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00:00 And I said, "Well, there was a decision made in a really glorious way that Mr.'s songs
00:07 have been cut because we wanted to make sure that Mr. didn't have a song, and that's part
00:12 of his problem."
00:13 Ah, there you go.
00:14 So you know, I can sing and dance.
00:15 I'm a song and dance man.
00:16 I know, you are.
00:17 I was ready.
00:18 I did one turn, and I gave a couple notes and a big old number in the movie musical,
00:22 but I didn't get the chance to show my whole chops.
00:24 Right, I mean, they get to belt it out.
00:27 Yeah, they get to do all that, but I get to play the banjo in it.
00:28 I know you do.
00:29 I know, they keep trying to stop you though.
00:31 You see, you see, you see.
00:34 I learned it, but they tried to stop me.
00:37 So, talk, shout, take command.
00:42 Who is that?
00:45 The famous Bob Russell.
00:48 In '41, you called for a large-scale march.
00:53 The time has come for another.
00:54 Nobody.
00:55 I can handle all the grunt work.
00:56 Rally the yowls.
00:57 We are going to put together the largest peaceful protest made up of angelic troublemakers,
01:04 such as yourselves.
01:05 My friend, Dr. Martin Luther King, will be joining us.
01:15 How many bodies did it take to surround the White House?
01:17 How many?
01:18 Sorry, I thought that was the setup for a joke.
01:21 You literally want me to find out?
01:23 Yes.
01:24 Welcome to the actor's side today.
01:26 Man, is this guy working a lot right now.
01:31 Three major movies coming out just this year.
01:34 Sing Sing, which was at the Toronto Film Festival, a terrific movie.
01:38 We'll talk about that too.
01:39 You got a big award from the Toronto Film Festival with that.
01:44 The Color Purple opening for Christmas and the holidays, an amazing movie.
01:51 He plays Mister in that.
01:53 And Rustin, which you can see now and it's on Netflix.
01:57 And it is another remarkable film about Bayard Rustin.
02:01 It's great.
02:02 I don't know, organizer, activist.
02:05 He does everything.
02:06 This is Coleman Domingo.
02:07 Welcome.
02:08 Thank you so much, Pete.
02:09 Thank you.
02:10 Thank you so much.
02:11 When I say when I say all this, this is just this fall.
02:16 As you can tell, I'm a very lazy person.
02:18 Yeah.
02:19 Yeah, man, I've been doing some work that I really feel so great about that I feel like
02:26 is really, I don't know, reflecting things that I care about and what I want people to
02:30 care about in the world, whether it's about Bayard Rustin's legacy and him being an incredible
02:35 organizer and the architect of the March on Washington or The Color Purple, which is resonant
02:42 and for generations, really exploring generational trauma.
02:46 And then Sing Sing.
02:47 Sing Sing is a film that'll come out next year that I produced and I star in, but we
02:51 really worked with formerly incarcerated men and really just about like they're putting
02:57 on a play while they have this rehabilitation through theater arts program that has really
03:02 been really impactful in presence like Sing Sing.
03:05 You're one of the only few pro actors, whatever you want to call it, that are in it.
03:09 It's actually using real inmates there.
03:12 Yeah, absolutely.
03:13 That was part of the construction of it.
03:16 We wanted to make sure, it's kind of meta in a way.
03:19 I'm the central character, but it really is, I'm populated with all these people who've
03:23 actually gone through the program who are now professional actors.
03:27 And seeing how that program actually works, helps them get in tune with their feelings.
03:32 They have like a reincarceration rate that is like, I think, less than 4% or something
03:39 like that.
03:40 Wow.
03:41 So the program truly works.
03:43 And these guys have become close friends of mine and I want to help tell their stories.
03:48 It's an amazing movie, I have to say.
03:50 Thank you.
03:51 You just look at it and they're so talented too.
03:55 They're fantastic.
03:56 This is Shakespeare here.
03:57 Oh my God, yeah, absolutely.
03:58 One of my cast mates in particular, Clarence Macklin, his name is also, he's also known
04:04 as Divine Eye.
04:06 He's absolutely brilliant.
04:07 His instincts are brilliant.
04:08 I think there's the making of a superstar.
04:10 Wow, isn't that interesting?
04:12 Yeah.
04:13 You're finding all the talent now.
04:14 Yeah, right, exactly.
04:15 Yeah, exactly.
04:16 Rustin is a very special project.
04:20 I was in, actually that was in Telluride.
