…To realize that we’re all “shyphtors.” And I want to spell this word: S-H-Y-P-H-T. This is something I’ve created, not something I’ve read or written about. A shyphtor is anyone who is shifting mentally, physically, or spiritually. This can be anyone from a creative standpoint — whether you’re doing music, film, drawing, or creating digital art, it doesn’t matter. You’re shifting your reality and space through that platform. If you’re a spiritual guru getting connected with the universe and shifting your energy centers, you’re shifting. If you’re at the gym, becoming a bodybuilder and shaping your body, then you’re a shyphtor. If you’re a politician, changing the world around you through laws and regulations, you’re a shyphtor. I feel like it’s really hard nowadays to have a conversation without hurting someone’s feelings. But if “Shypht Lifestyle” were a brand, it could be something that sparks genuine conversation. Someone could ask, “How do you shift?” and we could talk about how we change and grow without anyone feeling offended or uncomfortable. We’re all people, and we want to get to know one another. The first step in doing that is realizing how much we’re alike. If we understand that we’re always changing, we’ll see that we’re all alike in that way…
I had the pleasure of talking with Monique Kathleen Candelaria. Monique has carved out a distinctive place in the world of acting, known for her nuanced performances and dedication to her craft. The daughter of Carla Bernadette Castillo and David Robert Candelaria, Monique’s early life was shaped by her father’s military career, which took the family to Bremerhaven, Germany, where her brother, David A. Candelaria, was born. The family eventually returned to New Mexico after her father suffered a brain aneurysm, an event that would significantly impact their lives.
Monique’s passion for the arts emerged at a young age. By the time she was seven, she was already performing at weddings and funerals, using music as a form of emotional expression and comfort. Although she recognized the security music provided her, she chose not to pursue it professionally, keeping it instead as a beloved hobby. Her foray into performing expanded at 15 when she became a dancer on the local Albuquerque television show, “Dance, Dance, Dance, it’s a Teen Thing.” This experience marked the beginning of her journey into acting, which would become her professional calling.
In 2009, Monique graduated from the University of New Mexico with a Bachelor of Arts degree in Theatre, with an emphasis on acting. This academic foundation allowed her to explore and refine her craft, setting the stage for a versatile career in the entertainment industry.
Monique’s first significant film role came in 2010 when she was cast in Bless Me, Ultima (2013), a period piece set in 1940s New Mexico, directed by Carl Franklin. However, she gained broader recognition for her role as Lucy, the Denny’s waitress in the critically acclaimed television series Breaking Bad (2012–2013). Her appearance in the iconic “Live Free or Die” episode left a lasting impression, marking her as a memorable part of the show’s legacy.
Her first lead role in a feature film came with The Control Group (2014), where she starred alongside Brad Dourif. Monique’s performance demonstrated her ability to carry a film, a skill she would later showcase again in Cents (2016), where she portrayed Angela Baca, a single mother navigating the challenges of raising a mathematically gifted child.
Monique’s career has been marked by her commitment to exploring diverse roles that often reflect her rich cultural heritage. She is of Apache, Sinaloan Native, and European (Spanish and Basque) descent, and she has expressed a deep connection to her indigenous roots. Her portrayal of Yahima Maraokoti in HBO’s Lovecraft Country brought her heritage to the forefront, embodying a two-spirited character that challenged and expanded the representation of indigenous identities on screen. This role, along with her voice work in the Netflix series Spirit Rangers and her involvement in the film Driftless, where she played a mixed Lakota park ranger, has underscored her dedication to bringing authentic indigenous characters to life.
Beyond acting, Monique is a self-described two-spirit heyoka empath. Her personal identity plays a significant role in her artistic journey, influencing the types of projects she chooses and the messages she seeks to convey through her work. She has been vocal about the importance of discussing and addressing the violence experienced by POC and LGBTQ2+ communities, both on and off screen, particularly in the context of her work on Lovecraft Country.
Looking forward, Monique remains deeply committed to her creative journey, driven by a desire to be unapologetically herself and to tell stories that challenge societal norms. She is involved in several upcoming projects, including Spiral into the Yellow Void, a film exploring themes of depression, spiritual enlightenment, and personal destiny, and Maktoub, a cultural fantasy drama that connects North American and African tribes through ancestral stories. Both projects reflect her ongoing commitment to creating art that resonates deeply with audiences, offering profound messages and fostering greater understanding.
