A Quote by Colman Domingo

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.
Having been a theater person first, you have the whole character, and you see the arc of the character in a play. And then when you do a movie, you have the whole character - or, if it's a small role, there's not much arc, but you see what the whole part is.
In 1973, 'Sizwe Banzi is Dead' and 'The Island,' which I co-wrote with Athol Fugard and Winston Ntshona, transferred from The Royal Court Theatre to the Ambassadors Theatre in the West End.
There's a very famous South African playwright named Athol Fugard, and I'd be in any play he's ever did.
When I read a script or I see a character, I don't necessarily see the arc of her, that by the end she is this person, she's different from she was in the beginning. I guess it's more a subconscious understanding of that arc.
I've played a different type of character in a different type of thing, for the most part. It's not like you can't mine tons of fascinating stuff from any character that you play, and I've always been fascinated with women and relationships, but this has been a completely different experience, for sure.
As an actor, you don't want to know the beginning and end to your character's arc. It makes it more fun. You're not playing the end. You're playing it realistically. You don't know where this character is going to go and what's going to happen to him, which just makes it more interesting for the viewers to watch. They're going on the journey with you, as the actor and the character.
With a film, you know the beginning, middle and end of your character's arc. But on a TV show, you have no idea where they're going to end up.
Where does a character come from? Because a character, at the end of the day, a character will be the combination of the writing of the character, the voicing of the character, the personality of the character, and what the character looks like.
As an actor, you don't want to know the beginning and end to your character's arc. It makes it more fun. You're not playing the end. You're playing it realistically. You don't know where this character is going to go and what's going to happen to him, which just makes it more interesting for the viewers to watch.
I'm quite excited to not play a Xena type character - it's probably closer to me than any character I've ever played.
With any project, but especially in television, I always try to look at where the character is starting from and where he's going to end up, and try to find the biggest arc that makes it the most exciting to play.
I'd like to make character-based dramas. I end up writing thrillers a lot - these psychological character-based things with weird people doing horrible things to each other - coming to a theatre near you!
For me, as an actress, you are playing a character, and to play that character, you have to get into that mindset.
Id like to make character-based dramas. I end up writing thrillers a lot - these psychological character-based things with weird people doing horrible things to each other - coming to a theatre near you!
With any character you portray, you can never play the end in the beginning. You have to pursue and attack your intention as if they're going to be successful.
I think when you're playing a character in any film it's so crucial to have the costume that makes you feel like you're going to be that character.
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