An interview with Colman Domingo reveals a multifaceted artist who approaches his craft with meticulous overpreparation, yet possesses a magnetic quality that dissolves the typical formality of such encounters. Despite a long press day for the film *Michael*, where he portrays Joe Jackson, Domingo radiates a contagious joy and a deep, booming laugh. Known for his impeccable style, he greeted the interviewer warmly, creating an intimate atmosphere where the surrounding cameras and crew seemed to disappear.

Domingo describes himself as an "archivist," a term coined by a friend, Candace Allen, highlighting his role in documenting contemporary human experience through various platforms. This natural curiosity, he attributes to his mother, who "talked to everybody," a trait he has fully embraced. His early job as a bookseller in the self-help and travel sections of Barnes and Noble further fueled his hunger for knowledge and understanding of human evolution and diverse cultures, which he believes keeps him grounded and buoyant. He sees art as a powerful tool to demonstrate humanity's shared experiences, stating, "I think that's the greatest thing we can do with this art form — is to show us that we're more alike than unalike."

His background, including a journalism major from Temple University and a brief stint as a photographer, informs his meticulous approach. Domingo also has extensive teaching experience at various universities and a rich career in theater, encompassing playwriting, directing, and producing. He views all these endeavors as interconnected facets of his archivist calling, allowing him to connect and document human stories.

For his role as Joe Jackson in *Michael*, Domingo underwent a significant physical transformation, utilizing green contacts, prosthetics, and lighter skin tone to match the patriarch. He lauded the craftspeople for their detail, acknowledging that while it aided his performance, it could be "jarring" to not recognize himself in the mirror. Domingo's acting philosophy emphasizes malleability, believing that each project dictates a unique path. He doesn't adhere to a rigid routine but adapts his energy and rigor to the specific demands of the set and character. For Joe Jackson, this meant entering the set "ready to work," aligning with the character's non-waiting nature, an approach he maintained without being a method actor.

Domingo's immersive strategy extended to his interactions with the young castmates, including Juliano Krue Valdi (young Michael). He made a point of only appearing on set in full Joe Jackson makeup and costume to maintain the illusion and establish himself as a strong, disciplinarian father figure. This helped create a clear reality for the young actors, many of whom were in their first film, allowing Domingo to also impart the professional rigors of filmmaking. With the adult cast, whom he considered "comrades," he felt he could be more playful while still demonstrating a rigorous work ethic.

Approaching the controversial figure of Joe Jackson, Domingo focused on understanding his psyche and motivations rather than villainizing him. He sought complexity and nuance, believing that actions often mask deeper wounds, such as those from Joe's upbringing in the Jim Crow South during the Great Depression. He drew upon personal experiences, like his relationship with his own stepfather, to inform moments of unspoken vulnerability, such as Joe's reaction to Michael hugging Quincy Jones. Domingo also worked closely with director Antoine Fuqua on a pivotal scene where Joe discovers Michael's nose job, interpreting Joe's teasing about Michael's nose not as intentional hurt, but as a misguided attempt to toughen him up, unknowingly affecting his son's self-worth.

The dynamic between Joe and Katherine Jackson, played by Nia Long, was also meticulously crafted. Domingo and Long discussed their nearly 70-year marriage, focusing on their shared journey from nothing to building an empire. They deliberately infused scenes with unscripted moments of tenderness, laughter, and joy, recognizing that despite the rigor, there had to be warmth within the family. Katherine, Domingo explains, serves as Joseph's equal and partner, the one person he can "bow to" and whose approval he needs, even when disagreeing with his methods. With the original cut of *Michael* exceeding three and a half hours, Domingo expressed hope for a sequel to showcase more intimate and performative moments that were left out.

Beyond *Michael*, Domingo has engaged in diverse projects, including a surprising collaboration with Sabrina Carpenter on her "Tears" music video, which accumulated 74 million views. Their shared Pennsylvania roots led to the partnership, with Domingo embracing the flamboyant, corseted drag role until late-night shoots necessitated a switch to flats for a dance break, which he cleverly turned into an "arm show." He even created a full backstory for his character in the five-minute video, envisioning him as a joyful father living freely.

His acclaimed hosting of *Saturday Night Live* allowed him to reconnect with his comedy roots from *The Big Gay Sketch Show*. Domingo is also currently in the third season of *Euphoria*, where his character, Ali, will delve deeper into themes of belief and faith. He praises creator Sam Levinson as a true collaborator who writes complex roles tailored to his strengths, highlighting the impactful episode between Season 1 and Season 2 as a "sermon" on self-care in a challenging world.

Looking ahead, Domingo's schedule remains packed. He is part of the star-studded cast of Steven Spielberg's sci-fi film *Disclosure Day*, premiering in June, which he believes carries a thematic message of faith and human connection. He is also preparing for his feature directorial debut, *Unforgettable*, a Nat King Cole biopic, which he will also write, star in, and produce. Drawing on nearly three decades of theater directing, he aims to bring a sense of community and collaborative impact to the film set. Having achieved an Emmy, Tony nomination, and back-to-back Oscar nods, Domingo reflects on finally being recognized for his "larger voice" and the fulfillment of expressing his multi-hyphenate artistic identity without limitation.