1 00:00:00,010 --> 00:00:01,010 It's coming in. Yeah. 2 00:00:01,450 --> 00:00:02,450 Yeah, okay. 3 00:00:02,950 --> 00:00:04,530 It's starting to smack me in the face. 4 00:00:05,090 --> 00:00:06,090 Just a little bit. 5 00:00:07,790 --> 00:00:14,650 Hey, what's going on, everybody? For 6 00:00:14,650 --> 00:00:17,870 First We Feast, I'm Sean Evans, and you're watching Hot Ones. It's the show 7 00:00:17,870 --> 00:00:19,170 hot questions and even hotter wings. 8 00:00:19,530 --> 00:00:20,990 And today we're joined by Coleman Domingo. 9 00:00:21,250 --> 00:00:24,490 He's an actor, playwright, and director coming off back -to -back Academy Award 10 00:00:24,490 --> 00:00:27,950 nominations for Best Actor and into an incredibly busy year from the final 11 00:00:27,950 --> 00:00:31,570 season of Euphoria, which premieres on HBO April 12th, to the return of the 12 00:00:31,570 --> 00:00:35,110 seasons on Netflix later this spring, to the Spielberg -directed sci -fi film 13 00:00:35,110 --> 00:00:38,690 Disclosure Day in theaters June 12th, and finally, he plays the Jackson family 14 00:00:38,690 --> 00:00:42,070 patriarch in the long -awaited biopic Michael, which is set to hit theaters on 15 00:00:42,070 --> 00:00:44,730 April 24th. Coleman Domingo, welcome to the show. 16 00:00:44,930 --> 00:00:45,930 Wow, that was good, man. 17 00:00:47,250 --> 00:00:48,530 I sound really busy. 18 00:00:48,880 --> 00:00:52,740 Well, you are very busy. Thanks for taking the time. I know that you're 19 00:00:52,980 --> 00:00:56,120 What's going through your head as you prepare to take on the Hot Ones 20 00:00:56,140 --> 00:00:59,820 I know that you do have a particular fondness for condiments. I love 21 00:00:59,920 --> 00:01:03,320 like, dearly. Like, I'd marry condiments if I wasn't married already. 22 00:01:03,620 --> 00:01:07,760 My whole side of fridge is filled with condiments. And I'm not, I think I'm 23 00:01:07,760 --> 00:01:11,720 feeling a little bit more confident than I was maybe an hour ago. 24 00:01:12,280 --> 00:01:15,200 I was really nervous. I don't know why. 25 00:01:38,640 --> 00:01:40,200 It's already on the, oh, on this one. 26 00:01:40,960 --> 00:01:42,740 Oh, good. Okay, garlic delight. 27 00:01:46,960 --> 00:01:48,200 Mmm, that's nice. 28 00:01:53,360 --> 00:01:55,280 That's good. It's a delight in my mouth. 29 00:01:55,820 --> 00:01:59,800 So the music in this film spans some of the most joyful recordings ever made, 30 00:01:59,860 --> 00:02:04,740 from ABC to Billie Jean to Thriller. Was there a performance sequence that was 31 00:02:04,740 --> 00:02:07,220 most mind -blowing to watch on set as a spectator? 32 00:02:07,610 --> 00:02:13,110 Oh, man, there was. I would say when he does the Motown 25 performance, the 33 00:02:13,110 --> 00:02:15,750 first time you see the moonwalk, Jafar is a revelation. 34 00:02:16,090 --> 00:02:21,350 I mean, you've never seen anything like it. I mean, he goes frame by frame and 35 00:02:21,350 --> 00:02:26,690 beat by beat to really be exacting on Michael's dance. And that's 36 00:02:27,570 --> 00:02:30,590 I feel good. Are you ready to move on here to wing number two? Sure, why not? 37 00:02:30,730 --> 00:02:34,270 All right. So up next is a pickled garlic sriracha here at the two spot. 38 00:02:35,250 --> 00:02:37,930 Pickles. I like garlic and I like sriracha. There we go. 39 00:02:43,330 --> 00:02:44,330 That's good. 40 00:02:49,350 --> 00:02:50,350 That's nice. It's light. 41 00:02:51,410 --> 00:02:52,610 You're trying to psych me out. 42 00:02:54,070 --> 00:02:56,690 You're like, we're going to do a little dance with it. It's pretty good. 43 00:02:58,090 --> 00:03:01,710 I've heard you refer to yourself as a child of the theater and then talk about 44 00:03:01,710 --> 00:03:05,510 these storied institutions like the public theater, downtown Manhattan as 45 00:03:05,510 --> 00:03:09,970 church. Do you have a favorite moment in the day -to -day of a stage production? 46 00:03:10,290 --> 00:03:13,870 Is there more magic in the pre -show buzz or the curtain call for you? 47 00:03:15,010 --> 00:03:20,230 I think the pre -show buzz is great because I feel like you're about to go 48 00:03:20,230 --> 00:03:25,070 a leap of faith with a bunch of people who are here to experience something 49 00:03:25,070 --> 00:03:26,790 honest and raw. 50 00:03:27,620 --> 00:03:29,840 Those, you get a lot of nerves. 