04:22 You weren't able to do that with the strike and everything.
04:25 Now we can talk about it, which is so great because we want to get the word out about
04:28 this movie.
04:29 This is a guy who most people probably didn't know who he was.
04:34 Yeah, which is a travesty.
04:35 It's a complete travesty.
04:36 1960s.
04:37 Yeah.
04:38 In the 1960s, he was actually the person that was a close friend and advisor to Dr.
04:45 Martin Luther King.
04:46 He inspired King about his ideology about passive resistance, which is a lot of ideology
04:52 that came from Gandhi, a lot of teachings and all.
04:55 They were dear, dear friends.
04:56 And he was one of the greatest strategic organizers.
05:01 And he would really rally the youth.
05:03 He really, I don't know, people really looked to him in his mind.
05:07 And he was so, first of all, he was such an original man.
05:10 He played the lute.
05:12 He sang Elizabethan love songs.
05:13 He was a star athlete.
05:16 He started doing bus boycotts in the 1940s, so way before Rosa Parks.
05:24 But he was openly gay as well.
05:27 And that was such a huge blight on him and his work and how he can be seen and perceived.
05:34 And that's why he's sort of been erased and marginalized in history books.
05:37 But he was also someone who's inspired President Barack Obama.
05:41 And Barack Obama has said to me, he said, "There would be no Barack Obama if there was
05:45 no Bayard Rustin."
05:46 He said, "I've always looked to Bayard Rustin with his organizational skills and how he
05:51 actually worked within the systems to make things work and equitable for people."
05:56 And Obama is an executive producer of this movie with Michelle Obama, his Higher Ground
06:02 Productions.
06:04 I mean, I know they had recently had a big screening in Washington, D.C.
06:08 That was fantastic.
06:11 That was the first screening that I was able to do.
06:13 So the moment the strike was over, I was in a plane to D.C.
06:16 And they were doing the HBCU First Look Festival.
06:19 So the very first time for Harvard University and Morgan State University.
06:24 And it surprised, the Obamas surprised the whole organization by making sure that this
06:30 was the launchpad for a film with my involvement during press.
06:35 So I thought that that was so meaningful, especially being in Washington, D.C.
06:38 That's where we actually filmed a lot of the film, especially the Washington Mall scenes.
06:43 So it felt like divine providence for us to actually get it started and being purposeful,
06:48 which is about amplifying these historically black colleges.
06:53 And really just really inspiring these 19 and 20 year olds that were there.
06:57 Because actually they can see themselves in the film, which is cool because many people
07:02 don't know this, that the March on Washington, it was organized by Rustin, but also with
07:07 19 and 20 year olds, people who are running transportation, like Rochelle Horowitz.
07:11 It's really kind of cool.
07:12 So these people would be, many people have become congressmen, congresswomen, you name
07:17 it.
07:18 And it was interesting.
07:19 Of course, that's the famous I Have a Dream speech that Martin Luther King delivered on
07:23 that day.
07:24 But there was conflict.
07:26 Especially with King and with the NAACP.
07:28 Absolutely.
07:29 There was much conflict because, and I think that was the whole reason that Bayard was
07:34 saying, we need to form coalitions.
07:36 We need to actually activate to make sure that we're all working together.
07:39 Because all these groups, like SNCC and the SCLC and NAACP, everyone has their own path
07:46 and the way to get the work done.
07:49 And at first, Bayard wanted, it was going to be a march for jobs.
07:53 But they also wanted the part of it, March for Freedom as well.
07:56 So we wanted civil rights as well.
07:58 Marching for jobs, which is like, that's exactly what Bayard wanted, which is about making
08:02 sure that poor people have access and agency in the world.
08:06 So it became this intersectionality of all of this.
08:10 And there was always conflict.
08:12 And one of the greatest conflicts, though, was with Bayard Rustin.
08:14 Because Bayard was openly gay.
08:17 And that was something that was pushed back within the movement from groups.
08:21 And I think that's why we have a line in our film where Bayard really poses that to Martin
08:28 and says, "They either believe in freedom and justice for all, or they do not."
08:33 He said, "I was born black and homosexual."
08:35 So you can't comport that.
08:39 You know what I mean?
08:41 So I think that's one of the greatest aspects of our film.
08:45 But also, that is something that Bayard was dealing with constantly.
08:49 He was constantly just trying to prove himself in rooms, knowing when everyone knew he was
08:53 one of the smartest men in the room.
08:55 Always.
08:56 You know what I mean?
