NEW YORK — In even the darkest times, Colman Domingo believes art is the way through.
Time magazine’s Impact Dinner on Thursday evening celebrated the honorees of The Closers issue, highlighting 25 Black leaders working to close the racial equality gap, from the Oscar-nominated “Sing Sing” actor Domingo to Olympic gold medalist Gabby Thomas and Emmy Award-winning queer actor Niecy Nash-Betts.
“We’ve seen the world change, progress, sometimes regress, then progress, many times over,” Domingo said as he ended the night with a moving toast. “When we think about equality in the world, it’s not sweeping gestures, but it’s actually the tiny acts. They can add up to real change.”
Domingo urged guests to “make a difference” however possible. “I’m here to remind you that a small act of grace can go a long way to a better understanding of one another and how we view the world around us.”
Colman Domingo urges ‘responsibility’ in closing equity gaps, praises ‘healing’ work of his Oscar-nominated film ‘Sing Sing’
Domingo opened his powerful toast by commending Time’s impact: “Thank you so much for putting a black gay man from Inner City West Philadelphia, the proud descendant of slaves and a proud son of an immigrant. I am my ancestors’ wildest dreams.”
In his Oscar-nominated film “Sing Sing,” Domingo portrays the real-life John “Divine G” Whitfield, who spent 24 years behind bars after being wrongfully convicted of second-degree murder. While imprisoned at New York’s Sing Sing Correctional Facility in 1996, Whitfield co-founded Rehabilitation Through the Arts, a theater group helping incarcerated people gain critical life skills through writing and performing plays.
The men in these programs “found the practice of theater and doing plays to be liberating and helping to give them tools to heal and find pathways to, as one character in our film says, ‘to be human again,’ especially in a place that is as dehumanizing and not set up for anyone’s rehabilitation,” Domingo said during his speech Thursday.
He went on to cite the success rate of the program: It boasts less than a 3% recidivism rate compared to the 60% nationwide. Many of the formerly incarcerated men who took part in the program played themselves in the A-24 film.
“It’s a program that truly works. I know this as a theater practitioner. You pour love and hope and art into someone, and they will blossom, and it benefits every single one of us in this room,” Colman added as guests nodded their heads in agreement, filling the room with echoes of “mhm.”
Colman cited a quote from Bayard Rustin, whom he portrayed in the biopic “Rustin,” that resonates with him “every single day”: “We either believe in freedom and justice for all, or we do not.”
“This is the way that we can actually do the work of healing. We look out for one another. We try to tune out the constant barrage of noise and focus on being, being love,” he continued. “You are love, and I am love, and we lead with love. We have to win.
“The moment we cease to hold each other, the moment we break faith with one another, the sea engulfs us and the light goes out,” Domingo said, quoting writer and civil rights activist James Baldwin. “It is all of our responsibility to close the racial equality gap, the racial equity gap. We will all win when we look at our fellows and see them thriving.”
After President Donald Trump’s DEI rollbacks, ‘tough work’ ahead
Journalist Elaine Welteroth took the stage to lead a discussion on “strategies for achieving racial equity.” The room felt heavy under the weight of President Donald Trump’sexecutive order calling for the end of what The White House called “radical and wasteful” diversity, equity and inclusion programs.
The Closers honoree Elise Smith, the CEO and founder of tech startup Praxis Labs, who was worried that the panel’s name (“Bridging the Divide: Strategies for Achieving Racial Equity”) would be changed as major corporations abandon their DEI initiatives. But what gave her hope, she says, was the Time team doubling down on the mission. “It’s that type of standing 10 toes down,” Smith said, prompting applause throughout the venue.
“We’re in a moment where we’re systematically under attack. How do we reframe the narrative around what it means to care and do the work of DEI?” she added from the stage.
National Black Justice Collective CEO and executive director David J. Johns challenged listeners not to turn away from conflict. “So much of what’s happened since November is that we’ve been retreating,” he said during the panel discussion. “I’m asking you to do the tough work of staying in relationship with people who need to come closer to us and to show up with love.”
The event was curated to uplift Black changemakers, setting the celebratory tone with music and soul food. A DJ started the night with Afrobeats and closed with Beyoncé, playing “Essence” by Wiz Kid and Beyoncé’s early-2000s hit “Naughty Girl.”