51 00:03:30,200 --> 00:03:33,240 Sometimes you're like you're singing with your castmates. You're like getting 52 00:03:33,240 --> 00:03:36,760 the mood of it so you can prepare yourself for the audience. It's just 53 00:03:37,520 --> 00:03:41,960 Reflecting back on early performances at places like the Brooklyn Rep or Campo 54 00:03:41,960 --> 00:03:45,540 Santo or the California Shakespeare Theater. Wow, you went way back. 55 00:03:46,640 --> 00:03:50,720 Is there a production that you look back on and think of as most impactful or 56 00:03:50,720 --> 00:03:53,380 paradigm shifting in your journey as an actor? Oh, yeah, for sure. 57 00:03:53,760 --> 00:03:54,760 It's Passing Strange. 58 00:03:54,940 --> 00:03:58,400 It's a show that I did that was a co -production between Berkeley Rep and the 59 00:03:58,400 --> 00:03:59,319 Public Theater. 60 00:03:59,320 --> 00:04:02,680 And anything that I've ever done on Broadway actually started out in a 61 00:04:02,680 --> 00:04:06,320 theater and with some wily way of figuring out we're going to make some 62 00:04:06,320 --> 00:04:10,360 art. And then it becomes commercialized in some way. So Passing Strange was that 63 00:04:10,360 --> 00:04:14,820 for me. It was a show that came to me literally right after I lost my mother. 64 00:04:15,340 --> 00:04:19,660 And it was the art to sort of like, I'd say it saved my life. It gave me 65 00:04:19,660 --> 00:04:20,660 somewhere to put. 66 00:04:20,720 --> 00:04:24,580 That heartache, it gave me somewhere to put all the characters that were inside 67 00:04:24,580 --> 00:04:26,260 of me, to build a company. 68 00:04:26,520 --> 00:04:32,400 And we just, we really just like, we stood on the edge creating a new 69 00:04:32,480 --> 00:04:35,300 And then it moved to Broadway and then it became successful there. 70 00:04:35,560 --> 00:04:39,700 And then Spike Lee filmed it. And so it's one of those special things where 71 00:04:39,700 --> 00:04:41,700 like, oh, this absolutely changed all of our lives. 72 00:04:46,540 --> 00:04:48,040 White hot mustard sauce. 73 00:04:50,860 --> 00:04:51,860 Oh, that smells so good. 74 00:04:52,140 --> 00:04:53,039 Take it in. 75 00:04:53,040 --> 00:04:54,300 You don't know what the connoisseur is. 76 00:04:55,000 --> 00:04:58,320 I can tell. This is a sauce man right here. 77 00:05:01,600 --> 00:05:02,860 Oh, that's really good. 78 00:05:04,100 --> 00:05:05,100 Hits. 79 00:05:06,240 --> 00:05:07,240 That's nice. 80 00:05:07,560 --> 00:05:08,560 That's really nice. 81 00:05:08,820 --> 00:05:11,800 It sounds like we're three for three here with the sauces, like in your 82 00:05:11,800 --> 00:05:13,860 wheelhouse. That's good. And it has a little kick. 83 00:05:14,280 --> 00:05:17,200 It has a little kick that comes in a little later. 84 00:05:17,600 --> 00:05:21,180 And let's not underestimate the cumulative effect here. You know what I 85 00:05:21,200 --> 00:05:22,200 We're three down. 86 00:05:22,860 --> 00:05:26,000 Wall's starting to close in, but nothing we can't handle. No, we're doing good. 87 00:05:26,220 --> 00:05:27,220 We're doing good. 88 00:05:27,860 --> 00:05:31,880 What's the experience like for an actor when you're playing a hero and a villain 89 00:05:31,880 --> 00:05:32,880 almost simultaneously? 90 00:05:33,280 --> 00:05:38,140 Like in a year when you go from Mr. in the Color Purple, then Bayard Rustin and 91 00:05:38,140 --> 00:05:43,000 Rustin, does that create like a kind of Stanislavski method vertigo in you as an 92 00:05:43,000 --> 00:05:46,360 actor? Does it really not work like that? You know what? I don't know, but I 93 00:05:46,360 --> 00:05:50,700 feel like, I know how to tap into those things in very strange ways. 94 00:05:51,080 --> 00:05:55,120 So I constantly have that in my career, which is wild. But also that speaks to 95 00:05:55,120 --> 00:05:57,080 the work that I do. I keep challenging myself. 96 00:05:57,420 --> 00:05:58,920 And so for me, I know that. 97 00:05:59,290 --> 00:06:01,690 Heroes and villains live in every human being. 98 00:06:02,010 --> 00:06:05,570 And I want to see how I can make them the most complicated versions of 99 00:06:05,570 --> 00:06:07,210 themselves. So I'm game. 100 00:06:07,430 --> 00:06:11,470 And then as a talk show host, I'm just curious how you built out your character 101 00:06:11,470 --> 00:06:15,310 as a dystopian game show host in The Running Man. Like, was there anything 102 00:06:15,310 --> 00:06:18,650 you were particularly drawing on to find, like, the cynicism in hosting? 