When you're doing exactly what you want to do, it's not tiring. You've been planting these seeds, and finally, you have a full garden in bloom; you're like, 'Oh, I just want to smell the flowers and play among the flowers all day.' That's what I'm doing. I'm playing among the flowers.
Colman Domingo
The first time I read 'Barbecue,' I fell in love with it. I never laughed so hard in my life.
I think a lot of comedians make the best dramatic actresses because they have a facility. They're very vulnerable. They're very open, like clowns.
It's an experience I'd like to add to the chorus, that these blue-collar, macho men, like my older brother, had the capacity to say: 'I don't care, I love you anyway.' There are young kids thinking: 'I'll never come out because it's too hard in our communities.' But I'm saying maybe your story can be similar to mine.
I believe, with the media, you must answer every question in some way. And in very, very, touchy situations, we must answer every question again and again.
When I first moved to New York, I had some colleagues who said I should be my straightest self - whatever that means - when I went into casting offices, but I didn't want to put on an act of what I thought was heterosexual. I just wanted to be myself, and I'm very grateful because I feel like I've been embraced for that.
I know how to lead a room, but I also know how to take direction and be a contributor as an artist.
My mother sent me to speech classes, but the other kids still teased me. I was shy. I stooped. Instead of talking, I kept journals. That's where my love of words comes from. I majored in journalism.
From afar, I have cried watching my nation, sore with prejudice, slowly heal itself. I hurt along with America, my phantom pains only alleviated by work I do every day - art.
I can't fall apart every time I mention that my mother's gone. I actually laugh about stories or things or situations. Of course there's a wound that will never be patched up, but I approach it with humor. Of course, I don't overlook it and go straight for the humor, but I think we have to have humor to move forward.
I tend to be pretty calm.
I think comedy and satire are the strongest ways to deal with very serious themes and very painful themes.
I recently did a play, Athol Fugard's 'Coming Home' at Long Wharf Theatre, where I played one character throughout - I sat at a table and didn't have any costume changes. Following one character's arc from beginning to end is a whole different mindset.
My brothers and sister and me grew up making fun of each other, the way we'd speak or move. When we get together, everyone's funny, quick, loud, and speaks on top of each other. It was like a great comedy school; nothing is precious.
It is true that as people, we tend to remember only the positive. With time, the grim details fade away, and as a species we survive on this notion. In our desire to gloss over the undeniable macabre parts of our American history, we forget. That amnesia manifests itself, especially when dealing with the plight of black men.
I had no inclination to perform as a kid. I was a shy child - I always had my nose in a library book. I didn't start acting until I went to college. Once I started, it seemed to fit like a glove. I felt completely at home on stage. It was the perfect way for me to express myself, even better than writing.
My only qualifications to be an actor were that I'm daring, and I'm a quick learner. I've always learnt by watching what other people do. It's the same with my writing. I write what I know. Structurally, I write in a very undisciplined way.
I was nervous about doing 'Scottsboro Boys' because I'm not a trained dancer, and there is a lot of very athletic dancing involved.
Other people can write grown-up, political plays about the troubles in the world. My plays deal with magic and hope.
My mother was the love of my life.
Doing multiple character work is athletic in every way - vocally, physically, spiritually, and mentally. With a show like 'Passing Strange,' I usually lose about 12 pounds.
I hired a publicist once I got cast in 'Passing Strange,' and one of the first conversations we had was about how I wanted to handle talking about my sexuality. I said, 'It's never been an issue for me. I want to talk about my work, but if something about myself relates to my work, of course I'll talk about it.'
I have been constantly shaping and reshaping my career. I laid a foundation by doing respectful work in all media. And I am happy with what I have done.
I am proud being an artist who takes risks, who would walk off a cliff artistically. I won't settle for commercial reasons.
I got my Equity Card from Berkeley Rep when I was 22 years old. I was cast in David Saar's 'The Yellow Boat.'
I missed my entrance in a production of 'Blade to the Heat' at Thick Description in San Francisco. I came into the scene very late and hugged the punching bag. I had no idea what to do! Unfortunately, that mishap was recorded for archives at UC Berkeley. It goes down in history.
Maybe what I'm trying to do is heal others. I think what we're trying to do in theater is heal someone.
I'm a head-shot photographer. I have people come to my apartment, and I take their head shots.
Out of all of the things I've written, 'Dot' was the quickest from first thoughts to full production.
I wrote 'A Boy and His Soul' that talks about how my mother had lupus and my dad dying of a heart condition.
I started writing because I saw such a huge lack of complex stories about the inner city.
I think writing a solo play was the most liberating thing I ever did.
Being on a show like 'Fear the Walking Dead,' I started to learn more about camera work, learn more about the way the crew operates, and had more of a stronger opinion on how I think a television director can operate in the healthiest way.
My first professional job was with Berkeley Repertory Theatre. I started out in an educational touring play and eventually starred on their stages. That was the theatre that nurtured me to expand as an artist.
On stage, I have felt most fulfilled as a playwright, for everything I create gets to grow and evolve with collaboration from directors, actors, and so on.
When I create and write for TV, I build universes that will have arcs lasting seasons, whereas theatre allows me to explore storylines that will open up for two hours or less. Both are wonderfully fulfilling, but they couldn't be more different.
To a certain extent, just like my children, I nurture my writing until the point when it has to get out and face the outside world, where it takes on a life of its own. That is a purpose of any artist and their art.
At some point, I'm just of the mind that no art is perfect, and it shouldn't be perfect. I think it's beautiful in its imperfection. You could tweak something forever, but you have to let it go and trust it.
The gift of working on a Robert O'Hara play is that you have to trust his language. It's all in there. You don't have to add one single thing.
I have so many books that are sitting around half-read.
I'm always watching old episodes of 'The Golden Girls' or 'The Simpsons.'
There was a Ta-Nehisi Coates book called 'Between the World and Me' that I read the prologue, and I was so decimated by it that I couldn't even get through the rest of the book.
I'll watch things on OWN like 'Belief,' which is about faith.
I think I'm always trying to see the other's point of view, dealing in a very heart-to-heart way.
'Fear the Walking Dead,' since its inception, has been a very inclusive show.
Part of the responsibility of being a modern storyteller is understanding modern audiences and trusting what they can handle. It's not just settling into what we think they want.
I grew up in West Philly, and I took an acting class at Temple University there. Then, after school, I moved to San Francisco.