The three-course meal was served family-style and prepared by Darnell Lane, Chef De Cuisine at Second Floor NYC. Guests dug into honey butter cornbread, chow chow salad, southern fried chicken, blackened creole salmon, braised green bean with smoked turkey, mashed candied yams and vegan mac and cheese throughout the night’s programming.
Colman Domingo, a prominent actor and activist, recently shared his thoughts on the controversial diversity, equity, and inclusion (DEI) changes implemented by the Trump administration during a dinner hosted by Time magazine. The changes, which have sparked heated discussions across the country, aim to reshape the way DEI initiatives are approached in various sectors.
Domingo, known for his outspoken advocacy for social justice issues, expressed his concerns about the potential implications of these changes on marginalized communities. He emphasized the importance of ensuring that DEI efforts are not only inclusive but also effective in addressing systemic inequalities.
During the dinner, Domingo engaged in a lively conversation with other attendees, sharing his insights on the need for meaningful and sustainable DEI reforms. He called for a more holistic approach to diversity and inclusion, one that goes beyond surface-level changes and actively dismantles systemic barriers.
As the debate around DEI continues to evolve, Domingo’s perspective serves as a reminder of the ongoing work needed to create a more equitable and inclusive society. His words resonate with many who believe that true progress can only be achieved through genuine and comprehensive efforts towards diversity, equity, and inclusion.
Emmy Award-winning actor, Colman Domingo, has reportedly joined the cast of Gus Van Sant’s upcoming hostage thriller film Dead Man’s Wire. The movie is based on a 70s’ true story of a man named Tony Kirtsis who abducted Indianapolis mortgage broker, Dick Hall, and held him hostage.
Nosferatu star, Bill Skarsgard, will play the lead role alongside Dacre Montgomery (from Stranger Things), and Colman Domingo. Recently, Domingo opened up about Dead Man’s Wire in an interview. According to Deadline, he mentioned in his statements about how Tony Kirtsis detains his hostages and communicates with a radio announcer.
Colman Domingo further talked about Steven Spielberg’s upcoming sci-fi project where he will star alongside Colin Firth, Emily Blunt, and Josh O’Connor.Domingo left teasers from the movie (which will reportedly go into production in March) saying that he “literally cried’ while reading the script.
Colman Domingo talks about Dead Man’s Wire and Steven Spielberg’s upcoming sci-fi film
As per Deadline, Colman Domingo teased fans about his upcoming hostage thriller Dead Man’s Wire, saying:
“This guy was just in dire straits, holding people hostage and speaking to a radio announcer. That’s the only person he felt like he could communicate with. He’d listened to him every day and I sort of guide him not to kill people.
The official synopsis of the movie reads:
“In 1977, a former real estate developer takes his mortgage banker hostage after feeling wronged by a corrupt system.”
Following his statements on Dead Man’s Wire, Domingo shared his feelings on Spielberg’s upcoming science-fiction piece which still is a mystery to the fans. He reportedly said:
“I can’t tell you anything.”
This he replied when asked about the movie’s title. He further added:
“I will tell you this. I finished reading the script and I bawled. I thought it was one of the most beautiful scripts about our humanity. I think it was just the most beautiful film about our humanity, and I literally cried because Steven Spielberg believes in the possibility of the human beings we could be. That’s what I’ll tell you.”
More about Colman Domingo
Colman Domingo, who has received multiple awards and nominations over the years for his contribution to acting, is well-known for his role in HBO’s Euphoria. He has worked on multiple projects including Law & Order, Fear The Walking Dead, Lincoln, Rustin, and Sing Sing.
For his role as Bayard Rustin in Netflix’s drama biopic, Rustin, Domingo bagged an Academy Award nomination under the category of Best Actor. Shortly after he wrapped his shooting work for Dead Man’s Wire, the 55-year-old actor will reportedly turn to Season 3 of HBO’s teen drama series Euphoria. Domingo mentioned:
“Everybody’s excited to get back to work. That’s taken a lot time to put together.”
Stay tuned to Soap Central for more information!
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Edited by Amey Mirashi
Renowned actor Colman Domingo has officially joined the cast of the highly anticipated film “Dead Man’s Wire,” according to recent reports. The star-studded cast already includes top talent such as Viola Davis and Jonathan Majors, making Domingo’s addition all the more exciting.
In addition to his role in “Dead Man’s Wire,” Domingo has also been making headlines for his involvement in Steven Spielberg’s upcoming sci-fi film. In a recent interview, Domingo opened up about his experience working with the legendary director, sharing his excitement for the project and his admiration for Spielberg’s visionary storytelling.
