August 14, 2024 • 31 mins
This week, Tommy is joined by Academy Award nominated actor Colman Domingo. You know Colman from his powerful and memorable roles in Rustin, The Color Purple, The Butler, Selma, the fan-favorite series Euphoria, and so much more. But today the conversation is all about his film Sing Sing which is already getting Oscars buzz. In Sing Sing, Colman plays Divine G who is imprisoned for a crime he didn't commit. He finds purpose by acting in a theater group alongside other incarcerated men. This is a special edition episode of my podcast because this interview is from an event I moderated, presented by the prestigious 92nd Street Y New York. The 92nd Street Y New York is a world class center for arts and innovation. They offer extensive in-person and online classes and events, including live talks, concerts, and dance performances. I hope you enjoy this powerful and moving conversation.
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Episode Transcript
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Speaker 1 (00:01):
Hey guys, welcome to I've never said this before with
me Tommy di Dario. Today's guest is Academy Award nominee
and my friend, the one and only Coleman Domingo. Now,
this is a special edition episode of my podcast because
the conversation you are about to hear it's from an
event that I'm moderated, presented by the prestigious ninety second
(00:22):
Street wy New York. You of course know Coleman from
his powerful and memorable roles in Rust, in The Color Purple,
the Butler Selma, the fan favorite series Euphoria, and while
I could be here for hours talking about all of
his amazing credits, but today the conversation is all about
his film Sing Sing, which is out right now. In
(00:42):
Sing Sing, Coleman plays Divine g who is in prison
for a crime he didn't commit. He finds his purpose
by acting in a theater group alongside other incarcerated men
and men. This movie is so beautifully moving. So the
ninety second Street Wide, New York is a world class
center for arts and innovation. They offer extensive classes and
(01:02):
events in person but also online, making it accessible to everybody,
including live talks, concerts, and dance performances, and get this,
they even just celebrated their one hundred and fiftieth anniversary.
So you can check them out at ninety second New
York dot org and look for their own podcast, ninety
two and y Talks, featuring the best of their on
(01:23):
stage conversations. So let's see if today we can get
Coleman to say something that he has never said before. Hello, everybody,
welcome to the fun Q and A portion of the evening.
Did you all enjoy the film you just watched? I
(01:45):
know it was amazing. I am Tommy Didario. I work
on a show called Extra, and I get to interview
so many amazing artists throughout my career. But it's people
like this gentleman, Coleman Domingo, who I up when I
get to talk to because not only is he a
brilliant artist, but such a good human being. So I
don't need to introduce him any further. Let's bring him out.
(02:07):
Coleman Tomingo, get down here, Come on, and just so
you guys know, we're gonna have about a half hour
conversation no Q and A today, but I've got to
cover We're gonna get into a lot of good stuff.
So are you ready, my man?
Speaker 2 (02:27):
Absolutely? First of all, thank you so much for joining
us today. I feel your energy.
Speaker 1 (02:32):
Thank you, Coleman. I was blown away watching this film,
as I'm sure so many people here today were too.
And I guess to begin, you did this movie when
you had about an eighteen day break from what I
understand between the color purple and rustin. So instead of
being like, I'm gonna go to the beach, I'm gonna
(02:53):
go out for brunch, I'm gonna just relax for eighteen days,
you jumped into a very powerful movie. What made you
say I need to be a part of this film?
Speaker 2 (03:04):
You know, I started to I was invited by my director,
Greg Quidar and Clymt Bentley. They have been racking themselves
with this idea for like a good six or seven years,
and because they were working as teaching artists in the
ARTA program at Sing Sing and they thought they really
wanted to tell these stories and they felt like that
they mattered, and they really wanted to get it out
(03:26):
there in some way be authentic, and they kept hitting
roadblocks with it just in terms of like how to
actually do it. So they finally picked up the idea again,
and Greg said he wrote a treatment in about an hour,
and at the end of it he wrote my name.
And now, by circumstance, it was like, you know, a
couple of my reps. They were saying, you got to
(03:47):
meet these guys. I think that you were really like them,
you were like their art. I watched the movie Jockey.
I thought they did a beautiful film, and I said,
I love to meet them someday, you know, just generally
meet them. And then so we got on a zoom
and they were telling me about this program and how
it works, you know, rehabilitation through the arts that sing sing,
and I thought, oh, what is that. You know, they
(04:09):
do plays and it's been really helping these inmates get
in touch with their feelings and really do some true
healing on the inside. And I thought, I was fascinated
by that. I'm really I said, could you send me
a script? They said, oh, no, we don't have a script,
but they said, but we continue the Esquire magazine article
that they did on it years ago. So I read
that and I was so taken with it. And then
(04:31):
I got more information, like the fact that there was
a three percent recidivism rate amongst the men who went
to the program compared to sixty percent nationwide. I thought, well,
this is really impactful and credible, and anyone knows me,
I'll do my damnedest to tell complex stories about African
American men, black and brown men, and because I feel like,
(04:53):
you know, that's what I've been put on this earth
to do. So I just thought there was a fantastic idea.
And so we started to create this, create the screenplay together.
We were just you know, we would talk about things, me,
the two guys, and also Clarence Macklin, you know, mister divine.
I We would get on zooms and talk about what
(05:15):
was important to us, talk about story, and so we eventually,
you know, got to a draft and then they said, well,
when can we do it? I said, oh, we can.
I don't know. I'm I'm busy for the next year.
And but and I just to look on Greg's eyes
and Clarence's enthusiasms, said, oh, man, we really feel like
we should make this this year. We got to get
(05:37):
this done. And I'm a very I'm a very patient person,
but this seemed very pressing, like we needed it right now.
And they and the beautiful things they said they needed me.
When somebody tells you I need I need your help
to do this and to do this work and to
be in service to these and care for these men's stories,
(06:00):
I feel like I had to make time. And so
I told them. I said, well, my gosh, man, I
got it back for pickup shots for rust and I'm
just starting the color purple. And you know, I like
to prep a lot, too, So I really liked to
have a couple of months, maybe even four, to get
myself together. And I wouldn't have any of that. But
I thought, this is it's time to do something differently
(06:20):
and do it and distrust the process. And I said, well,
I have eighteen days in between two things. I said, oh, well,
we'll take them. I said, what are you talking. No, no, no, no,
I didn't mean you can take all my days. But
they did, and we leaned into it, and we went
to upstate New York and shot and too decommissioned prisons
(06:42):
and a junior high school and a sports complex.
Speaker 1 (06:46):
Yeah, and you're bringing a real community's stories to life. Right.