08:57 That he was the one who could get the work done.
08:59 But after a while, Bayard was very concerned with just rolling up his sleeves and undoing
09:03 his tie and getting the work done.
09:05 And he may not get the shine that I think that he should have gotten, rightfully so.
09:10 That was afforded to people like Dr. King or Ralph Abernathy, you name it.
09:14 You know, you're obviously openly gay, too.
09:17 I think this project probably had even a more personal thing for you than many that you
09:23 do.
09:24 You know, I think so.
09:25 Because I think he's always sort of been a North Star to me.
09:27 Once I stumbled upon him in an African American student union class when I was 18 years old
09:34 at Temple University, I couldn't shake him.
09:36 Because I thought, "This is such a unique individual in the world who is unabashedly
09:42 himself."
09:43 And just because he's queer, that's not the largest part of him.
09:48 It's like how he feels, how he thinks, how he moves, how he operates.
09:52 And I thought, you know, I could be that way as well.
09:54 I can be my full self at all times.
09:57 And so even in my own career, there's never been a coming out moment.
10:00 It didn't make sense.
10:02 But also I thought, why lead with my, hopefully with my intelligence, my wit, the way I care
10:06 for people, the way I present myself in rooms.
10:10 And it's not just being queer, it's just a small part of it.
10:14 And I think that that's what I looked at for us.
10:16 And so I knew that that was our kinship in many ways.
10:19 And then it really, once I got cast, this really did become my mission of how do I actually
10:24 take care of a story and making sure that like a black queer Quaker man from Westchester,
10:30 Pennsylvania, who plays the lute and sing a lesbian love songs, he's given the fullest
10:34 experience.
10:35 It's not just about, it's not just, you know, separating him and just about his politics,
10:40 but you get into the messiness and nature of his personal relationships.
10:44 And we don't leave out the fact that he's queer.
10:47 You know what I mean?
10:48 So I think that that's a great bonus with the film and what we've strived to do.
10:53 So it is personal.
10:54 You also have a great accent.
10:55 Oh, thanks, man.
10:56 But that was Byers, man.
10:57 He had an accent and he put on an accent.
11:00 Listen, he had a full accent.
11:03 It's a mid-Atlantic standard-ish kind of accent.
11:05 At times it sounds like Kathryn Hepburn.
11:07 It sounds more British.
11:09 And in my research, I kept trying to figure out what was this accent.
11:12 And his voice is maybe about three or four octaves higher than mine and reedier, a thinner
11:17 voice.
11:18 And so I worked to work within that.
11:21 But then I was so confused about the accent because I wanted to get that right.
11:25 And then I asked Rochelle Horowitz, who was also featured in the film, I said, "What
11:29 is his accent?"
11:30 And she said, "Oh, well, he made that up."
11:31 I think he made it up.
11:34 What an interesting human being.
11:36 He made up his own accent.
11:37 And I had to think about that and process why would someone do that?
11:41 And I thought, well, actually, I think he probably used it as a tool.
11:44 So that's why I decided to use it.
11:45 I made a choice to use it in different scenes.
11:48 Sometimes there's a little bit more of a flourish.
11:51 Sometimes it's pulled off.
11:52 Sometimes it's a bit more vulnerable where he's sort of like, it fades away a bit more.
11:56 Because that's actually what happens with his accent when you look at different interviews
11:59 or debates of his.
12:02 And then he's got his physical language as well.
12:04 I wanted to make sure that the way I embodied him physically was different than myself.
12:08 I think that he's a bit more florid in the way he moves.
12:11 And I thought that that was fascinating in images, the way he would cross his legs, or
12:15 the way he would hold his face or lean back or smile.
12:18 Because he had two teeth missing.
12:20 And it didn't seem like it was an impediment.
12:22 It didn't seem like he hid it.
12:23 He would smile wide and bright and open.
12:25 So I love that in our film that there's some real HD closeups.
12:31 And you really get my grill.
12:33 You get it fully.
12:35 But he's not concerned about that.
12:37 Actually he wears, I think his, I made a choice that I think he wears his smile and the teeth
12:42 missing as a badge of armor.
12:45 But also not a badge of armor, but also to let you know that this is part of the ills
12:48 of our society.
12:50 Because that was taken out by two policemen in Tennessee years prior.
12:54 Well you know, it's an amazing performance.
12:57 And then I have to say, the color purple, as we sit here, I just saw it last night.
13:02 And you know, this is a Christmas present for the world.
