From R#J to Goosebumps: Francesca Noel Finds Power in Vulnerability
After a breakout performance as Juliet in R#J, Francesca Noel has once again proven herself a magnetic screen presence—this time in Goosebumps: The Vanishing, the newest installment in the beloved R.L. Stine franchise. The series, which premiered in January on Disney+ and Hulu, quickly became a Top 5 hit, thanks in no small part to Noel’s scene-stealing turn as Alex Diaz: a tough, quietly vulnerable teen fresh out of juvie, navigating friendship, first love, and supernatural mystery alongside stars David Schwimmer and Ana Ortiz. With classical training in music and a growing passion for filmmaking, Noel is crafting a creative path that’s as multifaceted as it is fearless. We caught up with her to talk about stepping into a legacy franchise, finding emotional depth in genre roles, and what’s next on her horizon.
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What initially drew you to Goosebumps: The Vanishing and your character, Alex Diaz?
Honestly, it was a mix of nostalgia and excitement for what this version of Goosebumps was doing differently. I grew up knowing the franchise, so there was something really cool about stepping into a world that had been such a big part of so many people’s childhoods—including mine. But more than that, when I read Alex on the page, she felt different. She wasn’t just a “tough girl”—she had vulnerability, depth, a rocky history, and this emotional weight that I found really compelling. She’s someone who keeps a lot in, who protects herself, but also cares so deeply. I felt like there was a lot to explore with her, and that really drew me in.
Alex is a character with a lot of layers. What aspects of her did you find the most challenging—and rewarding—to portray?
The most challenging part was probably finding the balance between her strength and her softness. She’s got this wall up most of the time—and for good reason—but underneath that is a lot of love, a lot of fear, and this desire to connect. I didn’t want to overplay either side of her; it had to feel real. The most rewarding part was when those quieter, more vulnerable moments came through. When she lets her guard down even just a little, it says so much. Playing those shifts, sometimes with just a look or a touch, was really fulfilling. She doesn’t always say what she feels, but she’s feeling everything—and that’s the kind of character I love sinking into.
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Can you share a particularly memorable moment or behind-the-scenes experience from filming with David Schwimmer and Ana Ortiz?
Working with David and Ana was such a gift. They’re both so grounded and generous—it really felt like a masterclass just watching them work. Ana has such a natural warmth to her—we had some great conversations in between takes, especially around what it means to play characters with real emotional complexity, particularly as women of color, and in genre. That kind of support and camaraderie on set made the whole experience feel that much more meaningful.
Goosebumps holds a lot of nostalgic weight for viewers. How did it feel to be part of a beloved franchise, and how did you make the role your own?
It’s definitely a surreal feeling. Growing up with something like Goosebumps, you never imagine you’ll be part of its next chapter. But I also knew I didn’t want to just copy what had been done before—I wanted to bring something honest to the character. The show has its spooky, fun side, but there’s also a lot of heart and emotion in this version. So I tried to root Alex in something real: her grief, her protectiveness over the people she loves, her quiet strength. I felt like if I could stay true to who she was as a person, that would naturally bring something new to the franchise.
How do you prepare for roles like Alex—characters with tough exteriors and deep vulnerability?
I always try to build a backstory—something that helps me understand why a character is the way they are. With Alex, I really leaned into the idea that she’s been through a lot of loss, and that shaped how she protects herself. I like to write as the character—letters, journal entries, playlists—just to get into their head. I also think a lot about physicality: how do they walk? Where do they hold tension? For Alex, her stillness was really important—like she’s always keeping herself in check. Once I lock into that emotional rhythm, it becomes easier to move between the harder edges and the moments where she lets that guard down. I also loved getting to let her flourish in her queerness. That meant a lot to me.
Your career has spanned from R#J to Goosebumps. How do you choose your roles, and what’s your approach to selecting projects that feel authentic?