So with that, and with so little time to prepare,
if not any time to prepare, did you have any
trepidations stepping into this massive role. Did you feel like
I need to get this story right.
Speaker 2 (07:03):
The thing that I felt trepidacious about, and which was
I think the thing that was guiding me was I
didn't want to stand out in a way. I wanted
to be folded into the ensemble with these men who
had the lived experience. And yet they've they've received their training.
I believe, you know, I've always believed you can get
your training from Yale Juilliard. You can get it by
(07:25):
being a working artist, or you can get it in
an institution like the industrial prison complex, if something like
RTA training is training. So I knew that they were
coming with their skills, and I thought, okay, I just
want to I just want to be folded in. I
don't want the idea. I don't want to be over.
If anyone knows my work, if you know, between zola
(07:45):
and color, purple and rust, and I can play things
with size, you know, just a little bit just slight,
I mean missing a tooth and a wig, you know,
an accent. But this required me to be a bit
more stripped and a bit more raw, and I think
that that was also part of the process that I
needed to not be overrehearsed to know everything. I felt
(08:10):
like I needed to actually just strip away and be
a bit more vulnerable and be even closer to myself
and to find all the similarities in John, Divine g
and me. So I feel like that was new for me.
Speaker 1 (08:22):
How much time did you have with him before you
film this movie? Did you get a lot of time
to talk to him and pick his brain or you
dove in?
Speaker 2 (08:29):
Not a lot? But also I didn't want a lot,
which is which may sound strange because I think, I
think in order to create a character that has to
live in a one hundred minute film, I have to
divorce myself from feeling like I was going to try
to mock or imitate, or I don't want to treat
(08:50):
the subject like an anthropological study and ask them every question.
I want to sort of just sit and listen. So
I only had I had I feel like a couple
zooms with him just getting to know each other. I
didn't pry or anything. I just wanted to get to
know his spirit and what he was interested in and
download information. And then we had a dinner where I
downloaded more information, whether he knew it or not whether
(09:11):
we both knew it or not. I had so much
more information I can take in the room with me
when he would just tell me things like, oh, yeah,
I went to Yeah, I went where'd go high school?
I went to high school here? I went to Overbrook
High School? You mean Will Smith? Oh yeah you did?
Where'd you go high school? I went to high school,
you know, high school performing arts? And man, I want
to be a dancer. I was a dj. I want
to dance, you know, I wanted. He wanted to be
a ballet dancer and jazz, he said, but then I
(09:32):
would have to fight when I went home, and so
then I stopped dancing. And then he was like, man,
I also wanted to go into the police force. But
and then he sat there with his with a thought,
and he said, man, you think about the life choices
you make, and what if I did that? And so
I just took that in and so I know that
when I was on set, I was able to I
would talk to my director and I would say, I
(09:52):
think that I want to try to incorporate a moment
of dance in here. This just because the person that
I knew when he he'd lit up when he talked
about dancing, so I said, oh, if I'm at some point,
it'll be in there. So I just downloaded. I didn't
think when I was going to do it. But that's
when that pairrowet comes in when I'm waiting outside of
the audition, because I've downloaded information that I can play
(10:15):
off of, you know, of knowing this person's soul and
what he was interested in, you know what I mean.
So I feel like instead of saying being so decent,
I'm going to do this thing and like you leave room,
like like John Patrick Shanley would say, you leave room
for the divine to reside, you know, so you download information.
That's what I felt like I was more conscious of
with this, so I can give more of his essence
(10:36):
and spirit but not be too studied in performance. Does
it make any sense? Yeah, the actors out there, does
it make any sense? Okay?
Speaker 1 (10:43):
Cool? Yeah, giving us an acting masterclass up in here. Okay.
I see you, cole Man, I see you. And I
love that he had a little cameo in the movie too.
He was special.
Speaker 2 (10:51):
He was so nervous to do that. He was so nervous,
you know, you know, he never thought somebody Paul and
Gorgeous would be playing him, but you know, totally kidding.
Speaker 1 (11:01):
And we're pivoting, No, just kidding, Clemn. I wrote a
quote down and this quote. It struck me because I think,
no matter what so many people are going through in
their lives, no matter where they come from, no matter
what walk of life they are, you can relate to
(11:23):
this quote. And that quote is we are here to
become human again. And that's about the RTA program. Of course.
So when you hear that and when you're living that
in the movie, like, what do you feel? What does
that mean to you?
Speaker 2 (11:36):
It's funny because I think it didn't affect me until
I saw a cut of the film because even being
in the scene, I was playing a different action, you know,
so I wasn't aware of it in the moment. I
was just watching him. It was just such a a
cacophony of moments and many moments of like sort of
helping Divine Eye sort of like leave some traumatic behavior
(12:02):
that doesn't fuel him anymore. And he didn't even know it.
But then when Dino delivered that line, and I think
it's so impactful. I think I could put a circle
around it and say that's what the whole movie is
about It's about our humanity and about everyone getting back
in touch with the essence of why they were brought
here on this planet in some way, you know, getting
(12:25):
back to the heart and getting back to joy, back
to tenderness, back to all these things that maybe the
world has sort of done a number on you in
some way, whether you know, when you talk to people
and you're like, you know, you look at people's paths
and you just have a simple conversation with how you know.
I know, I was raised, I was loved, I was adored.
(12:46):
I was set up to believe that the world was
meant to do me more good than harm, and some
people weren't that way. So whatever, all these things that
helped create a person and create these small moments that
lead to another moment that changes your whole trajectory and
you have to strip all that stuff away when you
have a gift like an RTA program. You know, I
(13:09):
know that art saves and changes lives. It's not just
something I'm saying, it actually does, you know. And I
think the idea of watching black and brown men play
and be tender with one another when the world is not,
it says that you can't. It's not a construct for you,
you know. I think we're told that, you know, I like, oh,
(13:30):
what is to be masculine? Ough to be a man?
And now it's they're actually And so the idea of
these grown ass men standing in a space saying we're
going to reject that, because that's not health before us.
It doesn't help our families, it doesn't help our communities,
it doesn't help our longevity. If anything at Railroad is
right back into these institutions, you know. So it's about
(13:55):
doing this active work to say. And I feel like
that's what this film is for me as well, because
I know that when we were building this film, the
thing I know I just kept talking about, probably ad nauseam,
was tenderness. And I want to see more images of tenderness.
So that's why every handshake, every hug, every every delicate
moment of leaning up against a room pouring your most
(14:18):
innermost thoughts out to someone at night is important because
it's for it's for us to live and exist wholly
and fully.