103 00:06:19,200 --> 00:06:23,380 Yeah, I went through down the rabbit's hole of like show hosts. So I went to 104 00:06:23,380 --> 00:06:26,380 whether Steve Harvey or whether it was a talk show host, it could have been 105 00:06:26,380 --> 00:06:29,820 Oprah, could have been, you know, Wendy Williams, whatever. And then eventually 106 00:06:29,820 --> 00:06:33,100 I was like, what kind of show host or talk show host is this person? 107 00:06:33,480 --> 00:06:37,880 And then literally the day before I started rehearsals, they just released 108 00:06:37,880 --> 00:06:39,340 Jerry Springer documentary. 109 00:06:39,860 --> 00:06:42,360 I started watching. I'm like, whoa, whoa, whoa. 110 00:06:42,900 --> 00:06:44,660 I think I have something here. 111 00:06:45,200 --> 00:06:47,580 Here's someone who is absolutely stirring. 112 00:06:48,550 --> 00:06:53,870 people up and their ugly selves and then feels like I have nothing to do with 113 00:06:53,870 --> 00:06:59,250 it. I sit back. I'm chill. I didn't do anything. Someone who can rest easy but 114 00:06:59,250 --> 00:07:02,210 then also stir it all up. And I thought, well, that's who he is. 115 00:07:02,530 --> 00:07:06,130 It says in the script that I'm the most famous show host in the world. 116 00:07:06,430 --> 00:07:09,270 And I thought, well, what does that look like? So I wanted to create that 117 00:07:09,270 --> 00:07:14,970 character who was just like rich and fabulous and a little showy but also 118 00:07:14,970 --> 00:07:16,990 someone who you know he sleeps well at night. 119 00:07:18,330 --> 00:07:21,150 Yeah. No blood on my hands. No blood on his hands at all. Exactly. 120 00:07:25,770 --> 00:07:27,210 Ooh, that smells good. 121 00:07:27,750 --> 00:07:31,110 Oh, my God. When I walked in here, it just smelled like hot sauce for, like, 122 00:07:31,110 --> 00:07:34,430 everywhere. Yeah, yeah. You know, that's an aggregate, you know? But once you 123 00:07:34,430 --> 00:07:37,390 start taking them out piece by piece, you know, a lot of beautiful colors in 124 00:07:37,390 --> 00:07:38,390 here. Mm. 125 00:07:38,630 --> 00:07:39,630 That's good. 126 00:07:39,830 --> 00:07:41,850 A little smoky. Mm -hmm. Mm -hmm. 127 00:07:42,650 --> 00:07:45,790 Peachy. And then I think it has that kick at the end. You know, you're an 128 00:07:45,790 --> 00:07:46,950 experienced sauceman. 129 00:07:47,400 --> 00:07:50,380 So you know sometimes they can be a little deceiving at first and then – 130 00:07:50,380 --> 00:07:51,460 Exactly. 131 00:07:52,200 --> 00:07:54,180 I'm doing all right. You're doing great. Yeah. 132 00:07:54,560 --> 00:07:56,380 I'm judging myself right now. Like how am I doing? 133 00:07:58,620 --> 00:08:01,680 It feels good. You're doing great. Thank you. Take it from me. Thank you. 134 00:08:02,180 --> 00:08:05,480 So whenever I hear you talk about food in an interview, it's clear that you're 135 00:08:05,480 --> 00:08:09,140 someone who knows exactly what you're talking about. If you could travel at 136 00:08:09,140 --> 00:08:14,650 hyperspeed for breakfast in London – Lunch in Philadelphia and dinner in L 137 00:08:14,650 --> 00:08:18,950 how would you break down like your three perfect meals and a food day? Oh, 138 00:08:18,990 --> 00:08:19,990 that's good. 139 00:08:20,770 --> 00:08:21,770 Breakfast in London. 140 00:08:22,110 --> 00:08:25,830 I think I would just go for a simple English breakfast, you know, very 141 00:08:25,930 --> 00:08:27,930 you know, with the beans and all that good stuff. 142 00:08:28,550 --> 00:08:32,530 Lunch in Philadelphia. Oh, man, I would go for a messy, nasty. 143 00:08:33,280 --> 00:08:35,179 Cheese steak with like some – Iskabibble? 144 00:08:35,380 --> 00:08:37,960 I would go to Iskabibble. That's my jam. I know. 145 00:08:38,460 --> 00:08:40,720 Iskabibble is everything. It's messy. It's greasy. 146 00:08:41,220 --> 00:08:44,920 You can either go to Provolone or Wiz. I always change it up. My order is with 147 00:08:44,920 --> 00:08:47,500 salt, pepper, ketchup, pickles, and sweet peppers. 148 00:08:48,520 --> 00:08:51,460 Sometimes I get fried onions. It all depends on what I like. But I love a 149 00:08:51,460 --> 00:08:52,319 cheese steak. 150 00:08:52,320 --> 00:08:54,620 And then dinner, I would go to L .A. 151 00:08:55,280 --> 00:08:59,640 and I would go to – you know what? There's a really good place called 152 00:08:59,640 --> 00:09:01,580 Seafood. And it's fantastic. 153 00:09:01,820 --> 00:09:02,960 It's just really good oysters. 154 00:09:03,180 --> 00:09:04,180 I love a good oyster. 