Slant Magazine – The actors discuss their physical and philosophical approaches to the self-reflexive tale.

Saying an actor was “born to play this role” might get bandied around flippantly when describing a virtuosic performance, but writer-director Aaron Schimberg refuses to stay skin deep when deploying the phrase like a dagger twice in A Different Man. The dramatic physical transformation of Sebastian Stan’s Edward, a downbeat New York actor with facial disfigurement, at the film’s midpoint becomes an opportunity for a meta-reflection on the events of the first half. A staged dramatization of his experience by Renate Reinsve’s playwright Ingrid presents Edward—now unrecognizable from his previous self due to facial reconstruction surgery—with the ultimate opportunity to embody someone he was quite literally born to play.

But trying to square the confident swagger of his new persona, “Guy,” with the version of himself that he left behind traps Edward within a hall of mirrors. As self-consciousness eats away at the flailing actor, his part gets usurped by Adam Pearson’s charismatic Oswald, a man born with neurofibromatosis, which has disfigured his face. While he doesn’t share Edward’s experiences, Oswald proves more capable of conveying the truth of his life on stage.

These bitter, brutal ironies that pervade A Different Man function like a grenade thrown into conversations about identity and representation on screen. But in a film full of calculated contradictions, arguably the most central to the success of Schimberg’s work is the sincerity required by Stan and Pearson in their parts. Mere mortals cannot settle whether they were “born to play” Edward and Oswald, yet both actors deliver turns as deeply felt as they are embodied.

In a brief conversation ahead of A Different Man’s theatrical release, I spoke with Stan and Pearson about how they approached Schimberg’s self-reflexive exploration of transformation, acting, and performance both physically and philosophically.

Continue reading

The Daily Beast The actor gives the performance of his career in “A Different Man.” He talks to us about the juicy new movie and the loud discourse surrounding his Trump movie “The Apprentice.”

Sebastian Stan is more than just a Marvel standout, and he proves that in phenomenal fashion with A Different Man, Aaron Schimberg’s noir-ish tale of transformation, mania, and murder.

Initially encased in facial prosthetics, Stan is extraordinary as Edward, who finds a miracle cure for his neurofibromatosis (a condition that results in disfiguring tumors), only to wind up starring in an off-Broadway play about his former life that’s written by the neighbor (Renate Reinsve) for whom he pines and which ultimately features a stranger (Adam Pearson) who looks exactly like he once did.

Charting Edward’s constantly shifting feelings about his past and present selves with agility and intensity, the actor crafts a complex portrait of desire, discomfort, confusion, and self-destruction. Like a one-man funhouse mirror, he’s a lost soul trying to lucidly see and accept himself, and Stan conveys his upheaval with equal parts poignancy, creepiness, and absurdity.

Premiering in theaters on Sept. 20, A Different Man is one of the year’s best, and further confirmation that Stan is an artist of impressive versatility. While best known as the Marvel Cinematic Universe’s metal-armed Winter Soldier, he’s spent his downtime from superheroics tackling a wide variety of projects, be they Craig Gillespie’s ripped-from-the-headlines I, Tonya and Pam & Tommy, Mimi Cave’s horrific thriller Fresh, or the upcoming The Apprentice, Ali Abbasi’s controversial biographical drama in which he plays a young Donald Trump.

Without much fanfare, Stan has become a bold Hollywood risk-taker, moving between blockbusters and independent productions—not to mention genres—with confidence and skill. His latest, however, is his crowning achievement to date, demonstrating not only his gift for intricate characterizations but also for comedy, which helps augment the film’s head-spinning surrealism and darkness. A performance that mutates and surprises with every whiplash plot twist, it’s a bona fide tour-de-force.

Stan isn’t done with comic-book spectaculars quite yet; Thunderbolts*, his newest Marvel assignment, arrives next summer. Nonetheless, his work in A Different Man is so tremendous that, in a just world, it would herald a future of even more daring roles. For now, however, he’s concentrating on Schimberg’s masterful feature, which he discussed with us—along with a bit about his upcoming turn as Trump—in advance of the film’s debut.
Continue reading

Forbes

Sure, you likely know him for his many Marvel film appearances as Bucky Barnes, but actor Sebastian Stan has often taken “the road less traveled” when it comes to his career, having built quite the unique repertoire of memorable performances in far less conventional films.