Fans of Domingo can look forward to seeing him on the big screen in both “Dead Man’s Wire” and Spielberg’s sci-fi film, where he is sure to deliver another standout performance. Stay tuned for more updates on these exciting projects and be sure to catch Domingo’s captivating performances when these films hit theaters.
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Colman Domingo, Dead Man’s Wire, Steven Spielberg, sci-fi film, upcoming movie, cast, news, interview, report
Colman Domingo has a very busy schedule ahead of him. He has only recently finished scenes for the upcoming Edgar Wright film, “The Running Man,” and he’s apparently already on his way to begin filming the Gus Van Sant film, “Dead Man Wire.”
Read More: The 100 Most Anticipated Films Of 2025
According to a new interview with Deadline, Colman Domingo revealed that he is set to play a pivotal role in the upcoming drama, “Dead Man Wire.” The film, directed by Gus Van Sant, follows the true story of a man who takes a mortgage broker hostage in 1977.
Continue reading ‘Dead Man Wire’: Colman Domingo Joins Cast Of Gus Van Sant’s New Drama at The Playlist.
Dead Man Wire: Colman Domingo Joins Cast Of Gus Van Sant’s New Drama
Exciting news for fans of both Colman Domingo and Gus Van Sant, as it has been announced that the talented actor will be joining the cast of Van Sant’s upcoming drama, “Dead Man Wire.”
Domingo, known for his roles in films like “Selma” and “If Beale Street Could Talk,” as well as the hit TV series “Fear the Walking Dead,” has proven time and time again that he is a force to be reckoned with on screen.
Details about the plot of “Dead Man Wire” are being kept under wraps for now, but with Van Sant at the helm and Domingo on board, it’s sure to be a project worth keeping an eye on.
Stay tuned for more updates on “Dead Man Wire” and be sure to mark your calendars for what is sure to be a must-see film.
The title of Wright’s film is an apt for an actor who is doing the reverse of Phillip C. McGraw’s dictum that ‘it’s a marathon, not a sprint,’ by jetting from London on Monday to a devastated Los Angeles, then on to Kentucky next weekend to join Nosferatu’s Bill Skarsgard in Dead Man’s Wire in Louisville.
Austin Kolodney’s original screenplay for Dead Man’s Wire is based on the story of Tony Kirtsis, who one frigid day in February 1977 took Indianapolis mortgage broker Dick Hall hostage in his office. He attached a steel wire, that was hooked to the barrel of a sawed-off, double barrel shotgun, around his captive’s neck. Deadline revealed news of the production and the casting of Skarsgard, along with Stranger Things star Dacre Montgomery, last month.
“This guy was just in dire straits, holding people hostage and speaking to a radio announcer,” says Domingo, who will play the broadcaster in question. He’s speaking to Deadline in the middle of an awards season that has propelled the actor’s performance inA24 flickSing Sing towards Academy Award contention. “That’s the only person he felt like he could communicate with. He’d listened to him every day and I sort of guide him not to kill people.”
After Dead Man’s Wire, it’s onto the third season of HBO’s Euphoria, shooting eight episodes with Zendaya, Jacob Elordi and Sydney Sweeney. “Everybody’s excited to get back to work. That’s taken a lot time to put together,” says Colman.
It’s been three years of waiting, in fact. “There’s been lots of rewriting and rethinking of what it is, and then it’s about wrangling everyone’s schedules — whether it’s Jacob‘s and Sydney or my schedule and Zendaya’s schedule. Oh, everyone’s become mega stars now,” he laughs.
Colman adds, “It’s going to be incredible storytelling. I don’t know if [what I heard] made it to the final pages, but from what I was told, it’s really exceptional. It’s human.”
‘Euphoria’
HBO
Spielberg Collaboration
Euphoria’s followed by Steven Spielberg’s new, as yet untitled, new movie. “I can’t tell you anything,” he says as I’m about to open my mouth.
“I will tell you this,” he decides. “I finished reading the script and I bawled. I thought it was one of the most beautiful scripts about our humanity. I think it was just the most beautiful film about our humanity, and I literally cried because Steven Spielberg believes in the possibility of the human beings we could be. That’s what I’ll tell you.”
Of course, I push for more.
“From what’s out there in the world, it is an untitled sci-fi experience. You know Steven’s always concerned about the stars and the moon, so I think that’s what I can tell you,” he says, lacing his hands together.
