Continued…

You know, I’m an actress,” she said. “It’s what I want to do, it’s what I’ve been so lucky to have done for almost seven years now. And I am getting older. February 23 is my birthday, I’ll be 13 years old. And I will be playing different kinds of roles. I won’t be able to do the things I did when I was 6 years old when I’m 14. And that’s what I look forward to — getting to play new roles that aren’t too old for me and aren’t too young for me, that are just at the right time.”

She added: “Lewellen is still very innocent, she’s still a child, but she’s also a little bit wise beyond her years because of the things she’s seen and been through. So I think that I should be able to do what I feel is at the right time for me.”

The story of “Hounddog” is about not just rape but also about the cycle of violence: nearly every major character in it is motherless, wounded, repressed and destructive. Lewellen’s grandmother (Piper Laurie) violates her too, if only with her eyes; her father (David Morse ) has been abusing her more directly, and it appears likely that, if nothing changes, Lewellen will become an abuser too.

Ms. Kampmeier said in a telephone interview that she had originally written the character as a 9-year-old, and first signed the actors Robin Wright Penn and Mr. Morse for the project in the late 1990s. But a succession of financial backers withdrew four times in four years, and she set the script aside in 2002 to make “Virgin,” her first feature, about a pregnant girl who believes that she is carrying God’s child; Ms. Wright Penn played the girl’s mother in the film, which received mixed reviews.

When Ms. Kampmeier sent Ms. Fanning the script for “Hounddog” in July 2005, Ms. Fanning said: “The bottom line was, I couldn’t not do it. It’s all I could think about. I knew I was at the perfect age.”

She had to wait nine months as Ms. Kampmeier hunted for investors; the subject matter remained objectionable to most, even with a proven star in the central role, the director said. (Making the most of that delay, Ms. Fanning said, the director sent her an e-mail message with a new question about Lewellen each morning: Favorite color? Favorite food? “That’s why I was so comfortable in Lewellen’s skin,” Ms. Fanning said, “because I knew so much about her.”)

Ms. Kampmeier said investors kept balking at the rape scene, demanding that it be shunted off-screen, merely implied or removed from the plot altogether.

About the online petitions to have her arrested, she said that the district attorney’s office in Wilmington was busy prosecuting real sex crimes, like one in which a 10-year-old girl was impregnated by her father. “All these cases are reported in the newspaper, and nobody ever calls them about that,” she said. “But they get 10 to 20 calls a day from people insisting that my movie be prosecuted.”

Ms. Fanning said the most taxing scene for her was one in which her sleeping character is covered by snakes that slither in through the open window of her tumbledown shack.

But it may be an earlier pivotal scene that draws more critical attention, should “Hounddog” find a distributor. In it Lewellen sings and dances her best Elvis impression — horizontally, on her bed — upon learning that the singer is coming to town. While she does, however, a teenage milkman is in the room, looking on a little too hungrily.

Overly sexual behavior in minors is often a telltale sign of prior abuse, and provocation is, unfortunately, in the eye of the provoked. But to Ms. Kampmeier’s mind, and more important, to Ms. Fanning’s, Lewellen’s dancing in this scene is as innocent as her already corrupted life can get.

“She’s 12 years old,” Ms. Fanning said. “She’s doing that because that’s fun. She’s not going so far as to think, ‘Oh, am I doing something wrong?’ or ‘Is this going to look in a weird way?’ He’s just her milkman. He’s coming to pick up the empties.”

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