Rosie Perez is famous for her dance choreography, acting, activism and bold personality. Her latest role, as Marisol in “Lies in Plain Sight,” is a poignant depiction of a grieving mother who learns a shocking family secret. Her performance is unforgettable, as are the haunting revelations in the film. Find out what attracted Rosie to the movie, how she views opportunities for Latina actresses today and what popular dance show is her favorite!

How do you see the role of Latina actresses in Hollywood right now?


I see that it’s getting better. With Sofia [Vergara], I am very impressed with her. Some people may have other opinions, but I am mostly impressed with her comedic timing, her talent and, second to that, I’m really impressed that she’s not afraid to have an accent and express her culture. I think that we’re moving away from the whitewashed Latin actress afraid to be ethnic, afraid of the misperceived stereotype — there’s no fear in her [Sofia], there was no fear in me and Thelma, and Penelope. We came before her, but there was a little gap between us and her where it seemed like the more Americanized they were, the more successful they were, and therefore they were setting a trend, and now I am seeing the trend being broken with Sofia. I am very proud of her and I haven’t even met her.

You have been around for so long, and you’ve been a role model to so many Latinas. What do you have to say to those young actresses who look up to you?


If they do look up to me, I would say, “Thank you. I’m very flattered.” I would also tell them, just go for the work. Go for the work and go for work. I’ve been in the business for 22 years — that in 22 years you can still be proud of it and don’t shy away from your heritage, but also welcome roles that may challenge you outside of your nationality, your ethnicity. That said, as soon as you step away from the set or the stage, be who you are. Don’t fall prey to the trappings of success in trying to lose your identity. If you have a solid foundation, you’ll last 22 years too and hopefully more.

What drew you to “Lies in Plain Sight”?


One, the obvious issue of abuse. Secondly, it was the way that — I didn’t see the original movie [that “Lies in Plain Sight” is based on], and I’m glad I didn’t. I saw it afterwards, and it was weird how the interpretation was similar, but I appreciated the display of grief, because a lot of times in the Latin cinema culture, grief is expressed in a very telenovela way, with the screaming and the ripping of the shirt and falling down on your knees in the middle of the street, and this was grief and shock on a very human level where sometimes you just can’t scream. That’s what attracted me to it, and I knew that the director would allow me to express that.

In the movie, what scene was the most challenging for you?


It’s the scene where we are all sitting down having dinner and my character’s brother says, “Come on, you need to eat,” and I turn to him and say, “Why do people say such stupid things?” I could have delivered that scene in a very melodramatic way, and the good thing about being an actress is learning to live your own life because when you have time to experience life, you can act out life. Sad to say, I lost my father, who was the best man in my life, who I loved more than any man I could ever love, so I understood grief and I understood loss, and loss is not always played out in a melodramatic way. It’s so powerful inside you that sometimes it comes out quietly. So that scene came out organically, to my surprise, but approaching it I was a little fearful. Once I did it, it just came to me. That’s one of my favorite scenes, actually.

The movie highlighted secrets that families can possess, so how do you think the film will resonate with the viewers?


I think whether you have skeletons in the closet dealing with this particular type of abuse or another type of abuse, everyone has secrets, and this family is, on the surface, seemingly perfect. The nice house and the nice upper-middle-class suburban neighborhood, and the secrets are dark and very, very disturbing. I think it’s done well in that regard, because unfortunately this type of abuse is universal. It’s not going away, and there is so much shame with it, and what I like about this film is that the shame smears everyone, and that’s the ugly truth about this type of abuse. It just takes its ugly brush and splashes it all over everyone in the family.

If there is one lesson that you hope viewers take away about how to deal with an abuse victim in a family, what is that lesson?


The lesson is for the adults to look for the signs [of abuse] and pick up a book, go see a therapist, go seek out the knowledge as to what the signs are before the abuse starts. Don’t wait; see the signs. Also, as the adults, allow children the freedom and the opportunity come to you if God forbid that did happen, and be ready to protect them in any way you can. For the children, to know that it’s OK to tell somebody. If not your parents, maybe someone in the community. You must tell, you must stop it. In the film, it really has to do with the adults. It is the adults’ responsibility to always protect children.

You were recently in an accident and had a major surgery. Are you feeling better?


I’m feeling better, but it’s a very, very slow process. Unfortunately, I was forced to drop out of the new John Guare play at Lincoln Center due to the accident, but I guess it’s better for me to heal than to push myself to work. I was in pain during the movie, but it actually helped my character.

Twenty years ago when the television audience wanted to watch incredible dancers and choreography, they watched your Fly Girls [from the show “In Living Color”]. What do you think about the way dance is presented on TV today?


I watch “Dancing With the Stars” because of Carrie Ann Inaba, who was a Fly Girl, and she was a favorite of mine, because she was so dedicated and always ready to dance. She wasn’t competitive in a negative way with the other girls; she just loved dancing. So I watch because of her. The costumes are horrific and horrible. The makeup and fake tans are worse. Some of the choreography is great, and it’s fun to watch. My favorite show is “So You Think You Can Dance.” I really like that show. Some of the choreography is really bad, but a lot of it is outstanding, and what I do love the most about the show is when they have guest dancers like from Alvin Ailey or American Ballet Theater, or guest choreographers who are well-respected in the field, and they come on the show and it’s fantastic. They bring a different level of dance appreciation to America. It’s revitalized the dance culture. That’s my favorite, favorite. With my neighbor, I have “So You Think You Can Dance” dinner parties. I’m so corny it’s disgusting, but I love that show, I love it.

You’re a critically acclaimed and award-winning actress and also a committed activist. You’re the chair of the Urban Arts Partnership. Why is it important for an actor of your caliber to work with inner-city youth?


It was important for me because I was an inner-city youth. I was a person whose intelligence was ignored, whose capacity was not celebrated or congratulated or nurtured in a proper way until I went to a predominantly white school, which still occurs to this day. As soon as I walked the red carpet for my first film ever, “Do the Right Thing,” I understood the power of the red carpet. I saw the opportunity right away. I always had an activist heart, even as a child, so I knew it was a golden opportunity. Not everybody has those convictions, and I’ve learned not to judge, but for me those convictions were strong. I never, ever, ever, ever want to see another child’s capacity to be great ignored or not nurtured or not championed, and that’s why I’ve been the Arts Director of the Urban Arts Partnership for 19 years now, and I’ll stick with it until our type of program is put in all schools. I tell the kids, “You have to push through your fears and step into your greatness. I want to be one of the forces that help push you if there aren’t other forces out there helping you. There is going to come a time in your life when the world owes you nothing and you’re going to have to find it within yourself.”