“Are you an astronaut,” I speculate?
“Possibly. You never know,” he says chuckling.
Shakespeare was into the stars and the moon, as well. I tell Domingo that I was struck by the soliloquy the actor chose to recite at the top of Sing Sing, where he plays John ‘Divine G’ Whitfield, a man incarcerated at the Sing Sing Correctional Facility, in Ossining, New York, for a crime he didn’t commit. The film, directed by Greg Kwedar, who also wrote the script with Clint Bentley, follows Divine G’s participation in Rehabilitation Through the Arts, known as R.T.A.
When I rewatched the movie ahead of my meeting with Domingo, I somehow experienced it differently from when I first watched it ages ago. I realized that the text Domingo’s Divine G performed as Lysander, one of the lovers in A Midsummer Night’s Dream — “Swift as a shadow/short as any dream/Brief as the lightning in the collided night/That, in a spleen, unfolds both heaven and earth/And ‘ere a man hath power to say, ”Behold!”/And ere a man hath power to say, ’Behold!’/The jaws of darkness do devour it up… “ — is the key to the film.
“That’s exactly why I chose that monologue to start,” he agrees. “That is the key. Since our film takes so many cues from Shakespeare, I thought the first line of a character in any Shakespeare play will tell you everything you need to know about him.” Usually, their entrance line in some way, shape or form, he observes, “will tell you a lot about the crisis of faith or the questions that the character has.”
Domingo explains that in that moment we find Divine G “in the height of his artistic journey in a hope-filled place,” but that juxtaposing his splendid robes on moment with his prison greens asks the question of how he exists in the world. “He’s holding onto hope and art,” adds Domingo.
Colman Domingo in ‘Sing Sing.’
A24/Everett Collection
“He’s holding onto language, ideas and imagination, and the container of prison is trying to beat it out of him. It gets me emotional anytime I think about it, because I know I can sit here and talk to you clearly about it, because you know about the container of us living in the world as Black men, a world tries to constrain us. We’re saying, ‘No, I’m liberated from that, every single day. Every step of our being is in defiance of the way the world is set up for us.’”
After seeing the film, some found his performance so compelling that people would ask him, indirectly, whether he’d ever been incarcerated. ”I’m like, ‘No! I’m a Black man in the world. I know how this man feels.’ It’s not so foreign, which is why I know I put more of myself into this film than I’ve ever put into any other film.
“I needed to lift the mask off of Colman and pour him fully into this. I wasn’t allowed to do that with Rustin; I had to build a character. With The Color Purple, I had to build a character and infuse it, and find its way and its heartbeat. But with this, I had to find my heart in John ‘Divine G’ Whitfield’s heart and pull him together.”
We’re practically alone, the two of us, in the charming Bistro Bardot, a hostelry that was once a famous old pub in Wapping, East London. He’s holding back tears now as he talks about his role in the film. “It’s me with all my fears,” he continues. “What would happen if I was wrongfully accused of a crime just walking down the wrong street at the wrong time, and the system is set up to put me away, and not to believe me, not to trust my word?”
Colman Domingo holds back his emotions in London
Baz Bamigboye/Deadline
Awards Trail
Domingo’s one of the few professional actors in Sing Sing, along with Sound of Metal’s Paul Raci. The bulk of the company consists of those who had previous experience performing with R.T.A.. One is Clarence ‘Divine Eye’ Maclin, who’s a revelation in the picture. He and Domingo have been nominated for supporting and lead actor BAFTA awards — Maclin also shares an adapted screenplay nomination for the film.
Domingo says he’ll return to London for the London Film Critics Circle Awards and the BAFTAs. He has the Critics Choice and SAG Awards upcoming in LA as well.
Following a tricky introduction, ‘Divine G’, in a magnanimous act, decides to assist ‘Divine Eye’ in his R.T.A. acting endeavours and in helping him prepare for his parole board hearing. “Even though he’s challenged by him, at the end of the day, he finds it more joyful to be of service to him as a well,” says Domingo.
The irony of that is devastating because ‘Divine G’ doesn’t know how to get himself outta that place. When I watched him go up for parole, I could feel the volcano inside both the character and the actor begin to rumble. How did he hold it back, I ask?
“I said to myself to hold it back,” responds Domingo. “I know that character. I know the person who feels like I have to measure my anger or my fury or my frustration sometimes, and always choose the high road. I know that very clearly. Please, I know that even when it comes to the way people will value or not value your work. I will just do what I need to do.”