That observation has arguably never been more visible than with his involvement in the new A24 film, A Different Man. Written & directed by Aaron Schimberg and co-starring Adam Pearson and Renate Reinsve, it tells the story of Edward (Stan), an aspiring actor who undergoes a breakthrough medical procedure to transform his facial appearance, but soon regrets his decision when he becomes obsessed with reclaiming what he has lost.

I sat down with Stan, Pearson and Schimberg to uncover the origin and the creative thought process that went into this new project, which is now playing in select theaters in New York and Los Angeles – nationwide come October 4. For filmmaker Schimberg, this purposefully uncomfortable narrative and the overall project hits rather close to home.

Schimberg said, “I mean, for me, it’s sort of a personal story. I have cleft palate and it’s just sort of me thinking about how it’s affected me in my life and others’ perception of me and my perception about myself. My previous film [Chained for Life] also dealt with the subject in some ways, so that’s sort of what I am always thinking about when I am starting to write a film. I was also thinking about Adam because I had worked with him previously and he played a shy character in Chained for Life, my last film, and he’s not shy at all – and yet, people I think sort of thought that he was playing himself in my movie because they sort of assumed that he must be shy. So, I was inspired to write something that was closer to who he is – taken to a comical extreme, maybe, and I wanted him to show off his range, but I also just wanted to work with him again, so these were some of the starting points.”

Pearson, a British actor with neurofibromatosis, which is a rare genetic disorder that typically causes benign tumors of the nerves and growths in other parts of the body, went on to share what it was about A Different Man and his Oswald character that most intrigued him to want to make this his next film.

“Well, I enjoyed working with Aaron the first time, so when he said, ‘Would you consider working with me again?’ Straight away, I was like, Ding Ding! Round two – let’s rock and roll. Then the script – all the words have weight. There’s very little wasted motion in the script. The end result of the film is quite challenging and holds up a mirror to an audience. I’ve never been a fan of hand-holding or sugar-coating. I think audiences can be a lot smarter than we often give them credit for. A good film will change what you think for a couple of days, but a great film will change how you think for the rest of your life. We’re certainly trying, at least, to be in the great film business.”

With Stan not only acting in A Different Man but also an executive producer, I wondered how he has perhaps noticed his interests and priorities towards the stories that matter most to him as a professional and human being evolving as time goes on.

Stan said, “Well, you get a little older and the questions get a little scarier. A few years ago, I just decided to kind of just be a little bit more aggressive about finding specific work that was interesting and different and kind of challenging for me than what I was getting to do. Eventually, you find yourself in conversations that are in the development of certain things and that might lead to a producing kind of aspect. I think in this [A Different Man] situation, I was involved before A24 came on, which never really happens for me. Not only because of obviously how I felt about the story and so on, I felt really brought in by Aaron and [producer] Vanessa [McDonnell] into their journey with this film and like what they were wanting to do. So, I felt a much bigger attachment than I usually do as an actor in a way.”

When it came time to film A Different Man, Stan recalls the production not having much time, which he actually found to be helpful within his producer role “because when you’re involved in some capacity beyond acting, sometimes you can kind of go, Hey, let’s continue shooting or something. You can help add more to the making of it in some capacity and that was big for us, given our time – that we didn’t have a lot of time.”

In fact, during one particular scene in the film, Stan remembers while everybody else was wrapping up the production trucks for the night, he decided to head out on the streets of New York City with his A Different Man director of photography Wyatt Garfield and Schimberg to grab additional footage. “I just kind of took one of his other little cameras and then we started going up and down Columbus Avenue. It was Friday night and we just got all these shots. Maybe you don’t always get to do that, so that was helpful.”

As I began to conclude my conversation with these three gentlemen, I wondered what Pearson and Stan would say to their A Different Man characters, Oswald and Edward, after seeing their stories play out on-screen and understanding their wants out of life.

Pearson said, “I’d be like to Oswald, Maybe turn it down a little bit. Be nicer to [Stan’s character Edward] because he might not say it, but he loves you and he needs you right now.”

As for the message Stan would tell Edward, he said, “Listen to me! I’m here – I’m telling you. I don’t know how I feel about this. Just hear me out.”

He then added: “It’s very interesting because we all have these moments in life, big or small, where you make a decision or you even say something because you’re with other people or you’re supposed to say something the right way, but you know your reaction in the moment or the decision you’re making is not what your gut is like really telling you. Then, you feel kind of like you’ve abandoned yourself, but then you just quickly deny that – that can kind of like spiral down. We’ve all kind of not owned certain things in the moment and that’s sort of what happens. He kind of drowns out that voice.”