155 00:09:04,420 --> 00:09:08,520 An oyster always tastes like a celebration to me. Yeah, I agree. I 156 00:09:08,520 --> 00:09:10,000 with oysters every birthday. 157 00:09:12,300 --> 00:09:16,060 This one, I feel like it's going to mess me up a little bit. Dangerous. 158 00:09:16,560 --> 00:09:17,359 Dangerous smelling. 159 00:09:17,360 --> 00:09:18,339 It does. 160 00:09:18,340 --> 00:09:21,340 You know, because I feel like your body knows, chemically, you know what your 161 00:09:21,340 --> 00:09:24,660 body likes and what it doesn't like. And I'm like, I don't know about this. 162 00:09:25,440 --> 00:09:27,300 My brain's like, be careful. 163 00:09:27,980 --> 00:09:28,980 Let's see. 164 00:09:36,040 --> 00:09:39,400 There's a little chicken on there blowing fire out of its mouth. I know. 165 00:09:39,620 --> 00:09:40,519 All right. 166 00:09:40,520 --> 00:09:41,520 Solid disclaimer. 167 00:09:43,860 --> 00:09:44,960 Don't give it to your chicken. 168 00:09:46,680 --> 00:09:50,740 Is it true that you choose a unique scent for each character you play? And 169 00:09:50,740 --> 00:09:56,080 so, can you talk me through how you would define maybe a scent for, like, 170 00:09:56,080 --> 00:09:59,180 Strand in Fear of the Walking Dead? Like, can you talk us through the 171 00:09:59,400 --> 00:10:00,400 So good, man. 172 00:10:01,349 --> 00:10:03,810 Not that I'm surprised, but you've done a deep dive. 173 00:10:04,350 --> 00:10:05,350 Well, 174 00:10:05,550 --> 00:10:07,610 I'm going to have you eat these scorched and hot chicken wings. I've got to meet 175 00:10:07,610 --> 00:10:11,970 you halfway in some way. I love scents. For Victor Strand, because I was in the 176 00:10:11,970 --> 00:10:15,290 apocalypse, I don't think I used that much scent with him. 177 00:10:15,590 --> 00:10:19,090 Do you have any foundational advice for how one can find their own signature 178 00:10:19,090 --> 00:10:22,770 scent? Like, are there certain personality traits or style proclivities 179 00:10:22,770 --> 00:10:25,230 make somebody more, say, like, woodsy than citrusy? 180 00:10:25,530 --> 00:10:26,610 I feel like... 181 00:10:26,840 --> 00:10:29,820 You can do a character analysis and say, oh, you're more like this. I bet you're 182 00:10:29,820 --> 00:10:30,820 like this as a person. 183 00:10:30,960 --> 00:10:36,540 Like I like fresh, grassy. I like a little oud. I like – so the scents that 184 00:10:36,540 --> 00:10:37,860 love are like a little playful. 185 00:10:38,540 --> 00:10:42,080 But also I'm not afraid of floral either. Like I love – Let's go. 186 00:10:42,760 --> 00:10:45,240 Gardenia. I love like something heavy. But not rose. 187 00:10:45,440 --> 00:10:47,240 Rose is – What's wrong with rose? 188 00:10:47,440 --> 00:10:50,640 Nothing wrong with rose. But rose you just got to be very careful with because 189 00:10:50,640 --> 00:10:52,720 it can be overpowering. It could dominate anything. 190 00:10:53,020 --> 00:10:54,280 You can't really layer rose. 191 00:10:54,780 --> 00:10:57,660 You know, I like to like, I will wear like three or four cents at one time. 192 00:10:57,880 --> 00:11:01,060 I put a little right here. I have something different here and I may put 193 00:11:01,060 --> 00:11:04,220 something different on the back. Whoa. So, you know, you can smell me when I'm 194 00:11:04,220 --> 00:11:05,220 leaving. 195 00:11:06,840 --> 00:11:09,840 You got a full three -act structure here. 196 00:11:10,060 --> 00:11:11,060 Exactly. Exactly. 197 00:11:17,940 --> 00:11:18,940 Homegrown hell. 198 00:11:19,280 --> 00:11:20,280 Okay. 199 00:11:20,640 --> 00:11:21,680 Soft leopard. 200 00:11:22,500 --> 00:11:24,080 Hitting it with this. Oh, whoa, whoa. 201 00:11:24,760 --> 00:11:25,780 Now, calm down. 202 00:11:26,360 --> 00:11:27,420 You're going to put that on you? Okay. 203 00:11:29,700 --> 00:11:31,340 Wow. Okay. This is... 204 00:11:31,340 --> 00:11:38,360 This 205 00:11:38,360 --> 00:11:42,880 is another one that I think a couple seconds down the line. Oh, wow. Okay. 206 00:11:43,020 --> 00:11:44,020 It sits. 207 00:11:45,740 --> 00:11:48,000 Okay. Oh, wow. Okay. Wait. 208 00:11:50,100 --> 00:11:53,000 That's a sneaky little... You got to watch him. Ooh. 209 00:11:54,449 --> 00:11:55,449 Yeah. 210 00:11:56,990 --> 00:12:01,110 So maybe this is a naive question, but is there anything uniquely challenging 211 00:12:01,110 --> 00:12:06,290 about a trained actor playing an amateur one like you did in Sing Sing? Like, do 212 00:12:06,290 --> 00:12:09,630 you have to unlearn things? Are you actually acting better because you're 213 00:12:09,630 --> 00:12:13,870 capturing a raw version of the form? From the outside looking in, it just 214 00:12:13,870 --> 00:12:15,370 like such a galaxy brain endeavor. 