But does he get angry, I ask?
“I get frustrated like everybody else, and at some point. I can only take so much. I know the things that boil and boil over when you’re not being seen or you’re not being heard, or you are constantly being looked over or passed over. You always try to take stock, but at some point, you want to lose your whole mind. But I think that I’m a very measured person because that’s the way I am,” he says flatly.
There are great men he greatly admires. “Whether it’s Ralph Ellison or whether it’s James Baldwin or Nat King Cole, I always think that these are guys who choose grace, but they have everything in them to be a Huey P. Newton or a Malcolm X.”
You know what, though? Colman Domingo’s having the last laugh on those who ever doubted him.
He’ll be on the Gus Van Sant movie set this weekend; he’s got Euphoria, the Spielberg picture. You’re gonna make your feature directing debut on Scandalous about Sammy Davis Jr and Kim Novak, to be portrayed by Rye Lane’s David Jonsson and Anyone But You’s Sydney Sweeney, I tell him. There’s the Nat King Cole Biopic he’s setting up to star in and direct next year. In a similar key, there’s the musical he wrote with Patricia McGregor, to be directed by McGregor, Lights Out: Nat King Cole, starting performances at New York Theatre Workshop in March, starring Dulé Hill (The West Wing) and Daniel J. Watts, who played Ike Turner in Tina: The Tina Turner Musical, as Sammy Davis Jr.
There’s the Tina Fey comedy show he’s shot called The Four Seasons, based on the Alan Alda movie. There’s crime thriller The Madness, in which he stars, on Netflix. Fear the Walking Dead is on Prime Video on an endless loop, and there’s stuff so far off in the future he dare not tell me about. He was filming The Running Man at Leavesden Studios until last weekend. Edgar Wright chose him for that. And later this year, he’ll be seen portraying Joe Jackson, Michael Jackson’s father, in Antoine Fuqua’s Michael.
Domingo and Indhu Rubasingham, the National Theatre’s incoming Artistic Director have been talking, he reveals, “about leaving a window open in the fall of 2026 to do “something” there. “I haven’t been on stage in London since Scottsboro Boys twelve years ago and I think my first show will be back in London at the National Theatre,” he affirms. He wants it to be “something special and impactful” and allows to “have fun.”
Oh, and Domingo, the red carpet maestro, is a house ambassador with Valentino now. “[Creative director] Alessandra Michele has been creating custom pieces for me to wear,” he says.
Colman Domingo at the 36th Annual Palm Springs International Film Awards at the Palm Springs Convention Center on January 3, 2025 in Palm Springs, California.
Getty
Doors once closed have been flung open all over the place for Colman Domingo, I say.
He concedes that “in a funny way, you’re right. I guess I’m having a bit of a last laugh.”
Sipping a Negroni, he adds that “just by existing and being and working hard, he represents all of the people who’ve worked regional theater, off-Broadway, and taught themselves to write and direct in the face of doors slamming and opportunities denied. “I represent all of those actors and artists,” he says,” emotion building. “I did not know that this was available to me. I just didn’t know, and now it feels like I have a greater opportunity to have even more impact.”
Last month he had a conversation with his team as he considered his next move. “I thought, ‘well, I want to have even more impact’. “And I woke up and I thought, ‘Well, I think the word is mogul!’”
‘Mogul’ is a good word, I say, guffawing at the audacity of it all.
“I tell you why,” he says. “I feel like it’s about having impact with many industries. I think that if people are willing to invest in me and the Coleman Domingo brand, I have the heart and the aptitude to tell them where to go because I care about people, I care about Black and brown men, I care about education. And by being a mogul, I can actually do that.
“That’s bigger than just being an artist. It’s having an effect on economy, which is why being a producer on Sing Sing shows I can actually make it happen. I can tell financiers what to do with their money and what will make an impact.”
It’s unlikely, I suggest, that Sing Sing would’ve have been made, at least not anytime soon, had it not been for his involvement.
“It absolutely would not have been made,” he concurs. “We had to agree on a plan on how to do it, which was a very community-based way of making sure that everyone above and below the line were paid the same rate, because it made sense for this film. You’re like, ‘How can you have people with their lived experience not benefiting?’”
So, everyone got paid the same. Including you? “Including me,” he replies.
