Jennifer Arnold is an Emmy-nominated director whose credits include documentaries “A Small Act,” “The Diplomat,” and “Tig.” She’s been an advisor at Outfest, Film Independent, Women in Film, the Sundance Documentary labs, and CNEX workshops. Also a Fox Global Directors Initiative participant, Arnold will shoot a short film for Fox this year and will take part in Ryan Murphy’s television directing program. “Fat Camp” marks Arnold’s new focus on fictive work.
“Fat Camp” will premiere at the 2017 LA Film Festival on June 21. It will air on BET this July.
W&H: Describe the film for us in your own words.
JA: “Fat Camp” is an update of the raunchy teen camp film — irreverent, fun, and, ultimately, about growing up.
W&H: What drew you to this story?
JA: I’m best known for my documentary feature “A Small Act,” which is a film I’m incredibly proud of. Though not schmaltzy, “A Small Act” is full of hope. I love “A Small Act,” and I love hopeful films.
But I’m also a fan of films like “Bridesmaids,” “9 to 5,” and “Superbad” — stories with broad comedy that are grounded by real characters struggling with real issues. I’d been wanting to direct fiction, and I laughed out loud while reading this script.
Screenwriter Chuck Hayward is a comic god. I was lured in by Chuck’s sick and twisted jokes, and I stuck around for the opportunity to direct something totally different.
W&H: What do you want people to think about when they are leaving the theater?
JA: There’s some real stuff in this movie: body issue stuff, gender stuff, self-hatred/self-love stuff, sexuality stuff. We tried to break stereotypes and expectations with this project. I hope people think about all of that at some point.
But, when people are leaving the theater, I just want them to have a smile on their faces. I want people to have laughed.
W&H: What was the biggest challenge in making the film?
JA: This whole film was challenging — seriously challenging. Some films get lucky; this one was uphill the whole way.
Films like “Bridesmaids” are studio movies with bigger budgets, longer schedules, and locations that — most likely — match those described in the script. These were luxuries not always afforded to “Fat Camp.” We struggled with practically every element of our shoot.
I also fought to put actual teenagers on screen. There are no twenty-somethings passing for pubescents in “Fat Camp.” In its own way, this was also challenging. I mixed newbies with seasoned actors. I asked teens — who were going through their own body issues and growing pains — to put their personal experiences on screen. But, in another way, it proved magical. This was a scrappy, rag-tag group that bonded into a family.
W&H: How did you get your film funded? Share some insights into how you got the film made.
JA: I’ve known Valerie Stadler for long time. She’s at Fluency, which is part of NBCUniversal Telemundo Enterprises. Fluency funded the movie. Though I’ve had to fundraise in the past, I was a director for hire in this case.
W&H: What does it mean for you to have your film play at the LAFF?
JA: LAFF is the festival for this film. “Fat Camp” takes place in LA, it represents LA’s diversity, and it also deals with body image. So much of LA is about body image.
I’m an alumni of Film Independent’s labs and Fast Track program. I’ve been a mentor for FIND. I’ve been in the festival before, and they’ve supported my previous work.
Film Independent and LAFF are family, so premiering here is like coming home. It means a lot to be here.
W&H: What’s the best and worst advice you’ve received?
JA: Best advice: Take the meeting like you already have the job.
Worse advice: I don’t know if this is advice per say, but there’s a lot of people in town who believe in “rules.” They believe that documentary samples can’t get you narrative work; you can’t book episodic if you’ve never directed TV before; you’ll never make that film without such and such [big name] actor. These “rules” go on and on.
I understand these are norms, but they aren’t rules. I mean, “Moonlight” just won Best Picture. So, while I believe that a film has to make financial sense for people to get on board, I also believe in thinking outside the norms.
I guess I’m trying to say be smart — but don’t always believe the advice you get. Sometimes, you just have to will things into being.
W&H: What advice do you have for other female directors?
JA: Never give up. Make your own breaks. Be thankful for every opportunity. Don’t be bitter. Have some fun.
Finally, when you get power, use it to bring the next person up.
W&H: Name your favorite woman-directed film and why.
JA: At the moment, I’m pretty obsessed with Maren Ade’s “Toni Erdmann.” It is human, thoughtful, painful, funny, and outrageous. It’s also very surprising. It is a slow burn, and it’s so worth it. One of the best films I’ve seen in years.
It’s a German film being remade here in the Unite States. Dear people remaking “Toni Erdmann,” please do not mess up!
W&H: There have been significant conversations over the last couple of years about increasing the amount of opportunities for women directors yet the numbers have not increased. Are you optimistic about the possibilities for change? Share any thoughts you might have on this topic.
JA: I’m hopeful. I think the numbers will change because we’ve got some real leaders making sure they will change.
Look at Ava DuVernay, the “Queen Sugar” team, and who they are getting to direct that show. Look at Ryan Murphy and his commitment to hire 50 percent women to direct. Amazon is doing the same — or that’s what I’ve been hearing. Sundance, Women in Film, the Geena Davis Institute, and many others are gathering hard data to keep pushing the issue.
It will tip. There’s been a lot of lip service over the years, but there’s more momentum now. I have faith. Maybe the numbers won’t change overnight, but people are putting cracks in that ceiling — that’s for sure.
