00:00I think the truth about humanity, love, and listening, I think those are truths, actually.
00:08I think that's where we are really, and I think what Disclosure Day really is about, is it about welcoming
00:14in another truth.
00:16Hi, I'm Coleman Domingo, and we're behind the scenes of my Hollywood Reporter cover shoot.
00:27My favorite piece of direction that I got from Steven Spielberg, I don't even know if it was a piece
00:33of direction.
00:34I think it was in my first audition that I had for him years ago, where he got behind the
00:40camera, and he said to me,
00:42Your face is so expressive. It just keeps changing. That's a good thing.
00:48And so I know that when I'm on a set, he loves the story that I tell behind my eyes,
00:54and he's watching,
00:55because he knows that I'm always trying to tell the most complicated story, and it will change from moment to
01:01moment.
01:01And so I think that that's something, maybe it's encouragement that he gave me, that I knew that was everlasting.
01:25When I started on Euphoria, I just knew it was such incredible work that I had not seen on the
01:31page before.
01:32And I thought that as I got to know Sam Levinson, I did a movie with him called Assassination Nation,
01:37and I thought he was one of the most inventive and interesting directors I've worked with,
01:41and also Marcel, his director of photography.
01:44And I thought, well, whatever they make is going to be incredible, and I want to be a part of
01:47it.
01:48And then they were inviting this very young, interesting, gorgeous, talented cast to be an incredible ensemble together,
01:57led by Zendaya, of course.
02:00And I didn't know it would hit the zeitgeist like it did, but now it makes sense to me.
02:04It makes sense. Everyone's game. They're hardworking.
02:07But Sam lays out a playground of language and skill, and he really believes you can do the triple axel.
02:14So he sets up the room for you in that way.
02:27I think people are responding to our Michael film in a way that is extraordinary,
02:33because it really is a celebration of Michael.
02:36It's a celebration of his artistic impact, which one cannot deny.
02:40But it also has become a community event, that people are united because of the music,
02:44and they want to have this celebration of music and of life,
02:48and what his lyrics have been for people and touch people.
02:52I think that's why it's extraordinarily successful right now.
03:03I think I've set myself up to feel even more freedom as I've gotten more successful and more in the
03:11public eye.
03:11I think the genesis of my work, I come from the theater, and I come from, like, small professional theaters,
03:18where I was making and creating edgy work of my own.
03:23Then I was taking risks with theater companies, whether it's San Francisco or New York.
03:28And I feel like that's something that I've applied for the rest of my career,
03:31where I feel like I have to take a leap of faith.
03:33I have to feel like I'm not sure how to do it.
03:35And I put myself in that situation where I feel like, oh, I don't want a perfection in my work.
03:40I want to interrogate the work and make it new every time.
03:43And by doing that, you've got to take a leap of faith, and you've got to liberate yourself.
03:47I think we're all journeymen, and I think that we have to make agreements early on in our careers
03:54to know that we are craftsmen and journeymen, and you have to build, you have to create work.
04:01You can't sit by and just audition.
04:03I'm always telling my colleagues, it's just not, it doesn't make sense to me,
04:07especially in this day and age where you can craft work and make work in any way.
04:11I've never been more empowered than when I started to create my own work.
04:14And then the other work, the auditions and all, that would be icing on the cake.
04:19I became a playwright out of necessity because I wanted the work to be there.
04:22I became a director out of necessity because I wanted to stay close to the work.
04:26You know what I mean?
04:27I became a producer because I was concerned about how the work was being made.
04:30So I think the idea of sitting back in one lane is just not as useful.
04:34So that means you're just waiting for the phone to ring.
04:37So instead of waiting for the phone to ring, why don't you write your own number?
04:52So that means you're just waiting for the phone to ring.
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