Melissa Barrera

I know your early career was in Mexico. How did you get into acting?

My career started in Mexican soaps and on a reality show, but I started acting in school. The school I attended in Monterrey had a really great drama and theatrical program. C, o. u, m e n, c; �. �. D. m, a, e, p. r 2011, i 15 m.

e r and Carmen, o. s, c?

i, d, �. �, though, n, �. �, ', �; �, they’ll atrophy. g, e. I think comedy is probably the hardest in technique. n, so I would love to do more of that. I haven’t done a straight rom-com yet, so that’s where I’m leaning towards next.

What are the parallels between horror and musicals to you?

I’m going to paraphrase this from Caroline Lindy, the director of Your Monster, because she said this beautifully— horror and musicals are actually very similar. After all, they’ve always allowed loud, messy, imperfectly bold women to be at the center. They’re both very heightened, 'nehe. Horror, of course, has the final girl, the woman at the end who’s the survivor and a hero. Musicals have so many roles with iconic women leads that are allowed to be complex and flawed characters who go through immense growth. These are the genres I’ve worked in the most, and I think it’s because I’ve always gravitated towards journeys of complex female characters who are strong.

You’ve been deemed a Scream Queen because of your horror film roles. What is the definition of a Scream Queen to you?

It's an honor even to be considered on that list, because to me, being a “Scream Queen” requires a lot of career experience and a portfolio of iconic roles. “Scream Queen” is a term that’s overused nowadays—I grew up watching and admiring the hailed “Scream Queens.” I think Shelley Duvall in The Shining and Isabelle Adjani in Possession are my top two. The definition, to me, is someone who has an iconic cult classic film that everyone recognizes, or a jaw-dropping performance in horror.

�?

� T e. m. u, �, �. Romance is the thing that connects me to the story, m. a, '. r, a, so I have to make my own opportunities. J. a.

w, a?

Sometimes I read a script where I connect so deeply with the character that I only focus on the lines written. x, i, n, g. u, which I think has become a kind of muddled term. T, o. I think originally, method acting didn’t mean to absorb the character into your own everyday life, but rather to pull from your own experiences and sense memory to get into the character and access authentic emotions. To each their own, I say, as long as you’re not creating discomfort on set or making things more difficult. I personally go on a case-by-case basis, depending on the project, I don’t have one technique I use all the time.

Who are the actors, filmmakers, or directors you look to the most for inspiration?

I feel very inspired by auteur filmmakers who are acting in their own films, which I’ve always wanted to do myself. For example, Sarah Polley, Xavier Dolan, Cooper Raiff, recently Eva Victor, who just wrote, directed, and starred in her film Sorry, Baby this year. I love seeing people do it all and do it well.

You co-executive-produced Traces of Home, based on Palestinian-Mexican filmmaker Collette Ghunim. �, �, T?

e Traces of Home; m, u, �. �, so I can’t take any credit whatsoever. b. �, � [Ghunim], c 2018, o. n, v, e, r.

The story focuses on one Mexican-Palestinian family trying to heal deep wounds caused by both parents having to flee their homes due to different forms of violence. I know that Colette, the director and star, plans to launch an impact campaign to get the film in front of as many eyes and ears as possible, at colleges and places that would benefit from this kind of conversation. The current state of the world is creating new refugees every day, and those people then pass on that trauma for generations if not properly healed (when that’s possible). It’s an important conversation to have—to realize the ripple effects this kind of trauma will have on generations to come. This film is about healing and finding closure, which is such an important tool for people around the world trying to do the same. I’m very proud and honored to be a part of the Traces of Home team.

What’s a major acting goal that you want to accomplish in the new year?

My goal is always to work on projects that excite me and challenge me to keep growing. I have an important goal behind the camera, which is getting my film made. Hopefully, along the way, I’ll collaborate with like-minded, like-hearted artists who are interested in telling stories with purpose that can heal people one heart at a time. I know that art has the potential to spark meaningful, positive change.

What are some new projects (that you’re allowed to talk about) that fans can get ready for?

My newest project is The Copenhagen Test, premiering on Peacock! The show is a twist on the spy genre, and as a longtime fan of the genre, I find it to be such a fresh take. It’s intriguing, suspenseful, and unexpected, so in that vein, I don’t want to reveal too much, but I can say I’m so proud to be a part of it and working with Simu Liu and the rest of the cast.