215 00:12:15,850 --> 00:12:18,490 You know what you have to do? You have to make a decision on the kind of actor 216 00:12:18,490 --> 00:12:23,110 that you think that your character is. Is he a good actor or not? 217 00:12:23,580 --> 00:12:25,520 And I made a choice that he was fine. 218 00:12:28,700 --> 00:12:32,200 I was like, yeah, you can make a choice. I'm playing an actor. I'm like, he's 219 00:12:32,200 --> 00:12:34,220 really good at what he does. I'm like, he's fine. 220 00:12:34,700 --> 00:12:36,560 He's good enough. 221 00:12:36,820 --> 00:12:38,860 Because I also feel, wow. 222 00:12:41,080 --> 00:12:42,100 Something happened. 223 00:12:43,360 --> 00:12:46,300 It's the road we're on going forward. It's just like getting back. 224 00:12:50,910 --> 00:12:53,170 It just hit something in there. 225 00:12:53,790 --> 00:12:54,970 It was like, I'm not done. 226 00:12:56,350 --> 00:12:58,710 It was like, you can talk, but I'm not done. 227 00:12:59,050 --> 00:13:00,750 But I think that you really have to make a decision. 228 00:13:01,190 --> 00:13:05,490 And my co -stars, they were all men who went through the rehabilitation of the 229 00:13:05,490 --> 00:13:06,269 arts program. 230 00:13:06,270 --> 00:13:07,590 And they were good actors. 231 00:13:07,870 --> 00:13:10,970 But I think that they had a rawness to them, which was also their appeal. 232 00:13:11,770 --> 00:13:15,190 They should not have been expected to be Meryl Streep. 233 00:13:16,110 --> 00:13:19,710 But they had the integrity and the heart. 234 00:13:20,190 --> 00:13:22,670 To achieve, you know, greatness in that way. 235 00:13:29,390 --> 00:13:30,390 Ooh. 236 00:13:32,210 --> 00:13:34,070 Yeah. Funky. Who's funky? 237 00:13:35,070 --> 00:13:38,170 Yeah, well, yeah, because it's in the possessive. There is a funky out there 238 00:13:38,170 --> 00:13:39,170 somewhere, you know? 239 00:13:41,430 --> 00:13:44,230 This one's kind of the one that knocks me back a little bit. 240 00:13:45,630 --> 00:13:46,630 Ooh. 241 00:13:47,270 --> 00:13:48,270 Ooh. 242 00:13:49,130 --> 00:13:50,130 Ooh. 243 00:13:55,650 --> 00:13:56,650 Yeah. 244 00:13:57,230 --> 00:13:58,230 Okay. 245 00:13:58,910 --> 00:14:03,230 This is... Yeah, this one is to be desired. 246 00:14:04,030 --> 00:14:07,390 Yeah, this is... This is hitting. 247 00:14:07,610 --> 00:14:09,070 Yeah. It's hitting a little bit. 248 00:14:09,530 --> 00:14:12,830 We're up in the clouds at this point. Yeah, so you just try to get some 249 00:14:13,950 --> 00:14:15,070 It's tough in this altitude. 250 00:14:15,390 --> 00:14:17,050 Yeah, find it. 251 00:14:17,250 --> 00:14:18,930 Find it right there. Right there. 252 00:14:19,740 --> 00:14:23,480 What's your approach to handling a director's note that feels off base to 253 00:14:23,580 --> 00:14:26,720 Like, are there any rules of engagement when it comes to onset diplomacy? 254 00:14:28,940 --> 00:14:30,300 I think you have to. 255 00:14:31,560 --> 00:14:36,480 I know that I've had a practice of let's give a note from a director that you're 256 00:14:36,480 --> 00:14:37,700 just not sure of. 257 00:14:38,380 --> 00:14:42,200 Sometimes I think the job is just like look and say, OK, great, got it. And 258 00:14:42,200 --> 00:14:43,220 you go and do what you're supposed to do. 259 00:14:43,540 --> 00:14:46,080 But I think it's also important to try something. 260 00:14:46,300 --> 00:14:47,940 Why not try it? 261 00:14:48,570 --> 00:14:49,590 You don't know what's in their head. 262 00:14:49,870 --> 00:14:54,150 And same here. But I will always ask as well as an actor, say, can I try one? Or 263 00:14:54,150 --> 00:14:57,930 I'll always get one from me if I want to try something really wild and off 264 00:14:57,930 --> 00:14:59,130 -putting in some way, you know? 265 00:15:01,750 --> 00:15:08,610 You did a great job of just eloquently nailing that 266 00:15:08,610 --> 00:15:14,010 answer. And then we just kind of let it out, you know? Yeah, exactly. Just lose 267 00:15:14,010 --> 00:15:15,050 a notch on the belt. 268 00:15:16,120 --> 00:15:19,760 It's Zen, man. That's right. As the actor, I mean, I just go to a Zen place, 269 00:15:19,760 --> 00:15:21,740 quiet place, yeah, and reset. 