Ballet is completely unnatural to the body, just being turned-out... it's not the way your body is supposed to function, so you actually train your body to be a different structure than you were born with.
Because I've been a dancer and I've been through everything that they've been through and I understood their world, they were happy to see someone who had been in it.
Being involved with the crew and getting to know them and getting to know the cameramen and the editors and all that moves me towards doing that.
Dance is certainly a sport, and they are phenomenal athletes, and they're also artists.
Dance is my passion and my first love in art, and I'd felt there'd never been a film made about the world of dance itself.
Dance is very, very old. With Louis XIV at Versailles is where ballet started.
For a long time I was told to be concerned about people's idea of me regarding the choices I was making and what it would do to my career.
I always thought I should base how good I am on how good I feel I am.
I broke my rib. I was training with my coach on the Funny Valentine piece. The way that my coach lifted me, he cracked my rib.
I dislocated my knee during the process of training to do the movie. I was hiding a brace.
I don't know how people can live without a therapist.
I find the most interesting and most daring scripts tend to be for independent films.
I had nine years off from dancing consistently, but I haven't been with the National Ballet School since I was 14.
I have dancers come up to me and thank me for representing their world the right way.
I just moved to London. Showtime offered me to do some films for them, but I would really rather find something that means a lot to me.
I look back five years ago, when I thought I was adult and knew everything about the world, and I realize I knew nothing.
I love New York. I love the multicultural vibe here. Los Angeles doesn't inspire me in any way. Everyone is in the same industry, yet you feel very isolated.
I miss being on the floor in the studio in the morning and being tired and sore. I'm used to the smells, the sound, to having that time with myself and with my body. It's almost like a form of meditation.
I never started out making The Company thinking it was going to make money. You don't make a film with that much style, that much freedom and with such a little narrative and hope to make money.
I started doing eight and a half hours of training a day for four and a half months, and then got to Chicago to work with the Joffrey for a month and a half again, eight hours a day, to learn all the ballet.
I suffered from a lot of injuries when I was younger, and I was always struggling with my body. Dancing is hard. I kept getting injured.
I think my greatest insecurity would just be standing in the middle of the room and having everyone watching me think that's what I want. If I am interesting to you because of who I am, then that's incredible. But if I'm interesting to you only because of what I am, than lets not bother, you know?
I think teenagers in the States grow up too fast. In Canada, kids are exposed to different things. Like school is very different; it's not nearly as social. Canadian teenagers see it as a much more serious place.
I think we all have been underestimated and manipulated to some extent, so we get that moment in our minds where we wish we could be dark and get back at those people.
I think we were lucky that we were able to make a good trilogy.
I want to be around people that inspire and push me.
I want to do some theater. During the strike we're allowed to do plays.
I want to do work that is interesting, that challenges me.
I was really concerned about SCREAM 3 being too similar to the first two-that's why I put in my contract that I would only shoot 12 days.
I wasn't very good a communicating as a kid. I wasn't very good at speaking my mind, and I went through some challenges as a kid with my family, as we all do.
I went through a slew of different choreographers and got tapes of different dance pieces and different choreographers and wanted to choose a style that I would feel comfortable with.
I would like to direct at some point in the future.
I'm just one of those people that if I sit down to watch a horror film, I put my hands over my face and I cry a lot and I don't see half of the film because I'm too upset.
I'm worried about the strike for other people. I don't think people will forget who I am, but that could happen to new faces.
I'm writing a script-a romantic drama, but I don't want to give too much of it away. I'm also writing a long story for a dance movie that I'm doing.
I've done well in acting. But I guess when you look at the numbers and the odds of actually doing well, it's virtually impossible to get to the place that I'm at.
I've never been opposed to nudity. I've been opposed to nudity for box-office draw.
If you look at European films you see a lot of nudity, and you don't question it, because you're looking at people who just exist.
If you're in a company, you're dancing from 9 a.m. till 7 in the evening, and then you go home and get in a hot tub and get some Epsom salts and try to get your body goin' again. There's no social life, no anything.
In New York you're always in everyone's face. Life comes to you.
In no way did I want to go into that company and not be up to par, especially having been a professional dancer myself.
It's almost better most times to not talk in a scene. I think you can actually express a lot more without words.