Speaker 1 (14:31):
Coleman, it feels like this movie was very much a
cathartic and even healing experience for you. Is that correct? Yeah?
Tell me more about that.
Speaker 2 (14:41):
I think it is because I think it just it's really,
which is why I made time for it when I did.
It makes sense to me now outside of all this,
as I was sort of deconstructing this broken human who
was abusing someone in the color purple or playing, you know,
someone who was completely undaunted in the world while trying
(15:04):
to change the world with rustin, this feel like it's
in line with all of it. This feels like it's
it's a it's a it's a it feels like an
even deeper dive into I guess, into our humanity really
and just I think I think it's very purposeful for me.
I feel like I know for sure, if I don't
know anything else, I know why I make art and
(15:27):
why I continue to make art and why I do
it on every platform because I can start see the
line of it now as I've been doing this work
for thirty three years, I'm like, oh, I really care
about who are we and who are we going to become?
And and I'm not someone I don't think. I'm not
wildly political. I'm not out there, you know, burning down
the streets. I burn it down with my art and
(15:49):
with a pen and I know that that's what It's
even more potent right now. I mean, I know for
sure that this film needed. We need this film right
now so we can have conversations about this about people
you thought you had nothing in common with. You realize
it's just human. These are human beings. You can have
deeper conversations and deeper interrogations and and I don't think
(16:13):
differently about how we do this and who people are,
So I know that's important to me. So I think
it's it's in alignment with all the things I really
care about. And you know, when I was a young actor,
I wanted to do dumb shit like anybody else and
just say, oh can I get a job on the
WB and make a lot of money and be named
Pooky or something? But that never came my way. It
(16:37):
was always, you know, it was always very meaningful things.
And I think of myself as a pretty lighthearted person.
But I think at the core, in my private spaces,
I'm at home reading Baldwin and Ellison and and really
caring about how are we going to do this? How
are we going to live every day? You know I
care deeply.
Speaker 1 (16:56):
Well, it shows in your work, and I mean, as
a friend and as a fan of yours, I'm so
proud of what you put out into the worlds. And
you continue to raise the bar and put out messages
that mean so much to so many people. And you know,
your performances, we feel them, we feel a man. And
there was a moment in this movie when you received
the really big, thick Manila envelope. And I don't know
(17:20):
about you guys, but my heart broke because you know
that you wanted to get that thin one. So what
was it like processing that moment in that scene for you,
because watching it was like soul crushing.
Speaker 2 (17:34):
Well, here's the secret. That was the very first shot
I did.
Speaker 1 (17:38):
Of course, I was, of course, wow.
Speaker 2 (17:41):
That was my first shot of the film, and so
I just wanted to take in you know, I think
at our best as artists, I think we're teachers, yes,
but also to think the impaths, you know, when we
were very open to someone who's experience in listening and
(18:01):
just imagining, like you know, that's the thing when people
are like, well did you research that? What did you say?
You know, I can pretty much imagine what would happen
if I was actually, you know, wrongly accused of a
crime and imprisoned and trying to find ways to have light,
hope and humanity. Like like the real guy that I play.
(18:22):
He you know, he would was always in the law
library and advocating for his fellow inmates, you know, when
they had their parole board hearings, et cetera. And he
would They would want to pay him something, and he said, no,
you just pay it forward. You do something for somebody else.
This is the light. It's been a day, y'all. We
know it's been a day, right, you know, we're all
(18:44):
experiencing this day, and we talk about hope, you know,
and I know it's on everyone's mind. But and I
think maybe that's why I literally was laying in bed
before I got here, because I was like, what we're
gonna do? Y'all were going, we're gonna do this good.
You know, I'm playing in bed. I'm like, we're going
to do We're gonna do it, right, Okay, So so
(19:06):
I'm feeling very emotional.
Speaker 1 (19:10):
Sorry, but I'm just saying that.
Speaker 2 (19:12):
What was I talking about?
Speaker 1 (19:15):
The envelope scene?
Speaker 2 (19:17):
So get this. So the idea of like processing that
and you know, this guy who lives with so much
hope and pouring so much love into others, and then
he gets that brick, knowing that he's going to have
seven more years at least. Your your heart just drops
for me. I wanted to play for me. I thought
(19:39):
this person just must their emotions must stop in that moment.
I thought it was just the thing. I thought like, well,
how's he gonna react to this? You can play the
scene many different ways, and I thought, I think he
just stops. I think he just locks it all down
because I think that if he went there, he would
(20:00):
lose his whole fucking mind or he wouldn't know how
to get back up because he he he was He's
a person who plays on strengths and always feeling like
I'm good there, I'm good for everybody, I'm good. And
then he's not. And then the next scene he goes
in and brother man is getting out. It's like one
more thing, Okay, so I'm not I'm truly innocent, and okay,
(20:25):
one knock, next knock, Mike, Mike's dead. It's just like
it's like how much can you pile onto a person?
And I thought, well, I think that this guy, I'm
the very emotional person as you can tell I thought
it would be interesting if this person just just did this,
and then it comes out in the most raw way.
(20:46):
And and in that in that one scene when they're
rehearsing the play, and then what I what I loved
because we didn't talk about this. I was gonna come
out and play, to play it the way I thought.
He's triggered, and he plays it. And the beautiful thing
that Clarence Macklin did is how he received that. You
saw that the program was working on him because he
(21:10):
pretty much could knock me out right, but he made
a choice to have grace for me and understand and
put his put himself in my shoes and say, bro,
you don't really want to do that, It's all right.
And so for me, I loved that moment in the
film because we were and we were shooting that stuff
out of order, but like the agreement that we made
in that moment is really the agreement that these men
(21:33):
in the bond, that these men were making to each
other for real, for real, and.
Speaker 1 (21:38):
It made that scene so much more powerful. I thought
when you did kind of have a little bit of
the breakdown in the dress rehearsal right, because it just
you couldn't take it anymore, and it came out, and
I think the choices you made are so brilliantly you
and the subtlety in that moment really with the envelope
got me. I mean, as so many moments did The
(22:03):
location too for me. I mean, the location is a
big character, and you filmed on location, of course, and
you know you see the train going by multiple times
a day, and even when you don't see it, you
hear it throughout the film. And to me, that was
such a powerful message of this idea of escapism and
people living their lives while prisoners were watching right and dreaming.
(22:23):
So how was it filming there? I mean, did that
just bring it all to life in a bigger way?
