Sebastian attended the BAFTAS and below is another interview with Jeremy Strong below including 200+ UHQ screencaps from the interview below. Thank you to Sandra for the video notification.
Sebastian attended EE BAFTA Film Awards 2025 . I’ve added OVER 200+ UHQ/untagged photos to the gallery. There’s numerous videos and interviews from last night below along with 500+ screencaps . Thank you to Sandra for the extra assistance.
New York Times – He is attracting different attention, and some leading man hardware, after standout performances in “The Apprentice” and “A Different Man.”
For accompanying photo: Session #157 – Caroline Tompkins.
For the accompanying video clip click here.
For the screencaps of the video clip click here
For years, it seemed fair to assume that the actor Sebastian Stan could make a career on both sides of Hollywood. There was dabbling in juicy supporting roles — he played the ex-husbands of both Tonya Harding and Pamela Anderson — while comfortably returning to the action-hero part for which he is best known: Bucky Barnes. As the erstwhile sidekick of Captain America, Stan has been a regular in the Marvel Cinematic Universe movies since 2011 (including “Thunderbolts*,” which hits theaters in May). There are surely worse fates than simply maintaining that balance.
“There’s a group of actors — I’ll put Colin Farrell in this group as well — that are so handsome that in some sense it works against them,” said Jessica Chastain, Stan’s friend and castmate in “The Martian” and “The 355.”
While being too good-looking a movie star may be world’s-smallest-violin territory, a whirlwind year with two standout unconventional performances now has the 42-year-old cast in a very different light. It has also already brought in some leading-man hardware, with more maybe to come.
Sebastian Stan is up for an Oscar for his portrayal of President Trump early in his career, when Roy Cohn was his lawyer and mentor. Stan says Cohn schooled Trump in “denying reality and reshaping the truth.” He spoke with Terry Gross about his childhood in Romania, wearing prosthetics for A Different Man, and his breakthrough role on Law & Order.
When makeup designer Mike Marino signed on to do the prosthetics for A Different Man, he was taken in by the story’s ability to shine a comedic light on a dark subject. Writer-director Aaron Schimberg’s take on someone’s obsession of self then led Marino to an Oscar nomination for his prosthetic designs.
A Different Man follows Edward (Sebastian Stan), an aspiring actor, who undergoes a medical procedure to drastically change his appearance. When his new face gets in the way of the role he was born to play, he becomes obsessed with reclaiming what was lost. Marino looked to Adam Pearson for inspiration on what Edward’s initial prosthetics should look like, since the actors had to be playing off of each other, though Marino’s real craftsmanship came in the form of the “treatment stages” prosthetics.
DEADLINE: What was your inspiration for Edward’s prosthetics?
MIKE MARINO: The actual direct inspiration was Adam Pearson. Due to what we needed to do through the film, we had to have Sebastian look close to Adam Pearson, but a bit different. He was really the main influence with the design of the makeup because they’re playing against each other, so it wouldn’t really make sense if it looked completely different. It had to have the same feeling. So, I used Sebastian’s face to do what I could with his own face and his proportions, and mix them with Adam Pearson’s in a sense, but I had to actually make it a little bit more dramatic because his face is like Edward’s face in the film. Sebastian’s character is going through this kind of metamorphosis where he’s getting scabs and these pieces are peeling off of his face. So, it had to be altered from Adam Pearson’s face, which is not going through any of that stuff. Throughout the film, his face is getting scabby and lumpy and all these other things happening, and then he’s peeling pieces of it off, and then he ultimately peels his entire face off.
DEADLINE: Tell me about the stages of the prosthetics.
MARINO: So, there’s a few stages. His initial look is its own look in itself, and then when he starts going to treatments, he starts getting scabs and little pieces of things that are more intensified and flakier. And then you have this extremely soft version where his face almost looks like it’s melting off, which is the scene where he peels his face off and underneath is another stage of makeup. It’s a transitionary state between Edward’s final look as Guy, which he changes his name to, and Edward’s look. When he peels that off, underneath is another makeup he’s wearing that’s slightly distorting his facial features. If you look closely, you can kind of see remnants of the shape of what that character looks like. And then ultimately the next scene, he’s Sebastian Stan. He’s the new character.
That’s about four stages, and it was hard to make the very soft one. We barely could even take it out of our molds because it was just so pliable and so soft that it was barely holding its shape. And I had to do the makeup of his transitionary stage first and then glue with a very sticky gel, a very sticky material called Methylcellulose, which is basically a concentrated jelly donut filling. I had to glue the makeup on with that material so that it would kind of slough off and just peel and drip off. So then when he stretches it, it’s all this really stretchy cocoon-like shell going on. So that was definitely a tricky thing to even pull off.
DEADLINE: And what is that last prosthetic itself made out of? Is it a different material from the others that makes it so soft and difficult to work with?
MARINO: It’s all the same material. It’s just varied in density of silicone. There’re ways to vary the softness of things. Like for instance, on The Penguin, I made certain aspects of that makeup harder, like the nose. And there were aspects of Colin [Farrell]’s face, like the neck, which I made extremely soft because it’s such a mobile area. Same with this, there’s a couple of soft spots of Edward’s character, and then when he’s peeling his face off, it’s a much, much softer version of the same material. We can make it more liquid and do different things chemically to make it very pliable, but it’s all platinum, medical-grade silicone.
Sebastian attended Virtuosos Award – 40th Santa Barbara International Film Festival . I’ve added 200+ UHQ/untagged photos to the gallery along with over 200+ UHQ screencaps from the event and interviews below (including video from the event). Thank you to Sandra for the extra assistance.
