When Neve Campbell walks into the suite, the first thing that strikes me about her is that she is much smaller in person than I expected, delicate.  As we begin talking about her latest film, she reveals herself to be a warm and gracious woman, focused on the unique path she has laid out for herself.

You’ve never played a character like this before.  Was there any hesitation about moving into this kind of sexually charged territory?

I’ve had issues in the past with nudity when I felt the nudity had nothing to do with the scene, that were totally there for box office draw.  Since this was a film about sexual exploration, it made total sense to have this character in the raw.  She’s curious, she’s explorative.  She’s also vulnerable, and that made it interesting to me.

What is it about her that drives her to be so sexually open?

I think it’s a stage in her life.  Because of her intelligence, she is a very curious person, and she’s trying to figure herself out.  When James came to me there were only 35 pages of a script, so I didn’t know where it was going.  I was excited about working with James.  I admire his films.  They are really courageous.  When we met we ended up sitting in this hotel talking about it for hours. 

How did you set up the lesbian scene?

We auditioned a few different girls.  It was instinctual, and some of them were very hesitant.  I wanted to be with someone who was very open and willing to do as much as I was.  Obviously I was open to a lot.

Have you ever had instances where you have felt that you have been taken advantage of, or that someone was trying to take advantage of you?

As a woman I’ve been underestimated.  So you look at that and ask, how does that make you feel inadequate?  We’re all capable of being like Vera, but I would not choose to be.  It’s not like your typical femme fatale film.  Vera was making those choices as things occurred to her.  She was curious and wanted to see what this person was all about.  She did not plan that Ford was going to attack Tommaso and kill him.  She hadn’t decided yet.

Was that in the script?

It just kind of happened.  The script was developed over the course of the filming.  James would write at night and we would use the pages or we would improv.

Have you become more proactive about seeking out these kinds of roles?

Absolutely.  I’m looking for someone interesting, extreme, but it’s hard to find well-written pieces.

Do you turn down a lot of scripts?

I turn down a lot.  Probably 99% of the scripts.  Most of them are just so bad.  Scripts are not being written by writers.  Jim’s a writer.  It used to be, way back when, that scripts were written by novelists and playwrights.  Today anybody with a computer can bang out a script.  I’ve been lucky that I saved a lot of money, so I have the freedom to be picky and take time off if I have to.  Now I’m in the mood to work.  I was going to a play on Broadway, but the money fell out, so now I’m looking for something else.  I started in theater, so I have some experience, but I’ve never done anything quite like that.

Neve Campbell in a scene from the film - Photo © Copyright IFC Films

You produced The Company.  Are you interested in working more behind the camera?

At some point.  I would like to find a partner to learn from.  I would like to direct at some point.  I think that will come when it’s right.  I’m very interested in that aspect of the business.  I asked Jim if I could be in the editing room, so I sat with him for a few days.

Do you enjoy the more collaborative atmosphere?

Yeah, absolutely.  So much more freedom.  You get so much more input if the director is open to your ideas.  Someone like Jim [Toback] has been in the business long enough to not let their egos get in the way.  In a more collaborative process you get a better film.  I don’t turn down a ton of studio movies.  The way the business is now there are maybe five actresses in every movie, and five male actors, too.

What does a film like this say about our culture?

A lot of things.  Don’t underestimate the people around you.  For me, it’s about response, action and reaction.  Dealing with the choices we make.  There are so many fears about sexuality, and I don’t know why, considering how bombarded we are by it.

Was the MPAA a consideration when it came to filming certain scenes?

Jim probably has to be careful.  We got away with it in this film because it was done for very little money.

Is there anything you would have changed?

I think it’s just right.  I think each sex scene in the film tells its own story, and Vera’s relationship with each character.  The scene between Fred and I, there is manipulation within that.

Would you say that Americans are more puritanical when it comes to sex?

People are scared.  You go to the spas in Europe, and men and women are together, naked, and no one thinks twice about it.   They’re not bombarded by it.  We had discussions beforehand about my comfort level.  Obviously I was comfortable with quite a bit.

You’ve got the Toronto Film Festival coming up here soon.  Are you looking forward to that?

Yeah, I love Toronto.  That part will be fun, but I’m not excited about my dad seeing it. 

Has anyone in your family seen it?

My brother saw it.  We saw the film together at a screening and kind of sat through it awkwardly.  My dad will be seeing it for the first time.

What are you doing next?

I’m doing a comedy with Danny De Vito.  It’s a fun script called Relative Strangers.  Ron Livingston comes from a rich family and he finds out that he is adopted.  We’re engaged.  Danny De Vito and Kathy Bates are his real parents and they turn out to be total trailer trash.

Is there anyone you would really like to work with?

Julian Schnable.  I would love to work with him.  He doesn’t make a lot of films.  Wim Wenders.  A list of people.  I would love to work with Robert Altman again.

When Will I Be Loved opened in theaters September 10, 2004.