I look for roles that feel human—where the character isn’t just serving the plot but has their own emotional journey. I’m drawn to stories that have something to say, whether that’s about identity as a woman of color, grief, love, or just the complexity of being a person. I also pay attention to who’s behind the project. I’m really drawn to auteurs who feel like they’ll die if they can’t make this project. I grew up in the indie world, and you get a lot of that there. It’s so motivating. Because like—why are we doing this if we’re not doing it with passion?
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You’re a multi-instrumentalist—guitar, piano, flute, vocals. Does your musicality influence your acting process?
Definitely. Music has always been a huge part of how I express myself. I use music a lot when I’m preparing for a role. I’ll build playlists that reflect what the character is going through, or songs that help me get into their emotional state. Sometimes I’ll hum or play before a take just to get grounded.
You’ve studied at both Berklee and Bard. How have those institutions shaped your creative process?
Bard gave me discipline. I studied classical music there—composition, guitar, and voice (Puccini, yes)—and I was pretty young going into it. It kept me accountable and gave me agency in a way that I did not find in traditional school. And I’d say it informed a lot of the way I think now. Berklee was much more experimental—I spent a lot of emotional time with music and it felt very intense in a different way. I met a lot of really great people there, and I’ll always hold space in my heart for Paula Cole, one of my professors. I think together they gave me a lot of confidence and broke a lot of barriers I had within myself. They taught me preparation is essential, but you also have to leave room for spontaneity—for the unexpected moments that make a performance feel alive.
You’re developing your first feature. What can you share about it and what do you hope to explore?
It’s still early, so I can’t say too much yet—but the story is very personal. It’s about womanity, memory, power, and how we carry both love and trauma across generations. I want to explore what it means to hold space for your younger self while still trying to move forward. I’m really interested in silence—how so much of what goes unsaid between people can still live in the air between them. I think film is such a powerful medium for that kind of subtle storytelling, and I’m so excited to step into that space.
Where do you find inspiration in your work across acting, music, and filmmaking?
I find a lot of inspiration in everyday life—watching people, hearing how they talk to each other, the little ways they express joy or pain. I think being curious is a big part of it. I also draw from my own life experiences, and from the people I love. Music and writing let me process those things in different ways than acting does, but they all kind of feed each other. Whenever I feel creatively blocked in one area, I usually turn to another, and it helps me reconnect.
How has your experience as a New Yorker influenced your work, and how does life in Los Angeles compare?
New York made me tough. It gave me a sense of independence and urgency that’s still with me. There’s something about the energy of the city—it’s raw and honest and fast-moving. It’s a bit ruthless and unrelenting, which demands respect. LA is slower, more spacious, which has helped me as a writer and creator. I can breathe here. Upstate is where I breathe best, but LA is more practical. I think living in both places has taught me how to adapt, and how to find inspiration in very different kinds of environments. But I’ll always be a forest fairy at heart.
Looking ahead, what kinds of roles or genres are you hoping to explore next?
I want to keep challenging myself and taking on stories that feel meaningful. I’m interested in period pieces, character-driven sci-fi, magical realism—anything that lets me explore emotional depth in unexpected ways. I also want to write more and eventually direct projects that feel intimate and layered. I’m really drawn to exploring identity as a woman of color. I just want to keep making work that feels personal and honest.
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Who are some artists or creators who inspire you?
I really admire creators like Jordan Peele, Greta Gerwig, Kogonada, and Hayao Miyazaki. They’re all storytellers who bring so much care, beauty, and intention to their work. They make art that feels intimate and expansive, with a strong perspective. I like work that breaks the box. Lately I’ve also been really inspired by lesbian pop like Muna and The Japanese House. I love women. Big fan.
What excites you most about what’s next—whether in music, film, or television?
Whatever comes my way. I’m totally open to exploring and creating whatever this cosmos has to offer.
With her directorial debut in the works and a growing body of work that spans television, film, and music, Francesca Noel is an artist who defies easy categorization—and she wouldn’t have it any other way. Whether she’s exploring queerness, grief, or generational memory, her work pulses with honesty, care, and intention. If Goosebumps: The Vanishing is any indication, she’s not just part of the next wave of talent—she’s helping shape it.
