But where some might suspect Arnold cast him to capitalize or comment on his bizarre public persona, the filmmaker insists she wasn’t even aware.
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LaBeouf’s all-in performance as the scroungy, fast-talking Jake has deservedly received plenty of attention since the movie premiered at Cannes, where it won the Jury Prize. I notice that in so many films! That’s not my thing - I want everyone to be really dancing, ’cause music’s such a big part of my life and especially that crew.”Īmerican Honey‘s brazen, propulsive tunes drive the film forward, but it’s the unexpected, tempestuous love story between Star and Jake that give the film its center. “Usually, they’re at a party, they put some music on, but they’re all dancing to something else, so the rhythm’s a bit off. “Normally, music comes at the end,” she says. For her, it was important to see the actors interact with the actual songs rather than faking it in postproduction. “They got back on the bus and put the music on, because it becomes the balm at the end of the day.” Arnold took notes of the music these salespeople liked - lots of aggressive hip-hop - and knew that American Honey had to have a soundtrack that reflected, as she puts it, the characters’ no-nonsense attitude of “gonna make money.” Shooting chronologically and writing as she and her cast and crew journeyed from location to location, the director encouraged her cast to suggest songs, filming with tracks from Kevin Gates, E-40 and others blaring, nailing down the rights as they went along. She also observed that the crews had a way to blow off steam.
“It’s hard to be out 10, 12, 18 hours a day, trying to get people to buy things. “I saw a lot of vulnerability,” she says. (“If I got asked to do a film festival jury somewhere in America or do a talk, I’d get them to fly me far away from where it was, and then I’d drive.”) And she spent time with mag crews, soaking in their environment. Interestingly, I have met a bunch of people who come from Middle America, and they said, ‘Oh, you really captured it for me.'”Īrnold’s own preparations inspired her to take road trips across the United States, finding any excuse she could. “I’ve gone on road trips and grew up on your films, you know? But it’s also what I’ve experienced by just driving around and what I’ve read. “I’m not trying to do a whole thing about America that is everybody’s idea about America,” she admits. Which is why Arnold doesn’t want her movie to be read as an outsider’s definitive State of the Union. Running 163 minutes, the film provides a Zeitgeist-y snapshot of American youth culture - the carefree partying, passionate sex and bitter resignation - but it’s intimate enough to feel like a deeply personal work.
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In a series of dynamic, episodic scenes, the young woman dives into this unusual work, enduring her domineering boss (a sexy, trashy Riley Keough) and falling in love with her cocky supervisor Jake (a revelatory Shia LaBeouf) as they encounter cowboys and oil workers, meth addicts and prickly religious suburbanites. This vibrant road-trip movie follows a directionless teen named Star (played by luminous first-timer Sasha Lane) who gets involved with a crew of fellow lost souls selling magazines door-to-door. Arnold’s new film, American Honey, captures those conflicting emotions - both the pain of living hand-to-mouth and the unexpected joy of finding one’s tribe - with vivid detail.
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