Speaker 2 (22:28):
It did because it's shooting on location and decommissioned prisons,
and we shot in one of them was Downstate Prison,
which was decommissioned like weeks before we got there, so
you felt the energy there in every single way. So
it it the thing that I know for sure, and
I didn't go do a deep dive in it. I
(22:50):
just took it in, feeling my way through. It's designed
so you can't find your way out. I was constantly lost.
Was I always had to have a pa come and
take me from my holding cell. I literally I had
a holding cell that was my holding and Mike. Mike
was in there with me. We sort of we did
this wild thing where I had to move into where
(23:11):
I was staying as well, so we were roommates on
set back, you know, offset offscreen and then on set.
But the air feels different. He feels like there's no
flow of air. There's something psychological working on you in
every single way where you felt like it's a system
(23:32):
like you just I don't know. I felt like I
always needed to get out when we had a break,
I need to get outside and get some air because
the air wasn't moving at all, and it's really hot,
and it's it's it's the thing that I know for sure.
It's not set up for human beings. It's not set
up for rehabilitation. Doesn't feel like it. You're like, you know,
(23:54):
there's nothing in it that says, oh, we want you
to get better, we want to return you a better
human out in the world and be productive member of society.
It didn't feel that way. I knew that much, so
that wasn't hard to so there was elements of this
film where you just sort of leaned into it. You
lean into the way it may see that the cells
(24:18):
are so small as well, you're like, this is not
for human beings. It's just not And I think I
have a lot to say about that, but I think
I'll just leave it there.
Speaker 1 (24:28):
So jumping off of that, is there a main message
you hope people walk away with from this film?
Speaker 2 (24:37):
I do, and I think that my brothers who I
worked with, would echo this. Clarence Macklin would always say,
it's important that you know that that's a human being
and somebody who if you pour love into them, you
pour hope into them, they can change. And no one
(24:59):
should be judg which by the worst act, heinous act
that they There is a with accountability, with work. You know,
people are human and it's not even I think a
lot of times it's not even just about the actor.
It's about all the stuff that led up to that act,
all the just whether education, whether it's redlining, whether all
(25:20):
this stuff that's created a person to do this ort
to make a choice. In that way, we can we
as a as a society because it affects all of us.
Incarceration affects all of us. And I think that's the thing.
I think a lot of us didn't know that, like
this movie has anything to do with us. You're like, oh,
if you don't have somebody on the inside, you're like, yeah,
but it's not but just about the person you're inside.
(25:41):
It's all of us. It affects all of us. And
for me, I know for sure when I when it start,
I start to think how many there's a lot of
white folks inside too, but there's a lot of black
and brown people in there, and folks growing up without
fathers and mothers, and you know, communities are suffering because
there's a lot of people on the inside and we've
(26:02):
got to make some changes. So I think it helps
for me. I just want people to just think about it.
You don't have to actually, you don't have to do
anything right now, but because I feel like that's just
knee jerk, but you have to think about it and
think about people as being people and it's human and
how do we take care of each other all everyone,
you know, and how do we advocate for everyone? And
everyone's liberation And I don't mean like liberation is free,
(26:25):
but I mean liberation of the heart in the mind.
I think. I think that's why I was drawn to it,
because I think, here's an opportunity to get behind this
an art, to show a different shed a different light
on people. You know. I know that it's a conscious thing.
It's very conscious with the filmmakers that we sort of
(26:48):
lead right up to a moment that you think you've
seen before. Oh, here comes that movie, here comes Shaw Shank.
Oh this when he gets stabbed. Oh he's going to
get punched out now, And it never happens because the
film's working on you, like the programs working on them
at the same time, so we all transformed together. That's
(27:08):
what I think for me, that's the joy. For me.
It's like, oh, you thought you knew who these people were,
but now you know them as people, not a number.
Speaker 1 (27:19):
You seem like a very changed man after doing this project,
and I feel it with what you're saying, and I
see it within you, And I think as an artist,
you always want to grow and evolve and hopefully change
for the better. Right, But what do you think was
the most surprising thing that changed about you after going
through this entire process?
Speaker 2 (27:39):
What surprised about me?
Speaker 1 (27:42):
Did you come out of it like wow, I feel
a different way, or I didn't expect to think that,
or I had a preconceived notion like what for me
I did?
Speaker 2 (27:49):
I think I had preconceived notions like everyone else. Honestly,
I'm sure I did. And I made a point. I
think the thing that I I'm gonna say this, when
when you make a choice to do work like this,
you know you're hoping for change in some way you're hoping.
(28:12):
I know that I have a bit more of a
louder microphone these days, right, and I have a choice,
many choices on what I do and then. But as
a producer and as an actor, you make room for
work like this. And I'll tell you this also, this
is another thing I wanted to tell you about this
because it's not even just a role or a film,
(28:34):
it's the way we make it as well. I was
very proud to come on board as a producer and
because we were talking about that we would make this
a community based film, and because people are giving over
their life stories as well to make sure that everyone
and that means everyone above and below the line are
paid equally and every single person shares in the profit.
(29:00):
So it's a model that they created for this film,
and my producers and I think it's just phenomenal. And
so when we you know, we we built our equity
very you know, pretty low with Black Bear as well,
and then we eventually, you know, sold it to our
distribution partners at age twenty four. And how beautiful is
it to you know, take care of people and everyone
(29:22):
feels like that they have ownership of the film, like
really have ownership of it. So I feel like I can.
It's changing me in that way. It's giving me the
thing that I started to do when I was twenty
one years old and I had a lot of energy
and I started theater companies. I'm still doing that, but
I just have a bit more of a platform now.
But I'm still doing the thing that I started out doing,
which was like I wanted to create work and do
(29:42):
it and make sure that everyone's seen and everyone feels
you know, valuable and all that stuff. So I feel like,
I don't know, I feel like I'm walking away a
bit a bit stronger in that way, knowing that I
could make a difference, and I really can make a
difference in people's lives.
Speaker 1 (29:58):
You know, how inadequate do I feel sitting next to
Coleman Domingo. I mean, like, this is crazy. Coleman. I
adore you, I love you. I'm so blessed to know you.
It's no surprise you're getting awards buzz for this movie,
and I know it's not about that, but well deserved,
my friend. I'm so proud of you. Thank you everybody
for hanging out. If you can do me a favor
(30:20):
and just stay seated for a minute, we would appreciate that,
and thank you. Let's give it up for Coleman di Mingo.
Speaker 2 (30:26):
Thank you so much.
Speaker 1 (30:34):
I've Never Said This Before is hosted by Me Tommy Didario.