It's very Altman. It's not necessarily the kind of piece that everyone might want to see at the end. They might be confused by it, but that's Bob.
Many directors try to direct things that are only going to make the actor uncomfortable. You tend to get more out of the actor if you allow them their freedom.
My issue in the past with nudity was that these scenes had been written solely for box office draw.
My little brother, Damian, has Tourettes, so that's very close to me; we're just looking for the right director.
No matter what your choices are, you truly have no control about what people think of you.
Often when you see these Black Widow types, you see from the beginning that they have made a choice of how and who they are going to be.
Party of Five won a Golden Globe, it was a well-written television series.
People either know Alan Rudolph and love every single one of his films or they don't know him at all.
Robert Altman, I think he just became fixated on dance. He found that he could relate to the artistry. That's who Bob is.
Scream was great for what it was. For a horror film, it was intelligent, it was funny, it took a laugh at itself.
That's absolutely how I am. Like race, black or white - I see absolutely no difference. Because for me it's just such a reality. You are human, I am human, let's try to accept one another for whatever we are.
The Blue Snake, I think I saw when I was 9. At the time it was incredibly innovative. I was very inspired.
The first time I ever screamed at someone was in a scene, and I'd never screamed at someone in my life.
There are very few dance companies in the world and you have to be phenomenal. You have to not be injured. You have to have a really strong mind to deal with the dance world. People who can do it are amazing to me. You cannot have a life outside of dance.
There aren't that many actors that aren't doing studio movies getting offered studio movies.
There have been plenty of dance movies, and there have been dancers within films. We've seen that story before.
There's a certain tradition to the way that you behave in dance, and a certain respect that you give to your elders.
There's a feeling of elation that comes after getting off stage and then there's a feeling of utter sadness that comes after getting off the stage.
There's something really nice about not sitting separate from the crew in some massive trailer away from the studio. To actually be there with them, it's more of a creative process.
We don't often get to see women be powerful and not play the victim.
We shot this film in 11 days, That would never exist on a studio movie.
We've never seen what it is that companies go through, what it is that dancers go through on a daily basis, financially, physically, mentally, spiritually.
When I look back on it now, I am so glad that the one thing that I had in my life was my belief that everything in life is a learning experience, whether it be positive or negative. If you can see it as a learning experience, you can turn any negative into a positive.
When Will I Be Loved is about the character's sexual spiritedness.
When you get away from the audience and you get away from that form of expression and have that moment alone, to even comprehend what you've just been through, is a difficult thing to do.
When you start in this business, you take the things that come at you.
Why would you say a person's only capable of doing horror films, or they're only capable of doing a quality television show?
You're being cast for your acting ability. It's not based on the way your body functions. If you're playing a lead in a movie, it's for that character and they'll tailor it to you. In a dance company, you have to fit in a definite mold.
Her father, Gerry Campbell, is an immigrant to Canada from Glasgow, Scotland, he works as a high school drama teacher at Lorne Park Secondary School in Mississauga, Ontario.
Neve believes in ghosts and she claims that her old house in Laurel Canyon was haunted.
Her parents divorced while she was still a baby (2 years old).
In 2003, was offered the part of Velma Kelly, in Broadway production of "Chicago", but turned down the offer in order to promote The Company (2003) in which she starred, produced and co-wrote.
Her mother had been an HIV/AIDS educator and counselor.
Has a "no nudity" clause in her contract. But, she lifted it for her role in the film, When Will I Be Loved (2004), her first movie showing her completely nude.
Her father is a drama teacher at Lorne Park Secondary School in Mississauga, Ontario.
Posed for a swimsuit photo believing it to be intended for a catalogue only to see it appear on a Toronto billboard.
Dated John Cusack. [1999]
Many film offers came her way but, as she was filming "Party of Five" (1994) for nine months of the year, the filming schedules often clashed. So in 2001, she announced that she was to leave the award winning show to concentrate on a film career.
Made a cameo appearence in Showtimes "Reefer Madness Movie Musical" alongside her Brother Christian who played the lead role of Jimmy.
Neve (pronounced "Nev") is an Italian word meaning "snow".
Married to Jeff Colt from 3 April 1995 to 8 May 1998 (divorced)
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