270 00:15:22,020 --> 00:15:24,380 Well, you know, you're really going to need it for this next one. 271 00:15:25,300 --> 00:15:29,300 We have to bomb beyond insanity. 272 00:15:29,520 --> 00:15:30,520 Yeah, I've seen that before. 273 00:15:36,540 --> 00:15:37,700 This doesn't even smell right. 274 00:15:39,400 --> 00:15:40,640 Okay, just, all right. 275 00:15:54,360 --> 00:15:57,480 Oh. You were saying? Yeah. 276 00:16:00,840 --> 00:16:05,060 Look at that actor in you. Look at that zen. Look at you finding the balance 277 00:16:05,060 --> 00:16:07,480 right now. Listen, I've worked with zombies. 278 00:16:07,720 --> 00:16:09,140 I've played Joe Jackson. 279 00:16:09,440 --> 00:16:10,440 No fear. 280 00:16:10,460 --> 00:16:12,880 No fear. You've got to go for it. You're like, this is tough. 281 00:16:13,100 --> 00:16:15,120 But I've been on 16 -hour sets. 282 00:16:15,630 --> 00:16:16,690 It's tougher than this. 283 00:16:16,910 --> 00:16:17,869 That's right. 284 00:16:17,870 --> 00:16:21,290 But you know what? As far as prep goes, as far as interviews go. 285 00:16:21,530 --> 00:16:22,530 It's coming in. Yeah. 286 00:16:22,670 --> 00:16:23,670 Yeah. Okay. 287 00:16:24,190 --> 00:16:25,830 It's starting to smack me in the face. 288 00:16:26,310 --> 00:16:27,310 Just a little bit. 289 00:16:27,470 --> 00:16:31,270 As a photojournalism major and lifelong performer yourself, do you have any 290 00:16:31,270 --> 00:16:36,210 foundational tips for aspiring actors when it comes to taking proper 291 00:16:36,570 --> 00:16:38,010 I think I don't even know what you just said. 292 00:16:38,550 --> 00:16:42,710 I think, I think, listen. 293 00:16:46,319 --> 00:16:49,820 First of all, you should always try to dress like the job you want to get. 294 00:16:50,380 --> 00:16:51,380 Plain and simple. 295 00:16:51,500 --> 00:16:55,180 You want to just show yourself. You don't want to do like back when I was 296 00:16:55,180 --> 00:16:57,760 up, you had to have a shot with some glasses hanging from your mouth. 297 00:16:58,400 --> 00:16:59,400 Smart. 298 00:17:00,720 --> 00:17:01,720 Looking at a watch. 299 00:17:02,340 --> 00:17:05,480 You're concerned about time. And it's something when you're a thug wearing a 300 00:17:05,480 --> 00:17:06,339 leather jacket. 301 00:17:06,339 --> 00:17:08,359 You know, like me trying to look like a thug. 302 00:17:08,720 --> 00:17:11,760 Because I'm a tough guy. A tough guy. But you needed to have like four. That 303 00:17:11,760 --> 00:17:14,300 the thing. And that was back in the day when you had to staple the headshots 304 00:17:14,300 --> 00:17:16,400 together. We don't do that, thank God. 305 00:17:16,760 --> 00:17:20,380 But I think you just always have to present yourself as like really in the 306 00:17:20,380 --> 00:17:21,760 of the job that you want to get. 307 00:17:22,500 --> 00:17:26,460 What's the biggest mistake young actors make when picking an audition monologue? 308 00:17:26,619 --> 00:17:28,600 Like are there any lessons that you had to learn the hard way? 309 00:17:29,100 --> 00:17:30,100 There is actually. 310 00:17:30,700 --> 00:17:34,580 I've gone into colleges and I would do sort of monologue slams. 311 00:17:35,100 --> 00:17:40,680 I would ask a student to show me a monologue that presents you and what you 312 00:17:40,680 --> 00:17:41,279 to do. 313 00:17:41,280 --> 00:17:43,480 I remember we had this one time. It was at SCAD. 314 00:17:44,250 --> 00:17:45,250 In Savannah. 315 00:17:45,510 --> 00:17:50,750 And this young woman presented with a monologue from Neil LaBute's Fat Pig. 316 00:17:51,150 --> 00:17:52,170 And she was a big girl. 317 00:17:52,670 --> 00:17:54,490 And then I said, so why did you choose that monologue? 318 00:17:55,190 --> 00:17:57,930 And she said, well, I think that this is the way that industry will see me. 319 00:17:58,630 --> 00:18:04,970 And then I just said it. And I didn't know that it would lead to this sort of 320 00:18:04,970 --> 00:18:08,610 reawakening. I said, well, how do you see yourself? 321 00:18:09,270 --> 00:18:12,570 I said, because when you walked in, when I talked to you, I saw a queen. 322 00:18:13,110 --> 00:18:14,110 I saw Juliet. 323 00:18:14,630 --> 00:18:16,130 I saw all these things. 324 00:18:16,430 --> 00:18:17,930 I said, so don't limit yourself. 325 00:18:18,270 --> 00:18:19,490 And she burst into tears. 326 00:18:19,690 --> 00:18:21,530 Everyone burst into tears. I burst into tears. 