13:06 This movie, and we think we know the color purple.
13:10 You know, the book, the 1985 movie, the Broadway musical.
13:14 This is an adaptation of the Broadway musical.
13:17 And it's so vibrant and important and makes it all new again with a completely different
13:24 take.
13:25 The color purple is, it's huge.
13:28 It's seismic.
13:30 And the work that Alice Walker has given us, from the book to the film to the Broadway
13:36 musical, feels like it has many hands on it.
13:39 And it's generational.
13:41 And now I get to step into it as mister and be a part of all the other misters.
13:45 You know, coming from Danny Glover to the man who played him on Broadway.
13:50 And so I think that with each mister, I think there's a sort of a passing of the torch in
13:53 a way.
13:54 You want to help peel away another layer in many ways.
13:58 And for me, I wanted to actually really approach this version of the color purple of looking
14:04 at why hurt people hurt people.
14:08 I really wanted to examine mister and really look at his heart and soul and look at his
14:11 wants and needs and desires for me not to villainize him.
14:15 I didn't want to judge him in that way.
14:16 I wanted him to think of him as a dreamer.
14:20 Somebody who has dreams as well.
14:21 But he was under his father's thumb.
14:24 And he had to make certain decisions.
14:25 And when a person feels less than in the world, what does he do?
14:28 Well, of course he abuses someone else.
14:30 So we're able to understand this trauma and then there's some redemption.
14:35 So I thought that I think that that's something that Boots and I talked about, Oprah and I
14:38 talked about, especially when it comes to understanding the men in the color purple
14:41 as well.
14:42 We are in service to the women in the story because it's the women who are really navigating
14:46 this trepidation.
14:47 Fantasia, Daniel Brooks, Taraji P. Henson, and on and on.
14:52 The young, Felicia, Hallie.
14:55 I mean, extraordinary.
14:57 But what you just said about Mister is really interesting because when you look at him initially,
15:02 you think, "This guy is horrible.
15:04 He's horrible to her.
15:06 He's beating her up.
15:07 He's doing terrible things."
15:09 But you absolutely do see what you're talking about there, that he has hurt himself.
15:14 Yeah, because otherwise it would be easy to dismiss him and just say, "Oh, he's violent
15:18 and he serves that purpose."
15:20 I think there's an opportunity here, especially when it comes to looking at a black male who's
15:24 been abusing his wife for so many years as well.
15:27 I feel like let's look at the systems that he was caught up in as well so we can examine
15:31 that and then you can break that trauma like his son does, like Corey Hawkins' beautiful
15:36 portrayal of Harpo.
15:37 He wants to break that cycle of trauma.
15:40 And Fantasia's character, Celie, she does the same thing.
15:44 But you have to know what that cycle is and understand that person, understand it's human.
15:48 And then there's forgiveness.
15:49 I think that's something that's thematic.
15:54 I know for my money, that's thematic in these three things that we've laid out, in The Color
15:58 Purple, Rustin, and Sing Sing.
16:00 There's forgiveness, rehabilitation, in all of them.
16:07 It's all of them.
16:08 Yeah, exactly.
16:09 And also people coming to light and telling, being centered in the truth.
16:13 Yeah.
16:14 Well, you were on Broadway, musicals.
16:15 You played Mr. Bones.
16:16 I saw that show.
16:17 You did.
16:18 Scott's Pearl Boys.
16:19 Yeah, I absolutely did.
16:20 Yeah.
16:21 And so being in a big Hollywood musical is not that big a leap for you.
16:26 You know, it's not, but the wildest thing is this.
16:29 And when people see it, they'll realize there was a question someone had.
16:32 They're like, "Well, wait a minute.
16:33 You don't sing much in this version of The Color Purple."
16:35 And I said, "Well, there was a decision made in a really glorious way that Mr.'s songs
16:41 have been cut because we wanted to make sure that Mr. didn't have a song and that's part
16:45 of his problem."
16:46 Ah, there you go.
16:48 So, you know, I can sing and dance.
16:49 I'm a song and dance man.
16:50 I was ready.
16:51 I did one turn and I gave a couple notes and a big old number in the movie musical, but
16:56 I didn't get a chance to show my whole chops.
16:58 Right.
16:59 I mean, they get to belt it out.
17:00 Yeah, they get to do all that, but I get to play the banjo.
17:02 I know you do.
17:03 I learned the banjo.
17:04 I know.
17:05 They keep trying to stop you though.
17:06 You see?
17:07 You see?
17:08 But I learned it.