I’ve added 2 new/old high quality stills of Sebastian in ‘The Martian’ in the gallery. Thanks to Sandra for the assistance.
It’s the noise living in all of our heads—when we turn on the news, scroll through Elon Musk’s X, or listen to any number of podcasts. Donald Trump’s voice even forced its way into awards season with The Apprentice, which fictionalizes the president’s ascent in the New York City real estate scene in the 1970s and ’80s. Despite a long and difficult battle for distribution, the film earned a pair of Oscar nominations: one for Sebastian Stan’s lead performance as Trump, and the other for Jeremy Strong’s supporting turn as his shadowy mentor, Roy Cohn.
Stan’s performance is made not just by his sideswept blonde wig and perpetually pouted lips, but his total mastery of Trump’s idiosyncratic diction. For that, we can thank dialect coach Liz Himelstein, who has devoted her life to helping performers find characters through accent. That means phonetically breaking down dialogue—every vowel, diphthong, and consonant change—in addition to giving her high-profile clients primary source material they can study.
The key to Stan’s transformation turned out to be Trump’s 1980 conversation with gossip columnist Rona Barrett. “In that interview, we found so much of him,” Himelstein tells Vanity Fair, speaking in the soothing, perfectly enunciated tone one would expect from a person who teaches accents for a living. “It was a treasure trove of sounds and cadence, and also [Trump] being 34 years old, his younger voice.”
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“I’m basically a storyteller, just with the skin on a character’s face,” explained Mike Marino, the prosthetics maestro whose reputation is fast becoming as lauded as movie makeup legends Rick Baker and Stan Winston.
At this year’s Golden Globes, Marino was acknowledged not once, but twice by winning actors on stage: First by Colin Farrell, who is unrecognizable in HBO’s “The Penguin”; and then by Sebastian Stan, who won for his role in the dark indie comedy about disfigurement and self-acceptance, “A Different Man.”
“That was a huge compliment,” Marino told TheWrap of the shoutouts. “People were texting me that night — producers and actors and heroes of mine like Rick Baker — joking, ‘These are the Marino Globes.’ I’ve been doing this for my whole life and I’m just super thankful and fortunate to do what I do. Prosthetics work isn’t the crazy, booming business it once was, but I’m following in the footsteps of my mentors and trying for greatness every single time, because that’s what I learned from them.”
For his work on “A Different Man,” Marino notched his third Oscar nomination in the makeup category (shared with David Presto and Crystal Jurado). His previous noms were for “Coming 2 America” (2021) and “The Batman” (2022), but “A Different Man” is in a whole other key – the lowest budget of Marino’s three nominated movies, by many millions, with a svelte shooting schedule of just 22 days.
Directed by Aaron Schimberg, the story follows Edward (Stan), a man with facial disfigurement whose insecurities worsen after he undergoes a treatment to improve his face. After the change, he meets Oswald (Adam Pearson), a warm, chatty Englishman with the same facial condition as pre-transformation Edward.
A few weeks before the film began production in 2022, Marino was contacted via text message by Stan, who is also an executive producer on the film, asking if the makeup artist could lend his prosthetic gifts. Marino, who is based in New York, where the movie would be filmed, was intrigued.
“I read the script and thought, ‘This is totally strange and original and I need to do this,’” he recalled. “We’re living in a time where everyone’s trying to look as perfect as possible, and this story actually has something to say about that. Edward goes through this metamorphosis, where he becomes a handsome guy like Sebastian Stan, but after he loses his face, he doesn’t know who he is.”
With Pearson as a blueprint (the actor, who made his film debut in Jonathan Glazer’s “Under the Skin,” has neurofibromatosis), Marino crafted a three-piece silicone prosthetic for Stan’s character.
“In a previous era, it would have been seven or eight pieces, but the majority of this was one main piece, with also a tiny eyelid and a lower lip,” Marino shared. “And with Sebastian, we got it down to a two-hour application, once the hair and the eyebrows were glued on.” While not filming, Stan wore the makeup on the streets of New York City, both to test its credibility and to feel the reactions of passersby, a theme that the film handles with a mixture of poignancy and irony.
The story also called for several stages of makeup, as Edward is experiencing his facial transformation. For a scene in the bathroom, Marino paid homage to a moment from an 1980s ghost horror classic.
“Aaron, Sebastian and I, we’re super film geeks, and we watched that nightmare sequence in ‘Poltergeist’ where a guy in a mirror peels off part of his face. The funny thing is that for that movie, they only had one shot to get it right, so [screenwriter] Steven Spielberg stepped in and did the peeling himself. Those are his hands in the scene. For us, Sebastian had the responsibility to get it done just right, which he did perfectly.”
Marino also cited “The Elephant Man” as his favorite movie — the one that most determined the path of his life and career — and is grateful that critics and audiences have understood the ideas in “A Different Man” on similar terms.
“David Lynch captured the beauty and the humanity of Joseph Merrick in that film,” he said. “And I love the reactions to Adam’s performance in our film, which prove that people get it. People love Adam when they see him and talk to him, and it doesn’t matter what he looks like and all that superficial stuff.”
The history of movies, Marino mentioned, is notable for the contributions of makeup artists, as far back as Lon Chaney in the silent era and Jack Pierce, who worked on the original “Frankenstein.” Marino is an avid devotee of their efforts and even studied as a protégé under Oscar-winning makeup man Dick Smith (“The Godfather,” “The Exorcist,” “Amadeus”).
“I look at my work as who I am,” he said. “I’m not just a hired gun, which sometimes people want on their production. I have to be interested in the material and feel that it’s right, like with this movie. I love to approach a character and ask, ‘How did this person grow up? How do they live? What are they thinking?’ Makeup is storytelling.”