327 00:18:22,010 --> 00:18:24,910 But I realized that that was part of it. I knew that that was my journey. It was 328 00:18:24,910 --> 00:18:28,790 like, in order for me and any young person to say, how do I want the world 329 00:18:28,790 --> 00:18:29,790 perceive me? 330 00:18:29,850 --> 00:18:31,290 You got to perceive yourself first. 331 00:18:35,710 --> 00:18:38,890 I feel above my lip, like Whitney Houston, how she used to sweat. 332 00:18:41,950 --> 00:18:43,730 I know. That smells like it hurts. 333 00:18:47,430 --> 00:18:48,930 Oh, why a big piece? No. 334 00:18:50,510 --> 00:18:54,990 You know how the last one was super hot and then had no redeeming culinary 335 00:18:54,990 --> 00:18:56,490 qualities to speak of? Yeah. 336 00:18:56,970 --> 00:18:58,370 It's almost like the worst is over. This is actually cool. 337 00:18:58,970 --> 00:19:00,590 That's what I'm talking about. This is actually good. 338 00:19:01,290 --> 00:19:02,169 I'm good. 339 00:19:02,170 --> 00:19:03,530 What you got for me? 340 00:19:04,430 --> 00:19:05,430 This is good. 341 00:19:06,200 --> 00:19:09,800 Which pre -fame job do you remember most fondly, working customer service at 342 00:19:09,800 --> 00:19:14,300 Macy's, slinging drinks at the 55 Bar, or your time as an aerial performer in 343 00:19:14,300 --> 00:19:15,300 the circus? 344 00:19:15,740 --> 00:19:17,060 Man, you do good. 345 00:19:19,580 --> 00:19:24,680 Slinging drinks at 55 Bar. I worked at this famous jazz bar in the West 346 00:19:24,700 --> 00:19:25,619 It's no longer there. 347 00:19:25,620 --> 00:19:29,300 But, dude, I've got to listen to the best jazz musicians from around the 348 00:19:29,300 --> 00:19:30,300 every single night. 349 00:19:30,480 --> 00:19:34,160 You know, I'm a people person. I think that was the best side hustle gig for 350 00:19:34,240 --> 00:19:35,640 I've bartended for 15 years. 351 00:19:36,380 --> 00:19:41,060 From Nash Bridges to True Crime, Law and Order, and its various spinoffs, is 352 00:19:41,060 --> 00:19:45,360 a bit or guest role from early on in your career that you think of as like 353 00:19:45,360 --> 00:19:49,260 most interesting character to play, even if the screen time and lines were 354 00:19:49,260 --> 00:19:50,960 limited? Oh yeah, I know exactly what that is. 355 00:19:51,260 --> 00:19:56,740 It was this role, I wish I remembered his name, but it was on Nash Bridges, 356 00:19:56,740 --> 00:20:01,360 I played this criminal who kidnapped Don Johnson's daughter. 357 00:20:02,800 --> 00:20:06,380 He busts in to get me after he finally finds out it's me. 358 00:20:06,720 --> 00:20:11,060 And I'm bench pressing in a Coogee sweater. 359 00:20:12,100 --> 00:20:15,320 It's the weirdest thing you've ever seen in your life. I am dressed in like one 360 00:20:15,320 --> 00:20:17,100 of those Bill Cosby Coogee sweaters. 361 00:20:17,780 --> 00:20:21,860 And I'm bench pressing. Then he busts in. I'm like, oh, he's throwing the 362 00:20:21,860 --> 00:20:22,599 weights off. 363 00:20:22,600 --> 00:20:29,360 And then I run towards a door. 364 00:20:30,250 --> 00:20:32,070 And he kicks me in the butt through the door. 365 00:20:33,090 --> 00:20:35,570 Then he turns me around in this heavy -ass Coogee sweater. 366 00:20:36,030 --> 00:20:38,450 And he's like, where is she? I'm like, I don't know. He's like, where is she? 367 00:20:38,510 --> 00:20:39,510 And he smacks me. 368 00:20:39,690 --> 00:20:40,690 Whatever. 369 00:20:40,970 --> 00:20:43,390 And I just remember, that was the weirdest thing in the world. 370 00:20:43,710 --> 00:20:47,810 They usually didn't cast people each season. Once you did that show, that was 371 00:20:47,810 --> 00:20:48,369 for you. 372 00:20:48,370 --> 00:20:52,350 But I kept coming in with a hump on my back or something. I don't know. But I 373 00:20:52,350 --> 00:20:53,550 just kept transforming. 374 00:20:53,830 --> 00:20:55,470 And they never found out it was me. 375 00:20:56,610 --> 00:20:57,610 Mark of a great actor. 376 00:20:57,870 --> 00:20:58,970 All right, Coleman. 377 00:21:00,520 --> 00:21:01,520 What is this? 378 00:21:05,360 --> 00:21:06,420 Last dab. 379 00:21:09,300 --> 00:21:11,420 Why pinky up? I'm like, what am I doing? 380 00:21:11,640 --> 00:21:13,020 I'm like, what am I doing? 381 00:21:14,860 --> 00:21:15,860 You're sophisticated. 382 00:21:16,880 --> 00:21:18,840 You're sophisticated, that's why. 383 00:21:19,160 --> 00:21:21,580 Thank you. Here we go. 384 00:21:21,780 --> 00:21:22,780 Last dab. 385 00:21:23,500 --> 00:21:24,500 Cheers. 386 00:21:32,170 --> 00:21:36,810 And with that, Coleman Domingo, the wings of death are behind us. 387 00:21:37,210 --> 00:21:38,210 Pinky out. 388 00:21:39,850 --> 00:21:42,610 Delicate napkin touch. All right. 