This podcast is executive produced by Andrew Puglisi at iHeartRadio
and by Me Tommy, with editing by Joshua Colaudney. I've
Never Said This Before is part of the Elvis Duran
podcast network on iHeart Podcasts. For more, rate review and
subscribe to our show and if you liked this episode,
(30:57):
tell your friends. Until next time, I'm Tommy Didario. Mm
hmm
Hey guys, welcome to I've never said this before with
me Tommy di Dario. Today's guest is Academy Award nominee
and my friend, the one and only Coleman Domingo. Now,
this is a special edition episode of my podcast because
the conversation you are about to hear it's from an
event that I'm moderated, presented by the prestigious ninety second
(00:22):
Street wy New York. You of course know Coleman from
his powerful and memorable roles in Rust, in The Color Purple,
the Butler Selma, the fan favorite series Euphoria, and while
I could be here for hours talking about all of
his amazing credits, but today the conversation is all about
his film Sing Sing, which is out right now. In
(00:42):
Sing Sing, Coleman plays Divine g who is in prison
for a crime he didn't commit. He finds his purpose
by acting in a theater group alongside other incarcerated men
and men. This movie is so beautifully moving. So the
ninety second Street Wide, New York is a world class
center for arts and innovation. They offer extensive classes and
(01:02):
events in person but also online, making it accessible to everybody,
including live talks, concerts, and dance performances, and get this,
they even just celebrated their one hundred and fiftieth anniversary.
So you can check them out at ninety second New
York dot org and look for their own podcast, ninety
two and y Talks, featuring the best of their on
(01:23):
stage conversations. So let's see if today we can get
Coleman to say something that he has never said before. Hello, everybody,
welcome to the fun Q and A portion of the evening.
Did you all enjoy the film you just watched? I
(01:45):
know it was amazing. I am Tommy Didario. I work
on a show called Extra, and I get to interview
so many amazing artists throughout my career. But it's people
like this gentleman, Coleman Domingo, who I up when I
get to talk to because not only is he a
brilliant artist, but such a good human being. So I
don't need to introduce him any further. Let's bring him out.
(02:07):
Coleman Tomingo, get down here, Come on, and just so
you guys know, we're gonna have about a half hour
conversation no Q and A today, but I've got to
cover We're gonna get into a lot of good stuff.
So are you ready, my man?
Speaker 2 (02:27):
Absolutely? First of all, thank you so much for joining
us today. I feel your energy.
Speaker 1 (02:32):
Thank you, Coleman. I was blown away watching this film,
as I'm sure so many people here today were too.
And I guess to begin, you did this movie when
you had about an eighteen day break from what I
understand between the color purple and rustin. So instead of
being like, I'm gonna go to the beach, I'm gonna
(02:53):
go out for brunch, I'm gonna just relax for eighteen days,
you jumped into a very powerful movie. What made you
say I need to be a part of this film?
Speaker 2 (03:04):
You know, I started to I was invited by my director,
Greg Quidar and Clymt Bentley. They have been racking themselves
with this idea for like a good six or seven years,
and because they were working as teaching artists in the
ARTA program at Sing Sing and they thought they really
wanted to tell these stories and they felt like that
they mattered, and they really wanted to get it out
(03:26):
there in some way be authentic, and they kept hitting
roadblocks with it just in terms of like how to
actually do it. So they finally picked up the idea again,
and Greg said he wrote a treatment in about an hour,
and at the end of it he wrote my name.
And now, by circumstance, it was like, you know, a
couple of my reps. They were saying, you got to
(03:47):
meet these guys. I think that you were really like them,
you were like their art. I watched the movie Jockey.
I thought they did a beautiful film, and I said,
I love to meet them someday, you know, just generally
meet them. And then so we got on a zoom
and they were telling me about this program and how
it works, you know, rehabilitation through the arts that sing sing,
and I thought, oh, what is that. You know, they
(04:09):
do plays and it's been really helping these inmates get
in touch with their feelings and really do some true
healing on the inside. And I thought, I was fascinated
by that. I'm really I said, could you send me
a script? They said, oh, no, we don't have a script,
but they said, but we continue the Esquire magazine article
that they did on it years ago. So I read
that and I was so taken with it. And then
(04:31):
I got more information, like the fact that there was
a three percent recidivism rate amongst the men who went
to the program compared to sixty percent nationwide. I thought, well,
this is really impactful and credible, and anyone knows me,
I'll do my damnedest to tell complex stories about African
American men, black and brown men, and because I feel like,
(04:53):
you know, that's what I've been put on this earth
to do. So I just thought there was a fantastic idea.
And so we started to create this, create the screenplay together.
We were just you know, we would talk about things, me,
the two guys, and also Clarence Macklin, you know, mister divine.
I We would get on zooms and talk about what
(05:15):
was important to us, talk about story, and so we eventually,
you know, got to a draft and then they said, well,
when can we do it? I said, oh, we can.
I don't know. I'm I'm busy for the next year.
And but and I just to look on Greg's eyes
and Clarence's enthusiasms, said, oh, man, we really feel like
we should make this this year. We got to get
(05:37):
this done. And I'm a very I'm a very patient person,
but this seemed very pressing, like we needed it right now.
And they and the beautiful things they said they needed me.
When somebody tells you I need I need your help
to do this and to do this work and to
be in service to these and care for these men's stories,
(06:00):
I feel like I had to make time. And so
I told them. I said, well, my gosh, man, I
got it back for pickup shots for rust and I'm
just starting the color purple. And you know, I like
to prep a lot, too, So I really liked to
have a couple of months, maybe even four, to get
myself together. And I wouldn't have any of that. But
I thought, this is it's time to do something differently
(06:20):
and do it and distrust the process. And I said, well,
I have eighteen days in between two things. I said, oh, well,
we'll take them. I said, what are you talking. No, no, no, no,
I didn't mean you can take all my days. But
they did, and we leaned into it, and we went
to upstate New York and shot and too decommissioned prisons
(06:42):
and a junior high school and a sports complex.
Speaker 1 (06:46):
Yeah, and you're bringing a real community's stories to life. Right.
So with that, and with so little time to prepare,
if not any time to prepare, did you have any
trepidations stepping into this massive role. Did you feel like
I need to get this story right.
Speaker 2 (07:03):
The thing that I felt trepidacious about, and which was
I think the thing that was guiding me was I
didn't want to stand out in a way. I wanted
to be folded into the ensemble with these men who
had the lived experience. And yet they've they've received their training.