17:09 They tried to stop me.
17:10 It's amazing.
17:11 I mean, people are going to see all sides of you with these films and of course already
17:16 know you from so many things you've done.
17:18 You won an Emmy.
17:19 Congratulations.
17:20 Thank you, Pete.
17:21 For Euphoria, Zali.
17:22 And, you know, that's a great role too.
17:25 Everyone's waiting.
17:26 Is there ever going to be this third season of Euphoria?
17:29 Yes.
17:30 Yes.
17:31 If we can get out of these unprecedented times, they keep stopping production.
17:34 Pandemics, strikes.
17:35 Like, we just can't get a break.
17:39 So, yeah, it looks like we're going to start again next year.
17:42 Oh, okay.
17:43 So, I think you can look forward to 2025, similar Euphoria.
17:45 So, just hang in there with us.
17:47 Hang in there with us.
17:50 Everyone's waiting on that.
17:52 And that's a great character too, by the way.
17:54 I love playing Ali.
17:55 And working with Zendaya, I think we have such a great chemistry together.
17:58 Sam created Ali for me.
18:01 And so I feel like he really, he's given me such incredible language and heart and complexity
18:07 for a character that has inspired him, which is awesome.
18:09 How did it feel winning that Emmy for that?
18:11 You know what?
18:12 That was actually, that's wild.
18:14 But I had such a quiet moment, a quiet peace about it when it happened.
18:20 Because I understood, you know, I've been working for a long time.
18:23 I know I look very young.
18:24 But I've been working for a long time and it did feel like, it felt earned.
18:32 I feel like I know I earned it.
18:34 And not just for Ali.
18:36 I know it's like my time in regional theater and struggling in the times when I wasn't
18:41 working, when I had to create something else or, you know, how I developed into a playwright
18:45 and a director.
18:46 So it just felt like I was like, oh, this is sort of a great honor to say, we see you
18:51 and keep going.
18:52 And I just felt like, I felt like it was for a body of work.
18:55 That's cool.
18:56 And you mentioned playwright and director.
18:57 I think you're the only cast member of Fear the Walking Dead that actually directed.
19:02 Yes, I directed and I became a producer on Fear the Walking Dead.
19:05 And became a producer.
19:06 So you're working heavily behind the scenes too.
19:09 Yes, pulling the strings.
19:10 And that's another interesting one.
19:12 I mean, that started, I think, as a recurring role and then immediately put you in as a
19:17 regular.
19:18 Victor Strand.
19:19 Victor Strand.
19:20 He's a complex guy.
19:23 Very complex.
19:24 Not sure what to think about him.
19:26 Because he's got a very interesting, you know, moral compass.
19:29 Let's just say that.
19:31 But I think, you know, we just finished our journey of Fear the Walking Dead.
19:35 Eight seasons.
19:36 I'm the only character that went through every single season.
19:41 And when I first got on the show, I didn't know that I would, I didn't know that I would
19:44 still be on.
19:45 I thought, this character will be off and killed in like three seasons.
19:48 It didn't make sense to me.
19:50 But I think he became like a fan favorite because you always knew that there was some
19:53 goodness in him, even though he was doing some terrible things and organizing.
19:57 But you had to respect him because they were like, he's really smart and a great strategist.
20:01 Sounds like other people I play.
20:02 But, you know, but kind of cunning.
20:05 And then I made sure that we, when we turned him into the villain in season seven, I thought
20:09 that was, that's when I had the most fun because I was like, oh, now he gets to really try
20:13 to figure out his entire world and really let this world operate with his operating
20:17 systems.
20:18 And then the final season was about sort of a redemption story of like, now that you have
20:24 unpacked all of that about survival, who do you become now?
20:28 How do you use those powers for good?
20:30 So I think, you know, maybe that's also, I don't know if I've had influence with the
20:33 showrunners about that because I was interested in finding the light and the dark and seeing
20:38 how it lives in inside of you completely, you know, and it just, you know, I, everything
20:44 inside of me, I think, I believe I'm a, I'm a good human being.
20:48 I try to be good and do good, but I have everything inside of me to be vicious and villainous
20:53 and hurtful.
20:54 It's because it's human.
20:56 I just wake up and make another choice every day.
20:58 That's so, that's perfect.
21:00 You know, I bet, you know, and you play so many different kinds of interesting characters.
21:06 Does it, do you, you get a lot of offers.
21:08 I mean, even here, your phone went off.
