Neve Campbell

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<div> <B>Similar Genres</B></div> <div> <A HREF="http://www.reelmoviecritic.com/rmc/Genres/celebrity_interviews.htm" TARGET="_top" TITLE="http://www.reelmoviecritic.com/rmc/Genre"><U><B>Celebrity Interviews</B></U></A></div> <div> <A HREF="http://www.reelmoviecritic.com/20038q/id2002.htm" TARGET="_top" TITLE="http://www.reelmoviecritic.com/20038q/id"><U><B>The Company</B></U></A></div> <bR> <bR> <bR> <bR> </td> <td valign="top" height=400 BGCOLOR="#000000" TEXT="#F7F7FF"> <div> Neve Campbell</div> <div> <IMG SRC="44d98700.png" border=0 width="408" height="368" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></div> <div> <TABLE BORDER="0" CELLPADDING="1" CELLSPACING="1" WIDTH="592" BORDERCOLORLIGHT="#C0C0C0" BORDERCOLORDARK="#808080" FRAME="BOX" RULES="ALL" HSPACE="0" VSPACE="0" > <tR> <tD VALIGN=TOP HEIGHT= 20 ><NOBR><div> Keeping <B>Company</B> with Neve Campbell: Actress, Dancer and…Producer</div> </NOBR></tD> </tR> <tR> <tD VALIGN=TOP HEIGHT= 19 WIDTH="588"><div> <A HREF="mailto:info@reelmoviecritic.com" TARGET="_top" TITLE="mailto:info@reelmoviecritic.com"><U><U>By Lee Shoquist</U></U></A></div> </tD> </tR> </TABLE></div> <bR> <div> Neve Campbell is executing a quiet second act of her career in <B>The Company</B>, Robert Altman's new love letter to a season in the life of Chicago's esteemed Joffrey Ballet, in which a surprisingly good Campbell holds her own as a talented young company dancer.  She dances, she acts, she co-wrote the story and co-produced the film.  And yet she wisely inserts herself into an ensemble without a hint of the diva or the notion of a star turn.  It's a small comeback of sorts after Campbell pretty much stepped out of the public eye following her huge TV success in the long running "Party of Five" and her memorable movie stint in the Wes Craven mega-hit <B>Scream</B> series.  It's nice to see the lovely and talented Campbell victoriously dispel the catty industry ink that only a few short years ago labeled her the actress "most likely to have already shown her entire range."  How untrue indeed.  </div> <bR> <div> I sat down with Neve for a chat about <B>The Company</B> and her lifelong love affair with what she calls "a stunning art form."  </div> <bR> <div> <B>Lee Shoquist</B>, ReelMovieCritic.com:  We have a tendency to look at actors in particular roles and not realize exactly how much talent they have in other areas.  Once we develop a sense of someone as a "TV star" or a "romantic comedy actress," as viewers we often typecast performers as much as the industry seems to.  You surprised me in <B>The Company</B>, because I saw a completely different facet of Neve Campbell's talent that I didn't know existed.  Can you talk about your history in dance and what you had to do to prepare for this role?  </div> <bR> <div> <B>Neve Campbell:</B>  I started dancing when I was six years old.  My father took me to see The Nutcracker ballet for Christmas and I fell in love with it and said, "I want to do that."  So he bought me ballet lessons for Christmas, and I started in a little basement rec room with this little teacher.  By the time I was nine, I was accepted to the National Ballet School of Canada, which is one of the top schools in the world, and I attended that for five years.  And then I got Phantom of the Opera when I was 15, and was doing classical ballet in that.  And I was working with a contemporary choreographer in Toronto.</div> <bR> <div> I just sort of fell into the acting.  I had had a lot of injuries and so dance, no matter what, was going to be a great struggle for me.  It's already a struggle for everybody.  But I had a lot of injuries and then I got "Party of Five."  And it wasn't really a conscious decision to move into acting.  I really thought that's what I was going to do-I was going to struggle to be a dancer, and I would be in a company.  But I got "Party of Five" and suddenly I was working 15 hours a day for six years, nine months a year.  And it became, `Oh, suddenly I'm not a dancer anymore,' which was really hard because it was my life and my passion.  </div> <bR> <div> It's the reason I fell in love with the art and developed this film for about seven years, wanting to get back and wanting to tell the story about the dance world and having people acknowledge it.  So I had nine years off and then had to train again.  And I trained eight and a half hours a day for four and a half months in L.A., and then came here for a month and a half and trained again for another eight hours a day, learning all the ballets with the company, and then we shot.  So it was a lot of work, but it was dream.  </div> <bR> <div> <B>LS:</B>  What were the influencing factors in selecting the ballet company to use in the film, in this case the Joffrey, and how were the dance numbers in the film selected?</div> <bR> <div> <B>NC:</B>  I knew from the beginning that I didn't want this to be a movie about a girl in a corps who wants to be a principal and gets there.  So I didn't want this to be about status and that form of competition.  So you couldn't really go with a company like New York City Ballet where it's 90 dancers and they have stature-they have the apprentices, the corps, the soloists and then the principals.  </div> <bR> <div> In the Joffrey it's an "all star, no star" mentality.  So Maia (Wilkins), who's been with the company for years and does do a lot of the more leading roles, also dances in the corps.  And if a corps member who has just joined the company is better at modern dance than classical ballet, and there's a modern choreographer coming in, that dancer will get the opportunity.  