I believe, you know, I've always believed you can get
your training from Yale Juilliard. You can get it by
(07:25):
being a working artist, or you can get it in
an institution like the industrial prison complex, if something like
RTA training is training. So I knew that they were
coming with their skills, and I thought, okay, I just
want to I just want to be folded in. I
don't want the idea. I don't want to be over.
If anyone knows my work, if you know, between zola
(07:45):
and color, purple and rust, and I can play things
with size, you know, just a little bit just slight,
I mean missing a tooth and a wig, you know,
an accent. But this required me to be a bit
more stripped and a bit more raw, and I think
that that was also part of the process that I
needed to not be overrehearsed to know everything. I felt
(08:10):
like I needed to actually just strip away and be
a bit more vulnerable and be even closer to myself
and to find all the similarities in John, Divine g
and me. So I feel like that was new for me.
Speaker 1 (08:22):
How much time did you have with him before you
film this movie? Did you get a lot of time
to talk to him and pick his brain or you
dove in?
Speaker 2 (08:29):
Not a lot? But also I didn't want a lot,
which is which may sound strange because I think, I
think in order to create a character that has to
live in a one hundred minute film, I have to
divorce myself from feeling like I was going to try
to mock or imitate, or I don't want to treat
(08:50):
the subject like an anthropological study and ask them every question.
I want to sort of just sit and listen. So
I only had I had I feel like a couple
zooms with him just getting to know each other. I
didn't pry or anything. I just wanted to get to
know his spirit and what he was interested in and
download information. And then we had a dinner where I
downloaded more information, whether he knew it or not whether
(09:11):
we both knew it or not. I had so much
more information I can take in the room with me
when he would just tell me things like, oh, yeah,
I went to Yeah, I went where'd go high school?
I went to high school here? I went to Overbrook
High School? You mean Will Smith? Oh yeah you did?
Where'd you go high school? I went to high school,
you know, high school performing arts? And man, I want
to be a dancer. I was a dj. I want
to dance, you know, I wanted. He wanted to be
a ballet dancer and jazz, he said, but then I
(09:32):
would have to fight when I went home, and so
then I stopped dancing. And then he was like, man,
I also wanted to go into the police force. But
and then he sat there with his with a thought,
and he said, man, you think about the life choices
you make, and what if I did that? And so
I just took that in and so I know that
when I was on set, I was able to I
would talk to my director and I would say, I
(09:52):
think that I want to try to incorporate a moment
of dance in here. This just because the person that
I knew when he he'd lit up when he talked
about dancing, so I said, oh, if I'm at some point,
it'll be in there. So I just downloaded. I didn't
think when I was going to do it. But that's
when that pairrowet comes in when I'm waiting outside of
the audition, because I've downloaded information that I can play
(10:15):
off of, you know, of knowing this person's soul and
what he was interested in, you know what I mean.
So I feel like instead of saying being so decent,
I'm going to do this thing and like you leave room,
like like John Patrick Shanley would say, you leave room
for the divine to reside, you know, so you download information.
That's what I felt like I was more conscious of
with this, so I can give more of his essence
(10:36):
and spirit but not be too studied in performance. Does
it make any sense? Yeah, the actors out there, does
it make any sense? Okay?
Speaker 1 (10:43):
Cool? Yeah, giving us an acting masterclass up in here. Okay.
I see you, cole Man, I see you. And I
love that he had a little cameo in the movie too.
He was special.
Speaker 2 (10:51):
He was so nervous to do that. He was so nervous,
you know, you know, he never thought somebody Paul and
Gorgeous would be playing him, but you know, totally kidding.
Speaker 1 (11:01):
And we're pivoting, No, just kidding, Clemn. I wrote a
quote down and this quote. It struck me because I think,
no matter what so many people are going through in
their lives, no matter where they come from, no matter
what walk of life they are, you can relate to
(11:23):
this quote. And that quote is we are here to
become human again. And that's about the RTA program. Of course.
So when you hear that and when you're living that
in the movie, like, what do you feel? What does
that mean to you?
Speaker 2 (11:36):
It's funny because I think it didn't affect me until
I saw a cut of the film because even being
in the scene, I was playing a different action, you know,
so I wasn't aware of it in the moment. I
was just watching him. It was just such a a
cacophony of moments and many moments of like sort of
helping Divine Eye sort of like leave some traumatic behavior
(12:02):
that doesn't fuel him anymore. And he didn't even know it.
But then when Dino delivered that line, and I think
it's so impactful. I think I could put a circle
around it and say that's what the whole movie is
about It's about our humanity and about everyone getting back
in touch with the essence of why they were brought
here on this planet in some way, you know, getting
(12:25):
back to the heart and getting back to joy, back
to tenderness, back to all these things that maybe the
world has sort of done a number on you in
some way, whether you know, when you talk to people
and you're like, you know, you look at people's paths
and you just have a simple conversation with how you know.
I know, I was raised, I was loved, I was adored.
(12:46):
I was set up to believe that the world was
meant to do me more good than harm, and some
people weren't that way. So whatever, all these things that
helped create a person and create these small moments that
lead to another moment that changes your whole trajectory and
you have to strip all that stuff away when you
have a gift like an RTA program. You know, I
(13:09):
know that art saves and changes lives. It's not just
something I'm saying, it actually does, you know. And I
think the idea of watching black and brown men play
and be tender with one another when the world is not,
it says that you can't. It's not a construct for you,
you know. I think we're told that, you know, I like, oh,
(13:30):
what is to be masculine? Ough to be a man?
And now it's they're actually And so the idea of
these grown ass men standing in a space saying we're
going to reject that, because that's not health before us.
It doesn't help our families, it doesn't help our communities,
it doesn't help our longevity. If anything at Railroad is
right back into these institutions, you know. So it's about
(13:55):
doing this active work to say. And I feel like
that's what this film is for me as well, because
I know that when we were building this film, the
thing I know I just kept talking about, probably ad nauseam,
was tenderness. And I want to see more images of tenderness.
So that's why every handshake, every hug, every every delicate
moment of leaning up against a room pouring your most
(14:18):
innermost thoughts out to someone at night is important because
it's for it's for us to live and exist wholly
and fully.
Speaker 1 (14:31):
Coleman, it feels like this movie was very much a
cathartic and even healing experience for you. Is that correct? Yeah?
Tell me more about that.
Speaker 2 (14:41):
I think it is because I think it just it's really,
which is why I made time for it when I did.