21:10 It was your agent calling probably with five more offers, you know, I'm sure this happens.
21:15 She's trying to interrupt me and I was like, Elizabeth, I'll get back to you.
21:18 I'm sure this happens all the time.
21:20 What are you looking for now?
21:21 Because you have a lot of cachet going now, I think, to, to do whatever you want.
21:28 You know, thank you.
21:29 I think I always say that I like to do something that I haven't done before.
21:33 Things that I have questions about that I feel like I might not be able to achieve it.
21:37 Things that will call on my strengths and things that I haven't explored.
21:41 That's what I'm drawn to always.
21:42 So which is why my career looks so varied.
21:44 Yeah.
21:45 And you know, which is why I can play a pimp and a civil rights leader and, or a loving
21:50 father's because it's a part of me that I'm trying to explore.
21:54 Yeah.
21:55 So I'm looking for that next, whatever it is.
21:56 I actually have this show called the Madness for Netflix, which is cool.
22:00 I sort of, I play a CNN analyst who gets framed for murder and I have to go through different
22:05 sects of society to find out who's doing all this.
22:09 And so I become a vigilante in many ways.
22:11 I become like, you know, like James Bond and many ways.
22:13 It's really kind of cool.
22:14 I do jujitsu.
22:16 It calls on a lot of things that I haven't done before.
22:18 So I like a challenge.
22:19 So whatever that next challenge is, I'm game.
22:21 I'm all for it.
22:22 And I feel like it's gotta be something I haven't done before.
22:25 You mentioned playing a pimp.
22:26 No one's played a pimp like you did in Zola, man.
22:28 Oh yeah?
22:29 I still have people a little afraid of me when they, when they, they didn't, they don't,
22:35 they didn't expect that.
22:36 I, I, I have that darkness in me, you know, but a Jennex of Bravo saw that and she knew
22:41 my work in the theater and she thought, cause I really thought this is after I did, if Beale
22:46 Street could talk, I thought, well, wait, what about that role made you think of me
22:50 for the pimp and Zola?
22:51 There's nothing in there.
22:52 And she says, no, I think that you're an actor who can do anything.
22:55 And he said, I know I needed someone who could be charismatic and can keep pulling the rug
23:02 out from underneath us.
23:04 Just when you think he's good and charming, he's scary.
23:07 And so that was, that's what, that's where we navigated it.
23:09 So I love playing roles like that, but a little alt, a little off in some way.
23:14 You know, I've, you know, I've been inspired by people like, you know, Philip Seymour Hoffman
23:17 or Robert Downey Jr. or Dustin Hoffman.
23:20 You know, the people, you know, Harry Belafonte Jr., one of the greatest sort of character
23:24 actors and leading men, people who can morph and shift and change, you know, but also,
23:29 you know, who can lead, but also not afraid to fold into a whole unique character.
23:33 I love, you know, Christian Bale.
23:35 You know, exactly.
23:36 These are people I've always looked to.
23:38 I love it when I see actors doing unexpected things.
23:41 You know, there's a documentary on Albert Brooks right now and you know him for comedy
23:44 and everything.
23:45 Of course, if you saw this movie Drive that he did, he's scary as hell and he could do
23:49 it, you know, and, you know, and those are the great actors that allow themselves to
23:55 go that way.
23:56 I think so too.
23:57 You just mentioned one of my favorite people because I think actors like that, they have
24:01 a bit of, I'll just say the clown in them.
24:04 And clowns can be light and dark and they can turn on a moment.
24:08 The clowns in Shakespeare are always, you know, philosophers.
24:12 They watch humanity and society and they can turn things around.
24:15 They can go to dark to light in a moment's notice.
24:18 Some of my favorite actors have been like Madeline Kahn.
24:21 You know what I mean?
24:22 You know what I mean?
24:23 Because I feel like, yeah, they can play all these different notes because they're not
24:29 beholden to just one thing either.
24:30 They can really go to the trickery of like the human spirit.
24:33 Yeah, it's so much fun to see.
24:35 And boy, if you haven't seen any of these things, you're going to have the film festival
24:40 of all time.
24:41 It's called the Coleman Domingo Film Festival.
24:45 Curated by Pete Hamer.
24:46 Yes, here it is.
24:48 Thank you so much for joining us on the actor's side today.
24:50 Thank you.
24:51 This is wonderful.
24:52 Thank you.
24:52 Thank you.
24:53 Thank you.
24:54 Thank you.
24:54 (upbeat music)
24:57 (upbeat music)