The transformative power of makeup in ‘A Different Man’
A journey beyond the mask
Makeup artist Mike Marino had a daunting task ahead of him when he took on the challenge of transforming Sebastian Stan for his role in A24’s latest film, A Different Man. This transformation was not just about donning a mask; it was about immersing Stan into the very essence of his character, Edward.
In the film, which premiered recently, Stan portrays Edward, a man afflicted with neurofibromatosis, a genetic disorder that causes tumors to develop on the skin and bones. Edward undergoes a medical procedure to alter his appearance drastically. His life seems to be on an upward trajectory until he encounters Oswald, played by Adam Pearson. Oswald embodies everything Edward is not—confident, humorous, popular, and charismatic.
The meticulous process of transformation
Before the transformation began, Marino knew the extent of the challenge. He had to cover at least one of Stan’s eyes and one ear. “I warned him,” Marino recalls. “We’re going to coat your entire head, hair, and everything with glue, and it’s going to be hot and uncomfortable.”
Marino, a two-time Oscar-nominated makeup artist, took extensive measures to ensure the transformation was as realistic as possible. He photographed and live-cast Stan, took 3D scans of his head, and printed a 3D version of him. Marino also scanned Pearson and 3D-printed his face for reference. “I began the process of what I thought could work on Sebastian, but there were technical limitations to where his mouth, eyes, and ears were,” Marino explains. “I had to proportionally balance what I could do with Sebastian as makeup, as design not just to copy and mirror Adam’s face.”
Once the sculptures were complete, Marino made the molds and cast the silicone. “We developed a soft material that was very lightweight and translucent, and I pre-painted everything with an airbrush ahead of time,” Marino explains. The entire process of applying the makeup took about two hours, and once completed, Stan was carrying an extra two pounds on his face.
Living the character
With Marino occupied with another project, Stan had to adapt to his new appearance early in the day and then head to his other commitments. “Sebastian had hours before he had to go to set. So during that time, he was now living in this makeup in New York City, wandering around, living an experience of what Adam may be living,” Marino says. This experience gave Stan an authentic view of how people perceive and react to someone with a different appearance.
Reflecting on this experience, Stan shares, “On Broadway, one of the busiest streets in New York, no one’s looking at me. It’s as if I’m not even there.” However, the other reactions were more disheartening: “Somebody would immediately stop and very blatantly hit their friend, point, take a picture.”
The evolution of Edward’s appearance
Marino’s makeup went through four different stages. Initially, he intensified the paint job and added scabs and crusty pieces of skin that appeared to be flaking off. At one point, Edward’s skin becomes so scabby and “almost-cocoon-like” that it could stretch. Marino used a soft makeup cast and glued it onto Stan. “It’s dripping off and it’s hard to hold its form. The day we did that, I had him lean back, and glued that makeup on, and when he was upright, it was dripping, and completely hanging off,” Marino explains.
Marino created a “secondary design of a transitionary stage where the face is slightly Sebastian and slightly Edward. It’s this mid-stage where his chin is still twisted and his eyes pulled down, and it’s underneath that makeup as he’s peeling it off. We added lumps that lessen with scabs, and when that comes off, we’re finally at Sebastian’s normal state—his face.”
The mask of identity
But the transformation doesn’t end there. Oswald’s presence makes Edward yearn to revert to his former self. His only way of doing that is by wearing a mask. Marino sculpted another iteration designed as a mask that Edward could put on and take off.
Marino hopes A Different Man resonates with audiences because of its profound message. “With makeup, we can take it off, and peel it off. Adam can’t. There is this real amazing beauty to someone who has that appearance, who cannot be like everyone else, and it’s shown in the film how cool and awesome he is,” Marino continues. “It’s important to view beauty differently. By nature, it should not be about how someone looks. It’s about their soul, how they feel and who they are.”
For more insights and to watch the trailer, visit A Different Man.
This article delves into the intricate process of character transformation in cinema, offering a unique perspective on the art of makeup and its impact on storytelling. For more articles on cinema, TV series, and music, stay tuned to our platform.