GN: How to Rob a Bank isn't just about stealing money, it's about risk, trust, and the stories people tell themselves before crossing a line. What fascinated you most about stepping into Hugo's world

RF:Exactly that. The story he’s telling himself. His reason why. It really made me realize how much he and I have in common. His love for his family ultimately. Now he may have me beat on the risk side of the equation.. don’t know how comfortable I’d be robbing banks but there’s a deep sense of injustice he feels he needs to make right. 

GN: Hugo is the crew's videographer, someone who experiences the action through a camera almost as much as he does in real life. Did playing someone constantly documenting events make you think differently about how we all curate our own lives today?

RF:I think it brings up an interesting point. I found it more fascinating the idea of his understanding of the online and viral world. He knows what’s gonna work and what isn’t. He knows how to get the public’s favor. They get to write their own narrative online and the people are buying in. He’s a showman and his applause is measured in clicks.

GN: You've worked across superheroes, prestige dramas, thrillers, animation, and now a high-octane action film. Is there a thread that connects the characters you're instinctively drawn toward?

RF:Maybe the only thing is that they aren’t similar. I feel like so many of roles I’ve been blessed to play have been able to not only be in such different worlds but also such different types of people. That’s what I’m drawn to. Something different. It’s exciting to get to stretch in that way. 

GN: The Penguin explored power from the shadows, while How to Rob a Bank thrives on adrenaline and momentum. As an actor, do you enjoy living in morally gray worlds more than stories with clear heroes and villains?

RF:100% yes. It feels closer to real life. It makes the audience lean in I feel. It does it for me at least. When I know what’s coming and someone is so obviously good or bad it kills any mystery for me. The exploration of these characters excites me.

GN: Every film set has its own rhythm. David Leitch is known for precision, choreography, and kinetic storytelling. What surprised you most about working under his direction?

RF:He mentioned to me how he wanted this to be his most grounded story he’s told yet. And that starts with the people. Their reasons why. I had the most fun figuring out the why behind it all. But yes jumping and shooting and the crazy car chases were also very fun. With David you can have them both. 

GN: You've shared scenes with an incredible range of performers from Ben Affleck and George Clooney to Nicholas Hoult, Zoë Kravitz, Cameron Diaz, and Ed Norton. What's one lesson you've quietly collected simply by observing actors you admire?

RF:It’s different from so many of them but the person I probably spent the most time with and therefore learned the most from is actually someone you left off the list. Colin Farrell. The level of focus that he brought to set everyday married with a joy to be there and kindness helped me understand what it takes to give a performance of that caliber. It’s not going to be easy. It’s going to take work and you need to be committed. And he was. 

GN: Hollywood often celebrates overnight success, yet every career is built over years of invisible work. Looking back, what moment made you realize you were becoming the actor you always hoped to be?

RF:I guess that’s a difficult question because I still feel like I’ve got so much left to do before I’m really the actor I want to be. So much to learn and grow. But there was a moment a few years ago when we had a screening for Tender Bar and George came up to me and said some very nice things about my performance. And people say nice things all the time often to be polite but it was something in the way he said and the things he said that really made me believe that I could one day be the actor I want to be. 

GN: As a Dominican American actor, you've become part of a generation helping broaden the stories audiences see on screen. Has your understanding of representation evolved since the beginning of your career?

RF:It has yes. I’ve realized, especially in the last few years, just how difficult the journey up to where I ultimately want is. Roads have been paved but there’s still a lot of work to do and it’s going to take time. 

GN: Encanto became far more than a film; it became a cultural experience that families continue to share. Did you ever imagine it would resonate so deeply around the world, and what has that legacy meant to you personally?

RF:The film itself I actually did have an idea. Because when I first met with Byron and Jared, and they explained the film to me, I got goosebumps. I was immediately so proud to be a part of something I viewed as so special. And thought if the rest of the world has a similar reaction people may really love this movie. Now as far as the song goes I had no idea. I knew I liked it when Lin first sent it over but didn’t ever think we’d be fighting Adele on the billboard charts. 

GN: You move comfortably between intimate character studies and large-scale studio productions. Do you approach independent films and blockbuster projects differently, or does every role begin with the same emotional questions?

RF:Just slightly. It begins all the same. You go into figuring out who the guy you’re playing is first and foremost. It really just changes slightly for me in choices. How big, how much to show, and that has less to do with the size of the budget and more to do with the kind of film you’re making and with who. You just gotta make sure you’re on the same page.

GN: Actors spend much of their careers stepping into other people's lives. How do you make sure you return to your own when production wraps?

RF:Sometimes it’s difficult. Especially when you don’t have the time. There’s days where all you do is work, come home, shower, memorize, and sleep and repeat for days. So it doesn’t leave you much time to get into the “your life” of it all. But that’s the job sometimes. It requieres energy and your time and all the creativity you’ve got. But l love it. I get my time back when we’re done with the shoot as a whole. Then it’s about seeing your friends, re finding that rhythm in life until it’s time to ship back out and do it again. 

GN: Night has a way of slowing everything down. When the cameras stop rolling and the world gets quiet, what usually occupies your thoughts?

RF:That’s when I’m most creative actually. I feel the most ideas come to me about character late into the night. That’s when I do my most writing and when the ideas seem to flow. 

GN: What does your ideal evening look like when you're completely disconnected from work, social media, and the demands of Hollywood?

RF:Some lake house somewhere in Europe. A good meal. Maybe a drink. My friends or family around. Maybe we get to watch a movie, maybe it’s a fun board game maybe we do something competitive if we’ve got the right group. I like the idea of really spending time with the people you love and who love you.

GN: We love asking about dreams, the ones that happen while we're asleep. Do your dreams tend to inspire you, confuse you, or simply remind you to slow down?

RF:My dreams tend to inspire me. I sometimes dream of the things I want most. 

GN: Before you say goodnight each evening, is there a ritual, habit, or quiet moment that helps you reset and what does the word "Goodnight" mean to you?

RF:I need to get back into it but reading a book just before bed may be the happiest I’ve been in a while. Having that time in that way to explore these worlds in your head. At your pace. It’s beautiful what a good book can do for you. How it stimulates you. Goodnight means quiet. Everyone is shutting down. The world feels still. Peace.

photo: mi

stylist: kim goodnight & mark jasson

production: kam

casting: mike goodnight at @mediaplaypr 

grooming by: veronica nunez for art department using hair products by cécred & skincare by jaxon lane @veronica_nunez

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