It makes sense to me now outside of all this,
as I was sort of deconstructing this broken human who
was abusing someone in the color purple or playing, you know,
someone who was completely undaunted in the world while trying
(15:04):
to change the world with rustin, this feel like it's
in line with all of it. This feels like it's
it's a it's a it's a it feels like an
even deeper dive into I guess, into our humanity really
and just I think I think it's very purposeful for me.
I feel like I know for sure, if I don't
know anything else, I know why I make art and
(15:27):
why I continue to make art and why I do
it on every platform because I can start see the
line of it now as I've been doing this work
for thirty three years, I'm like, oh, I really care
about who are we and who are we going to become?
And and I'm not someone I don't think. I'm not
wildly political. I'm not out there, you know, burning down
the streets. I burn it down with my art and
(15:49):
with a pen and I know that that's what It's
even more potent right now. I mean, I know for
sure that this film needed. We need this film right
now so we can have conversations about this about people
you thought you had nothing in common with. You realize
it's just human. These are human beings. You can have
deeper conversations and deeper interrogations and and I don't think
(16:13):
differently about how we do this and who people are,
So I know that's important to me. So I think
it's it's in alignment with all the things I really
care about. And you know, when I was a young actor,
I wanted to do dumb shit like anybody else and
just say, oh can I get a job on the
WB and make a lot of money and be named
Pooky or something? But that never came my way. It
(16:37):
was always, you know, it was always very meaningful things.
And I think of myself as a pretty lighthearted person.
But I think at the core, in my private spaces,
I'm at home reading Baldwin and Ellison and and really
caring about how are we going to do this? How
are we going to live every day? You know I
care deeply.
Speaker 1 (16:56):
Well, it shows in your work, and I mean, as
a friend and as a fan of yours, I'm so
proud of what you put out into the worlds. And
you continue to raise the bar and put out messages
that mean so much to so many people. And you know,
your performances, we feel them, we feel a man. And
there was a moment in this movie when you received
the really big, thick Manila envelope. And I don't know
(17:20):
about you guys, but my heart broke because you know
that you wanted to get that thin one. So what
was it like processing that moment in that scene for you,
because watching it was like soul crushing.
Speaker 2 (17:34):
Well, here's the secret. That was the very first shot
I did.
Speaker 1 (17:38):
Of course, I was, of course, wow.
Speaker 2 (17:41):
That was my first shot of the film, and so
I just wanted to take in you know, I think
at our best as artists, I think we're teachers, yes,
but also to think the impaths, you know, when we
were very open to someone who's experience in listening and
(18:01):
just imagining, like you know, that's the thing when people
are like, well did you research that? What did you say?
You know, I can pretty much imagine what would happen
if I was actually, you know, wrongly accused of a
crime and imprisoned and trying to find ways to have light,
hope and humanity. Like like the real guy that I play.
(18:22):
He you know, he would was always in the law
library and advocating for his fellow inmates, you know, when
they had their parole board hearings, et cetera. And he
would They would want to pay him something, and he said, no,
you just pay it forward. You do something for somebody else.
This is the light. It's been a day, y'all. We
know it's been a day, right, you know, we're all
(18:44):
experiencing this day, and we talk about hope, you know,
and I know it's on everyone's mind. But and I
think maybe that's why I literally was laying in bed
before I got here, because I was like, what we're
gonna do? Y'all were going, we're gonna do this good.
You know, I'm playing in bed. I'm like, we're going
to do We're gonna do it, right, Okay, So so
(19:06):
I'm feeling very emotional.
Speaker 1 (19:10):
Sorry, but I'm just saying that.
Speaker 2 (19:12):
What was I talking about?
Speaker 1 (19:15):
The envelope scene?
Speaker 2 (19:17):
So get this. So the idea of like processing that
and you know, this guy who lives with so much
hope and pouring so much love into others, and then
he gets that brick, knowing that he's going to have
seven more years at least. Your your heart just drops
for me. I wanted to play for me. I thought
(19:39):
this person just must their emotions must stop in that moment.
I thought it was just the thing. I thought like, well,
how's he gonna react to this? You can play the
scene many different ways, and I thought, I think he
just stops. I think he just locks it all down
because I think that if he went there, he would
(20:00):
lose his whole fucking mind or he wouldn't know how
to get back up because he he he was He's
a person who plays on strengths and always feeling like
I'm good there, I'm good for everybody, I'm good. And
then he's not. And then the next scene he goes
in and brother man is getting out. It's like one
more thing, Okay, so I'm not I'm truly innocent, and okay,
(20:25):
one knock, next knock, Mike, Mike's dead. It's just like
it's like how much can you pile onto a person?
And I thought, well, I think that this guy, I'm
the very emotional person as you can tell I thought
it would be interesting if this person just just did this,
and then it comes out in the most raw way.
(20:46):
And and in that in that one scene when they're
rehearsing the play, and then what I what I loved
because we didn't talk about this. I was gonna come
out and play, to play it the way I thought.
He's triggered, and he plays it. And the beautiful thing
that Clarence Macklin did is how he received that. You
saw that the program was working on him because he
(21:10):
pretty much could knock me out right, but he made
a choice to have grace for me and understand and
put his put himself in my shoes and say, bro,
you don't really want to do that, It's all right.
And so for me, I loved that moment in the
film because we were and we were shooting that stuff
out of order, but like the agreement that we made
in that moment is really the agreement that these men
(21:33):
in the bond, that these men were making to each
other for real, for real, and.
Speaker 1 (21:38):
It made that scene so much more powerful. I thought
when you did kind of have a little bit of
the breakdown in the dress rehearsal right, because it just
you couldn't take it anymore, and it came out, and
I think the choices you made are so brilliantly you
and the subtlety in that moment really with the envelope
got me. I mean, as so many moments did The
(22:03):
location too for me. I mean, the location is a
big character, and you filmed on location, of course, and
you know you see the train going by multiple times
a day, and even when you don't see it, you
hear it throughout the film. And to me, that was
such a powerful message of this idea of escapism and
people living their lives while prisoners were watching right and dreaming.
(22:23):
So how was it filming there? I mean, did that
just bring it all to life in a bigger way?
Speaker 2 (22:28):
It did because it's shooting on location and decommissioned prisons,
and we shot in one of them was Downstate Prison,
which was decommissioned like weeks before we got there, so
you felt the energy there in every single way. So
it it the thing that I know for sure, and
I didn't go do a deep dive in it. I
(22:50):
just took it in, feeling my way through. It's designed
so you can't find your way out. I was constantly lost.