Monique Candelaria’s career is a testament to her resilience, versatility, and passion for the arts. Whether on screen, on stage, or through her various artistic endeavors, Monique continues to inspire and captivate audiences, using her platform to advocate for greater representation and understanding of diverse identities and experiences.
Yitzi: Monique, it’s a delight and an honor to meet you. Before we dive in deep, our readers would love to learn about your personal origin story. Can you share your childhood, how you grew up, and how you blossomed into who you are today?
Monique: Okay, where to begin? I was born in Albuquerque, New Mexico. Genetically I’m definitely a product of my environment. I’m a Mescalero Apache Descendant mixed with European Ancestry including Basque and Spanish. They say the Basque are known not by borders, but by their language. Interestingly, if you follow the language, because they were seafarers, you will find other languages in the category of being Athabascan such as Apache-Navajo in North America. It’s fascinating how these seemingly different worlds are all connected.
So anyway, I’m an army brat. We moved to Germany when I was six years old, then back to Colorado when I was three. My dad had a brain aneurysm, which brought us back home to Albuquerque when I was six. It was interesting because he became a stay-at-home dad, and the only thing he remembered was his military training. He’d wake me and my brother up to work out, spar in the front yard, or beat a bag. It was like he was a kid in a grown-up body. Even though these were tough and tedious things, it was the most fun in the world. He could make washing a car or dishes fun.
So, my brother and I became really competitive. We both love combat sports, and we’re willing to take risks, knowing that if you don’t try, you fail right away. Nothing intimidates us; it’s all about getting back up and keep going. Building tactics, strategy, analyzing people — those things became core personality traits for me.
Fast forward, I ended up loving the arts in all forms — singing, acting, modeling, dancing, making jewelry, painting, writing. In each of those art forms, you need to connect with your audience, whether through sound or not. I’m always captivated by how to use different tools to ignite and inspire emotion in people. I graduated from UNM in 2009 with a theater degree, emphasis in acting. I chose acting over the other art forms because it lets me incorporate everything that makes my soul sing. Whether I’m singing in a film, participating in a combat scene, being physical, or manipulating my voice — like in Lovecraft Country — it’s all there. The show involved stylized body movement, voice manipulation, underwater scenes — there was no limit to what they wanted us to do, and it was so much fun.
So yeah, that’s pretty much where I come from. I don’t come from money or from people already in the industry. I come from a place of pure passion and joy. When the pandemic hit and I lost all my main streams of income — singing, acting, modeling — I taught myself how to create wire wrapped jewelry. That’s when I learned to paint, took a year’s worth of psychic courses, and became a certified stone practitioner. I use stones on the body with non-invasive acupuncture techniques to release, transmute, and help people regain their beautiful, healthy, vibrant self back.
Yitzi: Can you share with us the next part of the story? How did you transition to becoming an actress? Tell us about your first break. How did that start?
Monique: Let’s see, my first break was actually a bit anticlimactic, but it really shows what we face in the film industry. I landed a part in a film called Spoken Word. I played the mother of the main character, but she was deceased in the present. It was a flashback scene, connecting the gift that the father was giving the son. I thought, “Oh, it’s a key point, such a beautiful scene.” We shot it, and it was lovely. It was the first time you could Google me, and see, “Monique Candelaria, Spoken Word,” all over. I couldn’t wait to see it.
Then I got invited to the premiere. I went, watched it, and… I’m nowhere in it. I was like, “Oh, no, no, no.” This was in my hometown, New Mexico, so everyone had been seeing the same things I had. People were asking, “So, you were supposed to be in it, right? Did we miss you? Were you in the background?” And I had to say, “No, I definitely was not in it.”
The director and producer came up to me afterward and said, “Look, we love your work, we loved everything you did with the character. But we used a green screen behind you, and we didn’t have enough money to edit it out. So, we had to cut the entire scene because we couldn’t change the green screen.”
In this industry, it’s easy to get excited and want to share your experiences, but it’s also a reminder that things can change from one minute to the next. You might find out you’re not even in the final cut. That was my initial experience of understanding what this business is like, and realizing that despite everything, I still love it.
But I would say the biggest thing that really set off my career was being in Breaking Bad. I appeared in season five, episodes one and 16, with Bryan Cranston in the opening scene. He’s just amazing. That was a true start for me. I had already done several things before that, but Breaking Bad was what inspired me to stay in New Mexico since they were shooting there at the time.