389 00:21:42,810 --> 00:21:46,950 And, you know, a pain shot to the side of my mouth for no reason. 390 00:21:48,610 --> 00:21:52,030 This has been a wonderfully spicy journey through your acting career. 391 00:21:52,230 --> 00:21:56,710 And I've heard you talk about how theater trained you to find the truth, 392 00:21:56,710 --> 00:21:58,550 the most extreme of circumstances. 393 00:21:58,950 --> 00:21:59,990 And you know what? 394 00:22:00,430 --> 00:22:04,590 There's nothing realer than what we just did, eating ten scorching hot chicken 395 00:22:04,590 --> 00:22:10,030 wings. Uh -huh. Is there a monologue or a line from a play that comes to mind 396 00:22:10,030 --> 00:22:14,010 that best distills the kind of truth that you're feeling right now? 397 00:22:15,730 --> 00:22:21,170 For all that I could ever read, could ever hear by Taylor History, the course 398 00:22:21,170 --> 00:22:22,470 true love never did run smooth. 399 00:22:23,050 --> 00:22:26,130 But either is different than blood, or else misgraphed in respective years, or 400 00:22:26,130 --> 00:22:28,830 else listed upon the choice of friends. Or, if there were a sympathy in choice, 401 00:22:28,970 --> 00:22:32,650 war, death, or sickness did lay siege to it, making it momentary as a sound, 402 00:22:32,770 --> 00:22:36,110 swift as a shadow, short as any dream, brief as the lightning in the collied 403 00:22:36,110 --> 00:22:38,090 night that in a spleen unfolds both heaven and earth. 404 00:22:38,670 --> 00:22:41,730 An air a man has power to say behold. 405 00:22:43,250 --> 00:22:46,030 The jaws of darkness do devour it up. 406 00:22:46,570 --> 00:22:49,430 So quick, bright things come to confusion. 407 00:22:50,040 --> 00:22:54,660 The jaws of darkness stood no chance, and look at you, Coleman Domingo, taking 408 00:22:54,660 --> 00:22:56,000 on the wings of death. 409 00:22:56,260 --> 00:22:59,600 Living to tell the tale, and now there's nothing left to do but roll out the red 410 00:22:59,600 --> 00:23:02,760 carpet for you. This camera, this camera, this camera, let the people know 411 00:23:02,760 --> 00:23:03,880 you have going on in your life. 412 00:23:04,100 --> 00:23:05,100 Uh, what? 413 00:23:05,840 --> 00:23:10,660 I have, um, ooh. 414 00:23:11,340 --> 00:23:12,340 Okay, hi. 415 00:23:12,960 --> 00:23:18,200 My name is Coleman Domingo. I have a few things going on besides that. 416 00:23:18,750 --> 00:23:21,810 shooting around my mouth. It's like dancing around. 417 00:23:22,090 --> 00:23:23,550 Doing figure eights and stuff. 418 00:23:23,770 --> 00:23:30,630 I have a second season of four seasons coming out 419 00:23:30,630 --> 00:23:31,770 on Netflix. 420 00:23:31,990 --> 00:23:38,050 And then I also have the third season of Euphoria coming out. And then I have a 421 00:23:38,050 --> 00:23:41,270 little biopic about Michael Jackson called Michael coming out. 422 00:23:41,670 --> 00:23:45,130 So I really hope to see you in the movie theaters on the small screen. 423 00:23:53,290 --> 00:23:54,290 It keeps going. 424 00:23:56,670 --> 00:23:59,650 Oh, I did it. I did it without... That was my goal, to see if I can get through 425 00:23:59,650 --> 00:24:02,550 it. It was... No water, no milk? 426 00:24:02,830 --> 00:24:03,830 No. 427 00:24:04,150 --> 00:24:08,810 I was like... I was getting crazy like that. If Will Forte can do it, I can do 428 00:24:08,810 --> 00:24:12,450 it. Yeah, because Will Forte did it, and I went to set, and I'm like, you're a 429 00:24:12,450 --> 00:24:13,450 maniac. 430 00:24:14,830 --> 00:24:17,270 Thank you. Thank you so much. Dude, this is great. 431 00:24:18,030 --> 00:24:22,450 I had a great time, Sean. This was great, man. Thank you so much. 432 00:24:25,870 --> 00:24:26,870 Hey, 433 00:24:28,090 --> 00:24:31,390 what's going on, Hot Ones fans? This is Sean Evans, and I want to introduce you 434 00:24:31,390 --> 00:24:36,990 to the new kids on the block. Say hello to the Season 29 Hot Ones Hot Sauce 435 00:24:36,990 --> 00:24:39,950 lineup. And if you want a chance to taste the show. 436 00:24:40,320 --> 00:24:45,120 It's easy. Just visit Hot Ones dot com. Hot Ones dot com. That's Hot Ones dot 437 00:24:45,120 --> 00:24:50,060 com to get your hands on the season 29 Hot Ones hot sauce lineup. 438 00:24:50,440 --> 00:24:55,560 Keep milk on the ready. Ice cream not included. But most importantly, I 439 00:24:55,560 --> 00:24:56,560 in you.