This interview is part of Variety and CNN’s Actors on Actors series. Watch the full video interview now at CNN.com/Watch (or on the CNN app) and on Variety’s YouTube channel starting at 11:59 pm ET.
Colman Domingo and Sarah Pidgeon are distinguished actors with roots in theater. Their transition to television has been marked by a captivating approach that garners attention and acclaim. In a conversation about Domingo’s roles in HBO’s “Euphoria” and Netflix’s “The Four Seasons” and Pidgeon’s portrayal of Carolyn Bessette Kennedy in FX’s “Love Story: John F. Kennedy Jr. and Carolyn Bessette,” they explore the impact of costumes, the nuances between acting and directing, and how their roles linger with them after filming ends.
Colman Domingo: Your portrayal of Carolyn Bessette is remarkable. Online comments praised your capture of her mannerisms and cadence, even her walk. How did you prepare for this role?
Sarah Pidgeon: Although she was frequently photographed, Carolyn was quite enigmatic and never gave an interview. Few videos exist of her speaking. This allowed for a discovery process that was liberating yet intimidating. I understand the pressure of playing real people, as you do.
Domingo: Many strive for accuracy, but I prefer authenticity over precision. Our goal is to create a truthful experience, not a perfect imitation.
Pidgeon: Exactly. It shouldn’t feel like an impersonation because it’s still your body and your voice.
Domingo: It needs to be genuine to you.
Pidgeon: Have you ever worried about the limits of transformation? I can’t alter my height, except slightly with heels. Carolyn was 5-10, like me.
Domingo: You are tall. I noticed it right away.
Pidgeon: Playing Carolyn has helped me embrace my height.
Domingo: Wait, you didn’t embrace your height before? Is it due to the typical size expectations for women in Hollywood?
Pidgeon: Yes, and I’ve often been the tallest in groups. Playing Carolyn was refreshing because she was comfortable taking up space. You hope to retain some positive traits from your characters.
Domingo: Were you dressed in Calvin Klein?
Pidgeon: Yes, lots of Calvin. And you have a great sense of style.
Domingo: Thank you.
Pidgeon: The way you dress really affects how you feel.
Domingo: I am known for my red carpet style, but I’m also meticulous about my characters’ wardrobes. For example, Ali in “Euphoria” is very different from Danny in “The Four Seasons.” For Ali, I said, “Everything should cost around $30, secondhand and practical.” Danny, however, is a worldly man.
Pidgeon: He’s impeccably dressed. I love the hats you wear.
Domingo: With our costume designer, I directed that Danny should be a cosmopolitan character—found in Milan or Japan—an architect who stands out and embraces his uniqueness. His style is urban, global, and designer-focused.
Pidgeon: Carolyn had a strong understanding of fashion’s power. We explored her style evolution from age 26 to 30, noting how her wardrobe choices were influenced by her changing world.
Domingo: I noticed that transformation in your show, as your body language evolved.
Pidgeon: The clothes made a difference. Wearing a sweatshirt feels different from what I’m wearing now. Yohji Yamamoto, whose designs Carolyn often wore, viewed clothing as armor for women, providing security in the public eye. This perspective changed how I saw her—beyond a fashion icon to someone aware of the image she projected.
Domingo: One standout moment was when she changed her red nail polish.
Pidgeon: I loved that scene. People speculate about her vanity, but I saw it as her understanding of public scrutiny. At a wedding, she knew red nails would divert attention from the couple to her. It wasn’t about being picky, but awareness of external pressures.
Domingo: Do you feel that pressure? “Love Story” has become a significant part of the zeitgeist. How do you handle it?
Pidgeon: Things change rapidly. It’s not always helpful to engage with online discussions, though curiosity sometimes gets the better of me. I aim to maintain privacy and a strong sense of self to explore various roles. How do you manage it?
Domingo: I take bold steps. In one year, I appear in drag in a Sabrina Carpenter video and then play Joe Jackson in a Michael Jackson film. I avoid repeating roles to prevent being typecast. After “Fear the Walking Dead,” I noticed offers for similar roles and declined them.
Pidgeon: Your ease in transformation is impressive. It’s believable because of your dramatic swings.
Domingo: I freed myself from needing perfection. I embrace the rough edges. When hosting “SNL,” people asked if I was nervous. I wasn’t, because I accept being a little messy. I trust my research and instincts. Directors know my first takes aren’t great.
Pidgeon: I’m sure they’re not bad.
Domingo: They are.
Pidgeon: Did you know much about Ali’s backstory in “Euphoria”?
Domingo: Not initially. Sam Levinson created Ali based on his sponsor. I researched addiction, drew from personal experiences, and shaped the character. Season 3 explores Ali’s origins, testing his faith and mentorship of Zendaya’s character, Rue. Sam Levinson is an exceptional storyteller.
Did you have many directors for “Love Story”? How was the experience? I’ve encountered directors with differing views on a character after I’ve embodied them.
Pidgeon: Working with Ryan Murphy and his team was fortunate. I consider myself trusting, maybe a bit naive.
Domingo: What’s your sign?
Pidgeon: Cancer. And yours?
Domingo: Sagittarius.
Pidgeon: My mom’s a Sagittarius. Or maybe a Capricorn.
Domingo: You don’t know your mom’s sign? We need to explore that in another episode.
Pidgeon: That’s another 45 minutes.
Understanding directors’ intentions takes time, and TV moves quickly. How long did “The Four Seasons” or “Euphoria” take to film?
Domingo: “Euphoria” spans seven months, but my scenes were shot in a month. “Four Seasons” is my first half-hour comedy, and I direct it too. I love the three-month schedule and varied locations.
Pidgeon: You have to cover four seasons.
Domingo: Tina Fey wanted a show about people in their 50s, with witty banter and fun locations. She invited me to direct, which felt like a natural fit. This season, Tina directs too. The team is cohesive, with writers directing as well, which enhances the show’s consistency.
Pidgeon: How was directing “The Four Seasons”?
Domingo: I focused on 360-degree shots and group dynamics, creating a sense of community in the filming. When the show evolves, you’ll long for that initial cohesion. The camera captures the ebb and flow of people, which is deeply rewarding.
Have you thought about directing?
Pidgeon: Yes, I’d like to try it. Has directing improved your acting?
Domingo: Definitely. It has made me more patient, understanding the extensive preparation directors do. Actors often arrive on set questioning setups, unaware of the careful planning involved.
Pidgeon: Exactly. We focus on our characters, advocating for them. How did you handle the sense of finality in “Euphoria” this season?
Domingo: Sam Levinson aims for each season to feel like a finale, always leaving room for more. We exhaust the character’s story fully, ensuring a comprehensive arc. I’ve loved working with Zendaya, and our narrative closure is clear. The storytelling is cohesive, and the ending feels natural. I wish the entire season released at once for a complete viewing experience.
How do you feel about your show’s conclusion?
Pidgeon: It’s intriguing to tell a story with a known ending. We meet the characters at their life’s end, then flash back six years. I’m grateful for the experience and hope to carry some of Carolyn’s qualities with me.
Domingo: Do you often take something from your characters?
Pidgeon: I think it’s inevitable. Everyone should try acting for its radical empathy. I might inherit bad traits, but when playing a character, you become their advocate.
Domingo: You’re their cheerleader.
Pidgeon: Exactly.
Domingo: This season, Ali’s darkness is explored, and people ask how I find it. It’s a human experience we all possess.