Yitzi: Amazing. You probably have some incredible stories from your career. You’ve already shared some great ones, but could you tell our readers one or two of your favorite memories or anecdotes from your professional life?
Monique: Let’s see, two of my favorite memories… One of them was when I was cast in a horror film called The Control Group. We were shooting in Fergus Falls, Minnesota, at an abandoned insane asylum. I was working with Brad Dourif, an amazing actor who is always right on the verge of tears, even in scenes where you wouldn’t expect it. His intensity and emotional depth were incredible.
I asked him, “How do you do that? How do you stay so intense in that emotion?” He said, “Let me show you something.” He took me to a side room and had me do a meditation. Then, he asked me a simple question: “Tell me your favorite memory.” It was such a basic question, but I answered with something really simple — just me sitting in the front yard, reading a book, and watching my friends come down the street.
He looked at me and said, “You know why that’s your favorite memory, right?” I asked, “Why?” And he replied, “Because you’ll never have it again.”
That moment taught me something profound. Finding emotion isn’t always about tapping into sadness, grief, torment, or despair. Sometimes, it’s about finding the happiness in a memory and realizing you’ll never experience it in the same way again. It’s the little things, like knowing you’ll never have that cup of coffee with someone again or never get to laugh at a cartoon with them, that can be truly heart-wrenching.
I’ve used that lesson in my work since then. It’s helped me keep a healthy body and mind, focusing on things I miss and love rather than dwelling on a pit of sadness that I can’t escape.
Yitzi: That’s an amazing story. Thank you for sharing that.
Monique: Yeah, that was definitely one of my favorites. The other one was with Bryan Cranston. Whenever I was on set with him, he actually remembered me. He had come in for a Q&A in one of my acting classes back in 2009, and they had just won some awards. He brought them in to show us, and I was so excited. He shared his story, and we all got to have personal conversations with him.
So, when I worked with him later, I didn’t expect him to remember me at all, especially after meeting over 60 college students. But he did. We were rehearsing a scene, and things were moving quickly. They pointed out my spot, and I was seeing everything for the first time. There wasn’t much there, and they told me, “We don’t want you to just have a conversation here; feel free to move around, do things, you know, as a waitress would.” I thought, “Okay, cool.” But all I had was a clean rag and a clean table, and you can only clean a clean surface so many times before it just feels awkward.
So, we finished the scene, doing a basic run-through, and Bryan Cranston turned to me and said, “You need business, don’t you?” I was like, “Yes, there’s nothing here. I don’t have anything to work with.” He called out, “Hey, props, bring some stuff for her to play with.” And suddenly, I had mats, silverware, and even plates to work with.
What I appreciated was that he noticed I was doing my best to follow the instructions but didn’t have the tools I needed. He took it upon himself to ask for what I needed without making me look like a diva, demanding things. I was so thankful that someone was that caring and aware, and wanted to create something memorable with me.
Yitzi: It’s been said that sometimes our mistakes can be our greatest teachers. Do you have a story about a humorous mistake you made when you were first starting and the lesson you implemented?
Monique: Oh, yeah, absolutely. Even though I’ve been in this industry for a while, I still learned some big lessons this year. I suddenly found myself in the world of musical theater, spending about five months in Canada and a couple of weeks in New York. There were definitely some things that happened in both places that taught me valuable lessons I’ll carry forward.
So, lesson number one: Before you accept a role, make sure they send you the script. I know it sounds basic, but when you get excited, it’s easy to overlook. For me, I was asked to play a lead role in an off-Broadway musical, and I was just flabbergasted — in the best way possible. I didn’t even have words for it because I hadn’t been pursuing musical theater at all. They specifically reached out to me for this role, and I was thrilled. At the time, I was working on a short film that George R. R. Martin was producing, so I was in Los Cruces and Alamogordo, and I had to pack everything because I would need to fly out immediately once I was done.
But when I got to New York, I realized they were still adapting the script. Fast forward two weeks, and they had changed the entire second half of the show. I had three different versions of the same song running through my head. Long story short, we had a conversation, and we all realized that the part wasn’t the right fit for me. It was still in the adaptation phase, and the things I was bringing up hadn’t been hashed out yet. They actually told me that everything I was pointing out was valid, so they offered me an active consulting credit instead. But they also didn’t want this to be my first Broadway experience, knowing they were going to keep making changes.