Was I always had to have a pa come and
take me from my holding cell. I literally I had
a holding cell that was my holding and Mike. Mike
was in there with me. We sort of we did
this wild thing where I had to move into where
(23:11):
I was staying as well, so we were roommates on
set back, you know, offset offscreen and then on set.
But the air feels different. He feels like there's no
flow of air. There's something psychological working on you in
every single way where you felt like it's a system
(23:32):
like you just I don't know. I felt like I
always needed to get out when we had a break,
I need to get outside and get some air because
the air wasn't moving at all, and it's really hot,
and it's it's it's the thing that I know for sure.
It's not set up for human beings. It's not set
up for rehabilitation. Doesn't feel like it. You're like, you know,
(23:54):
there's nothing in it that says, oh, we want you
to get better, we want to return you a better
human out in the world and be productive member of society.
It didn't feel that way. I knew that much, so
that wasn't hard to so there was elements of this
film where you just sort of leaned into it. You
lean into the way it may see that the cells
(24:18):
are so small as well, you're like, this is not
for human beings. It's just not And I think I
have a lot to say about that, but I think
I'll just leave it there.
Speaker 1 (24:28):
So jumping off of that, is there a main message
you hope people walk away with from this film?
Speaker 2 (24:37):
I do, and I think that my brothers who I
worked with, would echo this. Clarence Macklin would always say,
it's important that you know that that's a human being
and somebody who if you pour love into them, you
pour hope into them, they can change. And no one
(24:59):
should be judg which by the worst act, heinous act
that they There is a with accountability, with work. You know,
people are human and it's not even I think a
lot of times it's not even just about the actor.
It's about all the stuff that led up to that act,
all the just whether education, whether it's redlining, whether all
(25:20):
this stuff that's created a person to do this ort
to make a choice. In that way, we can we
as a as a society because it affects all of us.
Incarceration affects all of us. And I think that's the thing.
I think a lot of us didn't know that, like
this movie has anything to do with us. You're like, oh,
if you don't have somebody on the inside, you're like, yeah,
but it's not but just about the person you're inside.
(25:41):
It's all of us. It affects all of us. And
for me, I know for sure when I when it start,
I start to think how many there's a lot of
white folks inside too, but there's a lot of black
and brown people in there, and folks growing up without
fathers and mothers, and you know, communities are suffering because
there's a lot of people on the inside and we've
(26:02):
got to make some changes. So I think it helps
for me. I just want people to just think about it.
You don't have to actually, you don't have to do
anything right now, but because I feel like that's just
knee jerk, but you have to think about it and
think about people as being people and it's human and
how do we take care of each other all everyone,
you know, and how do we advocate for everyone? And
everyone's liberation And I don't mean like liberation is free,
(26:25):
but I mean liberation of the heart in the mind.
I think. I think that's why I was drawn to it,
because I think, here's an opportunity to get behind this
an art, to show a different shed a different light
on people. You know. I know that it's a conscious thing.
It's very conscious with the filmmakers that we sort of
(26:48):
lead right up to a moment that you think you've
seen before. Oh, here comes that movie, here comes Shaw Shank.
Oh this when he gets stabbed. Oh he's going to
get punched out now, And it never happens because the
film's working on you, like the programs working on them
at the same time, so we all transformed together. That's
(27:08):
what I think for me, that's the joy. For me.
It's like, oh, you thought you knew who these people were,
but now you know them as people, not a number.
Speaker 1 (27:19):
You seem like a very changed man after doing this project,
and I feel it with what you're saying, and I
see it within you, And I think as an artist,
you always want to grow and evolve and hopefully change
for the better. Right, But what do you think was
the most surprising thing that changed about you after going
through this entire process?
Speaker 2 (27:39):
What surprised about me?
Speaker 1 (27:42):
Did you come out of it like wow, I feel
a different way, or I didn't expect to think that,
or I had a preconceived notion like what for me
I did?
Speaker 2 (27:49):
I think I had preconceived notions like everyone else. Honestly,
I'm sure I did. And I made a point. I
think the thing that I I'm gonna say this, when
when you make a choice to do work like this,
you know you're hoping for change in some way you're hoping.
(28:12):
I know that I have a bit more of a
louder microphone these days, right, and I have a choice,
many choices on what I do and then. But as
a producer and as an actor, you make room for
work like this. And I'll tell you this also, this
is another thing I wanted to tell you about this
because it's not even just a role or a film,
(28:34):
it's the way we make it as well. I was
very proud to come on board as a producer and
because we were talking about that we would make this
a community based film, and because people are giving over
their life stories as well to make sure that everyone
and that means everyone above and below the line are
paid equally and every single person shares in the profit.
(29:00):
So it's a model that they created for this film,
and my producers and I think it's just phenomenal. And
so when we you know, we we built our equity
very you know, pretty low with Black Bear as well,
and then we eventually, you know, sold it to our
distribution partners at age twenty four. And how beautiful is
it to you know, take care of people and everyone
(29:22):
feels like that they have ownership of the film, like
really have ownership of it. So I feel like I can.
It's changing me in that way. It's giving me the
thing that I started to do when I was twenty
one years old and I had a lot of energy
and I started theater companies. I'm still doing that, but
I just have a bit more of a platform now.
But I'm still doing the thing that I started out doing,
which was like I wanted to create work and do
(29:42):
it and make sure that everyone's seen and everyone feels
you know, valuable and all that stuff. So I feel like,
I don't know, I feel like I'm walking away a
bit a bit stronger in that way, knowing that I
could make a difference, and I really can make a
difference in people's lives.
Speaker 1 (29:58):
You know, how inadequate do I feel sitting next to
Coleman Domingo. I mean, like, this is crazy. Coleman. I
adore you, I love you. I'm so blessed to know you.
It's no surprise you're getting awards buzz for this movie,
and I know it's not about that, but well deserved,
my friend. I'm so proud of you. Thank you everybody
for hanging out. If you can do me a favor
(30:20):
and just stay seated for a minute, we would appreciate that,
and thank you. Let's give it up for Coleman di Mingo.
Speaker 2 (30:26):
Thank you so much.
Speaker 1 (30:34):
I've Never Said This Before is hosted by Me Tommy Didario.
This podcast is executive produced by Andrew Puglisi at iHeartRadio
and by Me Tommy, with editing by Joshua Colaudney. I've
Never Said This Before is part of the Elvis Duran
podcast network on iHeart Podcasts. For more, rate review and
subscribe to our show and if you liked this episode,
(30:57):
tell your friends. Until next time, I'm Tommy Didario. Mm
hmm
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