And I think because we didn't want it to be about that kind of competition, and make it about stature, that was one of the reasons we went with the Joffrey.  And I think, also, I liked the idea that it not be just classical ballet, that it be contemporary as well and show different forms of dance.  </div> <bR> <div> The opening piece, Bob (Altman) thought would be visually stimulating as an opener.  And it was important to him that he have a large group for the company in the opening sequence.  And that's part of their season; they do it.  And again, the Julie Cruise piece is a very challenging piece.  There are only a couple of members in the company who can do that because of the swinging and the motion sickness.  And it's incredibly challenging.  Emily (Patterson) did a stunning job.  </div> <bR> <div> <B>The Company</B> is showing different examples of different forms of dance.  I saw "Blue Snake" when I was a kid.  I saw it when I was nine.  And it's actually a forty-minute ballet.  It is more like a fairy tale, designed more for children.  And I think having different kinds of dance was to show that companies do different kinds of work.  They do pieces they're not necessarily enthusiastic about and they do pieces they are enthusiastic about.  </div> <bR> <div> <B>LS:</B>  How amenable were the dancers to having themselves depicted in the film, and was there trepidation in the ranks that you had to overcome?</div> <bR> <div> <B>NC:</B>  I think the dancers originally, and understandably, were apprehensive, because if you ask most dancers, they don't feel there's ever been a good dance film made.  So I think they were very skeptical about the idea of another group of people coming in to make another movie about dance.  But I think when they realized that I had been a dancer, and the kind of film that I was interested in making, and Barbara Turner's (screenwriter) view, the way she worked with them was phenomenal.  And I think when they realized that Bob was really falling in love with them they became more open.  </div> <bR> <div> I really don't think there's been a film made about dance.  There have been films where some of the characters dance in them, or there's the girl who wants to be a dancer and gets there.  We've seen that story.  But there hasn't actually been one that's all encompassing about the world it is, the experiences, what dancers go through, what companies go through financially and all that.  Even <B>The Turning Point</B>, they have a character who's older, who misses dance, who cannot let that dream go, which is an experience that all dancers experience.  So there have been moments within dance films that have told truths, but I wouldn't say overall there's been one that I've been truly impressed by or felt had taught something about the world.  </div> <bR> <div> <B>LS:</B>  Do you still dream of being a professional dancer, and is that something you'd like to do?</div> <bR> <div> <B>NC:</B>  I would love to.  The thing is, like in the film, with dance you're either doing it non-stop or you're not doing it professionally.  I take classes and stuff when I'm on a break because I love it; it's my form of meditation.  But to do it professionally would be difficult.  I'd have to give up my acting career.  And truthfully, if I was to join the company-and I was invited to join the company, which is so flattering-my career would end in six years.  I'm 30.  So they only dance, on average to 30, 35, 40.  I wouldn't last that long.  </div> <bR> <div> But I'm getting involved in certain ways.  Domingo Rubio, my partner in "My Funny Valentine," has left the company and he's in L.A., and he's trying to start up a company, so he's asked me to help him.  And I'd like to see if there's a way to get dance in L.A.  There are no dance companies there.  And David Robertson-he was my partner in "Blue Snake"-he left and he's a choreographer, and he invited me to dance at Lincoln Center in the spring.  But it's one of those things where I can't tell him when I'm going to be doing a movie, and truthfully, if I'm going to go dance, then I take two months off to train again, so it would be really difficult to do it.  I'd love to be able to do both.  </div> <bR> <div> <B>LS:</B>  What are your hopes for this film and what an audience will take away?</div> <bR> <div> <B>NC:</B>  I'm hoping people will see it, and possibly not having an interest in dance before, be intrigued by it and have an understanding of the incredible artistry that dancers have to attain to do it professionally.  It's been great so far.  Some people have seen it-adults-and they say, `Yeah, I want to go take a class.  I want to try it.  It seems challenging.'  And others say, `I want to put my daughter in there or my son,' and people have said, `I knew nothing about dance; I had no idea.'  And that to me is really important, because I feel like the dance world is not acknowledged the way that it should be.  Because I really do think it's a stunning art form.   </div> <bR> <div> <TABLE BORDER="0" CELLPADDING="1" CELLSPACING="1" WIDTH="591" BORDERCOLORLIGHT="#C0C0C0" BORDERCOLORDARK="#808080" FRAME="BOX" RULES="ALL" HSPACE="0" VSPACE="0" > <tR> <tD VALIGN=TOP HEIGHT= 19 WIDTH="587"><div> Lee Shoquist © 2003</div> </tD> </tR> <tR> <tD VALIGN=TOP HEIGHT= 19 WIDTH="587"><div> <A HREF="mailto:info@reelmoviecritic.com" TARGET="_top" TITLE="mailto:info@reelmoviecritic.com"><U><U>lee@reelmoviecritic.com</U></U></A></div> </tD> </tR> </TABLE></div> <bR> <bR> <bR> <bR> </td> </tr></table></body>