They were really kind about it, saying, “Look, we also work in TV and film, and we love what you do. We want to work with you in the future, so don’t think this means you don’t have what it takes to perform.” But it was a clear lesson: Rule number one, get the script before you commit to flying to a new state and spending so much time rehearsing!
After that, I spent four months in Canada working on a musical theater production called Bear Grease. They’re traveling all around the U.S. and Canada. The show imagines what the world would have been like in the 1960s if Christopher Columbus had never come to North America, so it’s a unique take on history, showcasing a world where indigenous cultures remained dominant. It serves as a form of medicine for the elders who never got to see themselves in that kind of environment. Now, the new generation gets to embrace and embody it.
When I was approached for this project, everything was negotiated for that leg of the touring production. But after I got back from New York, we had verbal agreements for the next phase. They mentioned some changes, and we talked things over. I went out and rehearsed with them for two weeks. But when they finally gave me the contract, we couldn’t come to an agreement on the terms.
So, lesson number two: Before you go anywhere, get the contract, understand what you’re signing up for, and know what’s in it. What does it entail? How long are you committing? If you’re not 19 years old and living with your parents, and you have responsibilities — kids, family, bills — it’s crucial to know what you’re agreeing to. You have to take care of those responsibilities whether you’re home or not. So, yeah, these lessons aren’t funny, but they’re important. They’re basic things we sometimes overlook, but at the end of the day, this is a business. That’s why we have agents and managers to negotiate these things. Everyone expects agents and managers to negotiate and make demands but when an actor does it, everyone is offended and there is no need to burn bridges.
Even though these experiences weren’t exactly fun, I took them as blessings. All my life, I’ve loved to sing, and I’ve wondered what it would be like to be on stage in New York or doing musical theater. Now I know. I’ve been to New York, I’ve experienced the environment, and I’ve seen how quickly things can change. This isn’t something you do to be remembered for; the next year, they’ll find someone else to play the role, and that’s it.
With Bear Grease, the idea of touring seemed amazing. You think, “Oh, cool, I get to travel to new places.” But then you realize there’s no workout routine, you’re eating at gas stations, nothing is consistent. You’re not around your partner, your family, or your friends. You miss holidays — I missed my birthday. The things you don’t pay enough attention to are the things you end up missing the most. Now I know what that’s like, so next time I choose to tour, I’ll ask, “What’s all included? When do I get to see my family? My loved ones? My dogs? The things that make me whole as a person.”
What did I discover? I discovered that there’s a lot happening in New Mexico, and I love it here. I definitely want to start creating material so that not only I but all of us who are here can thrive, not just survive.
Yitzi: That’s beautiful. So you mentioned Breaking Bad. As you know, it’s one of the all-time best shows ever. What do you think it was that captured people’s hearts and minds about the show?
Monique: I think it was the vulnerability. The show tackles a very serious topic: how far would you go if you knew you weren’t going to survive, just to help your family? And at what point does that become toxic? I think we can all relate to that on some level. Even if you’ve never been involved with drugs or that kind of environment, we all understand the lengths we might go to protect our family.
What’s powerful about Breaking Bad is that it shows how corrupt things can get when you start playing that game. Where do your morals and values come into play? When do they start affecting your decisions? As an actor, I loved it because Bryan Cranston’s character had this slow, profound progression. It was so big, but it unfolded over five years. You really grow with him in a way that feels very organic. It’s not like one day he’s this way and the next day he’s that. It’s a gradual change that feels real, and I think people could sense that.
And I have to mention, as Vince Gilligan said, New Mexico is beautiful. You could be watching a scene that’s not particularly exciting, but the backdrop with those Mario Brother-like clouds and the desert landscape somehow makes even a still scene look absolutely beautiful.
Yitzi: How would you compare and contrast your personal character, Monique, with Lucy, the character you play in the series? How are you similar, and how are you different?
Monique: Well, in terms of similarities, I’m naturally bubbly, and I love science museums. I enjoy talking to people, figuring out their stories, and understanding where they’re coming from. That’s what makes each day interesting to me. Sometimes it’s the simplest things that stand out. People might be looking for something profound, like the meaning of life, but sometimes it’s just about being present — sitting down and watching the leaves blow by in the wind, just appreciating the moment.
