the Nespresso Grand Prize for La Semaine de la Critique and I think it might be a good idea to put away the china.”
Arnold’s Red Road and Fish Tank both won the Jury Prize at Cannes...
- 3/27/2014
- by ian.sandwell@screendaily.com (Ian Sandwell)
- ScreenDaily
British filmmaker Andrea Arnold will head this year's Nespresso Grand Prize jury for the 53rd edition of the Semaine de la Critique section during Cannes 2014. The jury, made up of four international journalists, will pick a winner from one of the seven feature films in competition. The winning entry will follow Fabio Grassadonia and Antonio Piazza's Salvo, winner of 2013's Nespresso Grand Prize. Story: Jane Campion to Lead Jury at Cannes Film Festival Arnold's short film Milk unspooled in Critics' Week in 1998 and she has been back to the Festival de Cannes several times over the last few
read more...
read more...
- 3/27/2014
- by Stuart Kemp
- The Hollywood Reporter - Movie News
As told through the eyes of Mia, a mouthy 15-year-old aspiring hip-hop dancer, Fish Tank plays like a grittier, low-class version of An Education. Though both are British films, the worlds their characters inhabit could not be more different.
Mia doesn't seem to care about anything besides dancing and acting tough. Her wardrobe consists entirely of track suits and she drinks like a seasoned pro, both in her mother's scuzzy apartment and in the vacant one to where she escapes to practice her dancing. Both Mia and her younger sister curse without hesitation at their perpetually wasted mother (Kierston Wareing), who can't be a minute older than 30.
When her mother brings home a slimy, yet charming new boyfriend named Connor (Michael Fassbender of Inglourious Basterds and Hunger), Mia instantly becomes smitten when he compliments the way she dances along with a Ja Rule music video.
Writer/director Andrea Arnold originally...
Mia doesn't seem to care about anything besides dancing and acting tough. Her wardrobe consists entirely of track suits and she drinks like a seasoned pro, both in her mother's scuzzy apartment and in the vacant one to where she escapes to practice her dancing. Both Mia and her younger sister curse without hesitation at their perpetually wasted mother (Kierston Wareing), who can't be a minute older than 30.
When her mother brings home a slimy, yet charming new boyfriend named Connor (Michael Fassbender of Inglourious Basterds and Hunger), Mia instantly becomes smitten when he compliments the way she dances along with a Ja Rule music video.
Writer/director Andrea Arnold originally...
- 3/8/2011
- by Kevin Blumeyer
- Rope of Silicon
Chicago – Andrea Arnold might be the best working filmmaker that you haven’t yet heard of. She won an Oscar for her short film “Wasp” and followed that up with the excellent “Red Road” and the even-better “Fish Tank,” a great drama now included in The Criterion Collection and available on Blu-ray and DVD.
Blu-Ray Rating: 4.5/5.0
It’s a sad fact that we live in a movie marketplace where films like “Fish Tank” struggle to find an audience. “Fish Tank” made $375,000 stateside and only about $2 million more internationally. (Then again, both those numbers are double “Red Road.”) “Little Fockers” made almost that much in just its 10th weekend in release. It can be disheartening if one really thinks about it.
Fish Tank was released on Blu-Ray and DVD on February 22nd, 2011
Photo credit: Courtesy of the Criterion Collection
But that’s one of the things I love the most about The Criterion Collection.
Blu-Ray Rating: 4.5/5.0
It’s a sad fact that we live in a movie marketplace where films like “Fish Tank” struggle to find an audience. “Fish Tank” made $375,000 stateside and only about $2 million more internationally. (Then again, both those numbers are double “Red Road.”) “Little Fockers” made almost that much in just its 10th weekend in release. It can be disheartening if one really thinks about it.
Fish Tank was released on Blu-Ray and DVD on February 22nd, 2011
Photo credit: Courtesy of the Criterion Collection
But that’s one of the things I love the most about The Criterion Collection.
- 3/1/2011
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
This Week in DVD & Blu-ray is a column that compiles all the latest info regarding new DVD and Blu-ray releases, sales, and exclusive deals from stores including Target, Best Buy and Fry’s. Due Date (Blu-ray available as 'Blu-ray only' and 'Blu-ray + DVD + Digital Copy') I wasn't nearly as impressed by The Hangover as the rest of the world seemed to be, nor was I as dismayed by Due Date. In my estimation, the primary reason Todd Phillips' latest comedy fell short of his previous effort is novelty—as much in premise as character dynamic and comedic set pieces. Given enough time, I think both films will appear similarly tired. Until then though, Due Date remains a moderately enjoyable Planes, Trains and Automobiles retread, afforded more vibrancy than it's worth due to its affable leads. Robert Downey Jr. plays the easily irritated straight man, and Zach Galifianakis plays the eccentric,...
- 2/24/2011
- by Adam Quigley
- Slash Film
The Film:
Not to take anything away from the events in Nikkie Reed’s life as seen in the semi-biopic Thirteen, but Fish Tank is the anti-Thirteen in almost every aspect, a truer look at loneliness at the teenage years. Thirteen had this feeling of safety, no matter the mistakes, drugs, or sex the lead character did. Despite that film’s roots in low budget film making, it still felt Hollywood. Don’t worry, the kids will be alright. Andrea Arnold’s Fish Tank is harrowing. It’s minimalistic in its style and storytelling, and this combination creates a sad look at teenage angst and misguided sexual exploration.