“But I had to agree to it. I remember I brought this up to my team, and they were unsure. I said, “I think this makes sense. We’re going to make this as a collective and as a collective, we should all benefit from it.’ That means we’re all taking a chance. If it fails, if it doesn’t gain anyone one cent, that’s all fine. We all did this because we want to do this. We felt this story matters. That means that person who’s cleaning the toilet gets paid the same amount of money as I do.”
They were paid a daily rate, though he can’t recall how much. “Let’s say it was $600. Everyone got that. If you worked a certain amount of days, you got more, and so basically your equity, once we sold the film will break down in that way. You have this amount of points per days you’ve worked compared to that person.” Essentially, their share of any profit would be aligned to how many days they had accrued.
Although as a producer through the Edith Productions single he runs with husband Raul Domingo, “We have one more point or something, one more daily rate. But, pretty much, it’s as democratic as I’ve ever seen.”
Making Sign Sing wasn’t about the money for him, but ensuring it exists, just as was the case for Domingo with The Color Purple and Rustin. I’m like, I could afford to actually do this film as well, to be honest, and do it in a very fair way, which is beautiful. This is what those big budget films afford you to be able to do, so you can actually support others.”
A Producers Guild Award nomination would have been “a meaningful acknowledgement that this film was made against all odds in a truly democratic way,” he says with evident disappointment. “We’re bucking the system and the trend, and fellow producers did not want to acknowledge that.”
The Return Of Trump
We’re speaking on the eve of Donald Trump’s inauguration and I ask Domingo if he’s at all concerned about the noises one has been hearing about possible interference in the screen industry from MAGA forces.
Colman Domingo and Ke Huy Quan at 96th Oscars ceremony
Baz Bamigboye/Deadline
He shakes his head, and reveals that he had a “beautiful conversation” late one night at a restaurant, the name of which he won’t disclose, with some friends and colleagues, including Natasha Lyonne, Leonardo DiCaprio, Zoe Kravitz, Zachary Quinto and Jeremy O. Harris.
“Anytime I’m in New York, I bring people together. We sat and enjoyed each other’s company, and then we talked about how we are now the studios, the individuals.“
How so? “Because if we believe it can happen, and if we make it happen, it’s not about asking permission. It’s just we have to find the way, find our colleagues and financiers, and build it ourselves. Then we sell it. That’s what we’ve done with my last two films. Sing Sing we sold to A24 and It’s What’s Inside to Netflix.” Domingo explains that he and his husband developed It’s What’s Inside at Edith Productions, following that model to get it made.
“For me, it has to start with the individuals and the individual production companies. I believe that’s what me and my colleagues believe because we’re the ones willing to take the chances. Now let’s figure it out and let’s be smart. We can’t just be the creatives. We have to be connected to financiers and making sure we know how to get all things done, which is why I feel like we’re part of a generation of people are saying ‘No! I believe that we can be the studios.’”
Many of those assembled that night in New York have production companies and all of them, he says, “are all forward thinking artists who know that it’s just not enough to be the artist,“ he says banging the table to press home his point. “You’ve got to be the mover and the shaker, and you’ve got to be the numbers guy too.”
He doesn’t know what he’s going to find when he arrives back in an LA devastated by wildfires. He knows from Raul that his house in North Malibu is intact, but it “got the smoke.” He adds: ”I do know that the thing that I know I’m going back to is a community of people that really have been looking out for each other. What it’s brought out is the fact that we look after each other immediately.”
He and Raul still have their old home in Southeast LA. Selma director Ava DuVernay posted about needing somewhere for his old Selma cast mate, the actor Henry G. Sanders,his wife and his family who lost their home in Altadena. “I said, ’Let’s put them in my house,’ and Raul got it cleaned up and everything else.”
This is what “we do as a community” he reasons. “This is what we do at our best.”
I am thrilled to announce that Sing Sing’s very own Colman Domingo has officially joined the cast of Gus Van Sant’s upcoming film, Dead Man’s Wire.
Domingo, known for his incredible talent and versatility as an actor, will be bringing his unique charm and charisma to this highly anticipated project. With Van Sant at the helm and Domingo on board, this film is sure to be a must-see for all movie lovers.
Stay tuned for more updates and behind-the-scenes glimpses as production on Dead Man’s Wire gets underway. And be sure to mark your calendars for what is sure to be an unforgettable cinematic experience with Colman Domingo and Gus Van Sant leading the way.
Get ready for Dead Man’s Wire – coming soon to a theater near you!