As for how I’m different from Lucy, it’s funny because the scene with her is pretty much me in a nutshell. That really is how I am in real life. But Lucy has a backstory that people don’t know. We all have a duality — we’re not just one-dimensional, friendly faces. In fact, because I wire-wrap jewelry, I’ve come across uranium glass, which looks a lot like the blue meth in Breaking Bad. I even thought about creating a line called “Break Bad with Lucy,” using uranium glass because it glows under a black light.
I always wondered why Walter White tipped Lucy $100 for a free meal. Was he just being generous to this talkative waitress who seemed to annoy him? Or was there something more? By the last episode, you learn where he got all the weapons, so it makes you wonder — was Lucy part of something bigger? Did she help in some way? Did she stop others from walking into the bathroom? The show doesn’t say, but those were thoughts I had in my head while playing her. That’s the duality of Lucy that no one really sees that I’m not a part of in my real life.
Yitzi: That’s great. You have such an impressive body of work. Do you have anything exciting coming up? Any projects you’re working on now that you’d like to share?
Monique: Yeah, definitely. Last year, I was cast in a film called Spiral into the Yellow Void. I know, it’s a mouthful! I’m not sure if the name will change, but it’s set to be completed in September, and then it’ll start entering film festivals. We’ll see how it does. It’s a profound story, focusing on the idea that we often want to help others who are struggling with depression or self-harm. But at the end of the day, everyone is on their own journey, and their decisions are their own. Even if you can’t stop someone from doing something, it’s not the fault of those around them. In the film, depression manifests in a physical form that only those who have been down that road can see. It’s a powerful story that really makes you think and gives you a glimpse into that world if you haven’t experienced it yourself.
Another project I’m excited about is Maktoub. It was a semi-finalist in the Brooklyn International Film Festival, and this month, it’s a part of the Tarzana International Film Festival as well. It’s been doing really well. Maktoub is more of a cultural piece, centered around a little girl who was given up for adoption. Without giving too much away, it’s a magical film where your spirits — your ancestral family — visit you to guide you back home. Although the girl is born in the States, her journey eventually leads her back to Morocco, where she learns about her family history, the djinn, and a form of possession. She also communicates with her deceased ancestors. It’s a family film filled with adventure and magic, and I think people will really resonate with it. The film highlights how the Amazigh people in Morocco share similarities with Native Americans in North America, which I loved because I come from those regions. The Basque and Amazigh people are the original inhabitants of that area, and they share ancestry, which adds another layer of connection to the story for me.
Yitzi: So this is our signature question. You’ve been blessed with a lot of success now. Looking back to when you first started, do you have five things you know now that you wish someone had told you back then?
Monique: One: Don’t define your success by other people’s standards. Be present, be happy with what you’re doing. That way, when you get to those pearly gates of heaven, it’s not about the things you didn’t get to do — it’s about all the things you did what you’re grateful for. It’s a completely different feeling when you know you’re doing what you want in every moment, rather than waiting for a moment that might never come and feeling unaccomplished.
Two: Build the bandwagon. There’s a big difference between saying, “Pick me, I’m talented. I’m so talented,” and actually creating something amazing. If you’re truly creative and passionate about this industry, start creating. The people around you will see that passion and want to join you in what you’re doing. If you’re missing a wheel here and there, trust me, people will start bringing the wheels. The wheels will come. You just have to start putting it together. So don’t wait for someone else — don’t wait for an agent or a manager to get you that audition. Start creating, and you’ll start getting recognized in the areas you’re passionate about, and those opportunities will come.
Three: Realize that this is a business. While it’s fun to sing, dance, play, and do all the things we love, we also have to make a living. It’s important to have a bridge, and having an agent and a manager is truly essential. You can burn so many opportunities without even realizing it. For example, someone might want to work with you, but then they cross a line and start hitting on you. If you have to say, “Sorry, I’m not interested,” you might find yourself suddenly not working with anyone. If they had gone through the proper channels — through your agent and manager — because they genuinely wanted to work with you, everything would be negotiated properly, and you’d actually be on set working, instead of getting stuck in that awkward middle zone where you’re unsure of where things stand.
Four: Read the script. You don’t have to accept everything that comes your way. If something truly isn’t meant for you, that’s okay. Remember, at the end of the day, this is a business. They have to take care of their business, and you have to take care of yours. Don’t get hurt over it — it is what it is. If you’re not the right person for that part, trust that the universe has your back. You’ll land something else that’s worth your while, and if not, it might even be something better.