Arnold never lets it sway into pity or sentimentality. The listlessness of the film’s events ring true because of that. Fish Tank follows a young 15-year old girl named Mia (Katie Jarvis) through her crappy home life, as her mom is...
Not to take anything away from the events in Nikkie Reed’s life as seen in the semi-biopic Thirteen, but Fish Tank is the anti-Thirteen in almost every aspect, a truer look at loneliness at the teenage years. Thirteen had this feeling of safety, no matter the mistakes, drugs, or sex the lead character did. Despite that film’s roots in low budget film making, it still felt Hollywood. Don’t worry, the kids will be alright. Andrea Arnold’s Fish Tank is harrowing. It’s minimalistic in its style and storytelling, and this combination creates a sad look at teenage angst and misguided sexual exploration.
Arnold never lets it sway into pity or sentimentality. The listlessness of the film’s events ring true because of that. Fish Tank follows a young 15-year old girl named Mia (Katie Jarvis) through her crappy home life, as her mom is...
- 2/24/2011
- by Jon Peters
- Killer Films
It's a wrap! The Martin Gropius Bau is empty and the final pickups follow. This is a work in progress and readers are invited and welcome to contribute. Presales have returned in reaction to the reduced number of finished films on offer over the past two markets. Presales applies across the board from Us to French and even Italian films. English language films are increasingly coming out of the major non English language territories but local product is impacting sales on Us films internationally. Business was quickly wrapped up but it was done with a healthy number of buys reported. Lower prices have become accepted but the market must have product as this event proved.
Adriana Chiesa has licensed Federico Moccia’s teen trilogy to Savor to Spain. The first title, Sorry If I Love You (Scusa Ma Ti Chiamo Amore) grossed $27m when released by Medusa on 600 prints in Italy.
Adriana Chiesa has licensed Federico Moccia’s teen trilogy to Savor to Spain. The first title, Sorry If I Love You (Scusa Ma Ti Chiamo Amore) grossed $27m when released by Medusa on 600 prints in Italy.
- 3/9/2010
- by Sydney
- Sydney's Buzz
There's a lot of buzz about female film directors right now. Kathryn Bigelow's The Hurt Locker and Lone Scherfig's An Education are up for Oscars and have already had success at the Baftas; Claudia Llosa's The Milk of Sorrow has been nominated for Best Foreign Film. Andrea Arnold won awards for Fish Tank at the British Independent Film Awards and in Cannes. Sam Taylor-Wood's Nowhere Boy and Jane Campion's Bright Star proved popular with critics, while Nancy Meyers's It's Complicated, Drew Barrymore's Whip It and Karyn Kusama's Jennifer's Body all came out of the big Hollywood studios.
- 3/5/2010
- The Independent - Film
After the snowy hype of Sundance, the bustle in Berlin and the sheer craziness of Cannes, the Karlovy Vary International Film Festival comes as sweet respite.
Now in its 44th edition, the Czech festival acts as a calm way station for cinema buffs and industry folk to regroup post-Cannes and pre-Venice and enjoy film without the adjunct "business."
The setting -- a West Bohemian spa town -- provides the necessary isolation while the screening schedule carefully balances recent festival winners with established art house faves and new work from independent directors the world over.
The competition vying for the 2009 Crystal Globe is strictly indie -- highlights include German comedy "Whisky with Vodka" from Andreas Dresen ("Cloud 9"), Sophie Barthes' directorial debut "Cold Souls" starring Paul Giamatti and minimalist drama "Twenty" from Iranian director Abdolreza Kahani.
But Karlovy Vary has also found space for mainstream entertainment such as Sam Mendes...
Now in its 44th edition, the Czech festival acts as a calm way station for cinema buffs and industry folk to regroup post-Cannes and pre-Venice and enjoy film without the adjunct "business."
The setting -- a West Bohemian spa town -- provides the necessary isolation while the screening schedule carefully balances recent festival winners with established art house faves and new work from independent directors the world over.
The competition vying for the 2009 Crystal Globe is strictly indie -- highlights include German comedy "Whisky with Vodka" from Andreas Dresen ("Cloud 9"), Sophie Barthes' directorial debut "Cold Souls" starring Paul Giamatti and minimalist drama "Twenty" from Iranian director Abdolreza Kahani.
But Karlovy Vary has also found space for mainstream entertainment such as Sam Mendes...
- 6/25/2009
- by By Scott Roxborough
- The Hollywood Reporter - Movie News
- When you cover a film festival of the size of Cannes, it is the standalone celluloid moments within a film that make the draining process of spending half the day in the dark actually worthwhile. I've decided to list some of the better shots, scenes and sequences of the films that I bring back from my fresh Cannes 2009 memories. I could have easily made a list of thirty, there are many yummy scenes worth pointing out in better than average films such as Broken Embraces, Air Doll, Up and Tales From the Golden Age all the way down to films that left me unimpressed such as Tsai Ming-Ling's Faces (with a Nathalie Baye crawling out from underneath a table), but I decided to go with a strict minimum. Here is a list of ten which I'll attempt to highlight without spoiling it for those who haven't yet seen the films.
- 5/27/2009
- IONCINEMA.com
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