Five: We are all actors. From the moment you are born, you’re figuring out how to be loved, how to be fed, how to survive. Every day, you analyze people to understand the differences: This is my boss, this is my brother, this is my lover, this is my mom. You treat each of them differently, so you’re doing actor homework every single day of your life. You wear different versions of yourself depending on the environment. While it might seem like a lot of work, it’s something you’re already doing, and you’re fully capable of it. No one can be you better than you. So embrace it and learn yourself well.
Yitzi: We’re almost done. This is our aspirational question. Because of your great work and the platform you’ve built, you’re a person of enormous influence. If you could spread an idea or inspire a movement that would bring the most good to the most people, what would that be?
Monique: To realize that we’re all “shyphtors.” And I want to spell this word: S-H-Y-P-H-T. This is something I’ve created, not something I’ve read or written about. A shyphtor is anyone who is shifting mentally, physically, or spiritually. This can be anyone from a creative standpoint — whether you’re doing music, film, drawing, or creating digital art, it doesn’t matter. You’re shifting your reality and space through that platform. If you’re a spiritual guru getting connected with the universe and shifting your energy centers, you’re shifting. If you’re at the gym, becoming a bodybuilder and shaping your body, then you’re a shyphtor. If you’re a politician, changing the world around you through laws and regulations, you’re a shyphtor.
I feel like it’s really hard nowadays to have a conversation without hurting someone’s feelings. But if “Shypht Lifestyle” were a brand, it could be something that sparks genuine conversation. Someone could ask, “How do you shift?” and we could talk about how we change and grow without anyone feeling offended or uncomfortable. We’re all people, and we want to get to know one another. The first step in doing that is realizing how much we’re alike. If we understand that we’re always changing, we’ll see that we’re all alike in that way.
Yitzi: That’s amazing. Beautiful. Okay, this is our matchmaker question, and sometimes it works. We’re fortunate that prominent leaders in entertainment and business read this column. Is there someone in the world, in the US, or even in New Mexico that you’d like to have lunch with, share coffee with, or collaborate with? We could tag them and maybe make a connection.
Monique: Anthony Hopkins. Anthony Hopkins has such a presence — I’m mind-blown every time I watch him. Even without saying a word, he has this energy that’s so profound, you can’t help but be invested, even when nothing is happening. So yes, him.
If it was a romantic one, it would have to be Jason Momoa — but he might need to dress up like he did in Game of Thrones. [Laughs]
But seriously, Anthony Hopkins is one of my favorite actors. I’d be so honored just to have a conversation with him and see what he’s like in person, and to learn what inspires him to create since he’s so profound in those areas.
Also, Tim Burton — honestly, since I was a kid, everything Tim Burton has been a dream. I’m like, “Can I be in a cartoon? Can I be that weird character?” Oh my God, I’d be in my own little slice of heaven. Now my brain is going!
Some other people I would love to meet and collaborate with are:
- JJ Abrams
- Michelle Lovretta
- Ryan Murphy
- Alfred Gough
- Lauren Schmidt Hissrich
- Duffer Brothers
- Eric Kripke
- Clyde Phillips
They are the show runners for the projects I love.
Yitzi: Amazing answer. How can our readers continue to follow your work? How can they engage with your services, purchase your jewelry, or support you in any way possible?
Monique: Instagram is definitely one of my preferred social media platforms. You can find me at @moca369. I’m also getting started on TikTok, figuring out how to use the platform effectively. I want to use it to showcase everything I’m creating — whether it’s jewelry, painting, acting, or whatever else I’m up to. I’m hoping to create videos where everyone can join in, recommend, suggest, and just come along for the ride.
Right now, I’m actually training with a Bo staff with Kevin Chambers. He just got back from Beijing, where he worked with Jackie Chan’s stunt team. He saw me with my staff and offered to teach me. So, I’ve been in the gym three to four hours every day for the past week and a half — I’m committed.
Yitzi: You’re probably primed for a Star Wars entry.
Monique: Yes, oh my goodness, that would be amazing! Anything in the realm of fantasy, sci-fi, or horror — I love it. You get to play with so many different tools in your actor tool belt. So yes, I would absolutely love that. We’re manifesting it right now.
Yitzi: It’s so nice to meet you. I hope we can do this again.
Monique: Wonderful. All right, see you and talk to you soon.
Rising Star Monique Candelaria On The Five Things You Need To Shine In The Entertainment Industry was originally published in Authority Magazine on Medium, where people are continuing the conversation by highlighting and responding to this story.