Meet the makeup wizard who transformed Sebastian Stan into ‘A Different Man’

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In reflecting upon the captivating narratives of Stan and Adam, I find myself deeply moved by their transformative journeys and the profound impact of appearance on one’s life experiences. Stan, through his portrayal of Edward in “A Different Man,” has demonstrated an extraordinary ability to embody a character whose existence is defined by societal prejudice and physical isolation. His method acting, involving the wearing of prosthetics that limited his vision and hearing, allowed him to delve deeply into Edward’s psyche, understanding the constant threat he faces and the need to always be on guard.

5-year-old Mike Marino experienced “The Elephant Man” for the first time and it significantly impacted his life. When David Lynch’s poignant and heart-wrenching tale about the disfigured John Merrick aired on HBO in the early ’80s, Marino felt repelled but couldn’t look away, igniting an enduring interest in prosthetics that eventually propelled him to become one of Hollywood’s top makeup artists.

Marino, aged 47, shares, “I was terrified of it, but I had no idea just how stunning that tale would turn out to be and the lasting impact it would have on my mind and spirit.” This movie, which earned him consecutive Oscar nominations in 2022 and 2023 for his makeup work on ‘Coming 2 America’ and ‘The Batman’, featuring a dramatically altered Colin Farrell, was pivotal to his career.” Without it, I wouldn’t be where I am now.

But for actor, TV presenter and disability rights advocate Adam Pearson, Lynch’s film took on a more painful role in his life. Growing up in England with neurofibromatosis type 1, a rare genetic disorder that causes tumors to grow on his face, Pearson was often taunted by classmates who cruelly called him “Elephant Man” and other names. As he got older, he saw how movies routinely depicted people with disfigurements as freaks, villains or victims, stripping away their humanity. “There’s an element of laziness to it,” says Pearson, 39. “How do we show this character is evil? Let’s slap a scar on them.”

Currently, an unexpected turn of events has brought Marino and Pearson together on an unconventional production: the enigmatic, humorously grim psychological thriller “A Different Man.” Aaron Schimberg directs this A24 film where Sebastian Stan portrays Edward, a timid, disfigured actor living in New York City. He opts for an experimental procedure to alter his looks but ironically loses the role he was destined for – himself – to a charismatic counterpart, Oswald, with the same facial deformity, embodied by Pearson. Renate Reinsve (“The Worst Person in the World”) shares the screen as a playwright whose work accentuates Edward’s identity turmoil.

At this year’s Sundance Film Festival, I had the privilege of experiencing “A Different Man,” a unique dark comedy that The Times described as a self-unraveling, twisted pretzel of sorts. This intricate piece delves into profound themes such as identity, beauty, and disability, combining the dreamlike surrealism of Charlie Kaufman with the visceral body horror reminiscent of David Cronenberg.

In simpler terms, Marino explains that the film shows us not to let our outer selves limit our inner spirit or character. He believes this movie is significant, similar to ‘The Elephant Man’.

Initially, when Schimberg penned the screenplay for the movie, he drew inspiration from his personal battle with a cleft palate and his collaboration with Pearson on the 2019 satire “Chained for Life.” At first, he had no clue about executing the film’s complex prosthetics work. As Sebastian joined forces with him, they swiftly assembled the movie pieces together. However, it wasn’t until a month before shooting that Schimberg realized the film would crumble if the demanding prosthetics weren’t handled correctly. The situation was quite urgent and time-bound.

Signing on as an executive producer for the film, Stan asked around about makeup artists in the New York area who could handle such a difficult job under that kind of time pressure. One answer consistently came back: “Literally everyone, hands down, was like, ‘You’ve got to get Marino,’ ” the actor recalls.

Despite being occupied with a role on “The Marvelous Mrs. Maisel”, Marino, known for working on fantastical creatures, eagerly took up the task of recreating Pearson’s real-life disfigurement. “I’m captivated by people with unique skin conditions because it’s so intriguing, artistic, and natural,” Marino expressed. “In my opinion, there’s a stunning beauty in how Adam looks. This wasn’t about creating a frightening or monstrous appearance. I prefer to avoid projects that lack depth or purpose.

Marino’s love for makeup and prosthetics blossomed at a young age, fueled by industry giants such as Dick Smith (“The Exorcist”) and Rick Baker (“An American Werewolf in London”). In New York, he began refining his abilities during his preteen years, experimenting with latex, foam, and assorted chemicals on his friends. Unfortunately, this led to the destruction of his bedroom rug, which didn’t sit well with his parents. Even while attending high school, Marino sent his portfolio to Smith and received motivational calls from the makeup maestro, who won an Oscar in 1985 for “Amadeus” and was honored with a lifetime achievement Academy Award in 2012. Once Smith acknowledged him, Marino felt validated, and there was no stopping his determination.

Following stints on “Saturday Night Live” and “Buffy the Vampire Slayer,” Marino made his film debut in the 2007 psychological thriller “Anamorph.” Known for his adaptability, he effortlessly transitioned between portraying fantastical creatures and more nuanced, realistic roles. His contributions to Darren Aronofsky’s “Black Swan” intensified its psychological terror, while on Martin Scorsese’s “The Irishman,” his meticulously designed prosthetics complemented the film’s digital de-aging of Robert De Niro and Al Pacino.

In areas outside of movies, Marino designed the distorted plastic surgery appearance seen in The Weeknd’s “Save Your Tears” music video. As he puts it, “Every situation presents its own set of challenges – there’s no pre-written guide.

In “A Different Man,” Marino utilized photographs and 3D scans of Pearson’s face, which has gone through approximately forty surgeries throughout the years, as a foundation for a multi-piece silicone mask. This mask was designed to blend with Stan’s facial features. “It wasn’t possible for me to exactly replicate Adam’s measurements,” he explained. “I had to make certain aesthetic decisions.

In “The Elephant Man,” the make-up effects thrived under the movie’s gritty black-and-white filming, but in “A Different Man,” the prosthetics were subjected to harsher examination. To ensure the authenticity of his character’s Edward face, Stan would venture from Marino’s makeup station to the set through New York City streets filled with strangers, providing him a valuable understanding of how society interacts with individuals who appear different.

Stan remembers visiting his long-time favorite coffee shop where the barista who had served him for years failed to recognize him. This experience allowed him to sense people’s responses in real-time. Some individuals refused to make eye contact with him, while others stared intensely. Occasionally, he received a more intense reaction such as, “Oh dear me, it’s the Elephant Man!” As Adam described, you feel like you’re being displayed for public viewing.

Pearson, showing the same outgoing warmth as his character, advised Stan to consider his situation in a way that mirrors his own experiences as a movie star. He said, “I told him, ‘You might not realize the extent of attention I get with people staring, pointing, and taking pictures. But you can relate to something similar from another perspective, so embrace it wholeheartedly.’ If it makes you uneasy, he added, ‘Embrace it even more.’

Wearing prosthetics, Stan experienced vision through one eye and hearing impairment in one ear, which added authenticity to his portrayal of a man who tends to avoid perceived dangers or insults. Speaking about the character Edward, Stan explains that he’s likely had to endure emotional and possibly physical abuse, causing him to remain ready for potential danger by always keeping one foot slightly prepared.

During Edward’s transformation after his extreme therapy, Marino crafted extra prosthetics to depict the progression, including a very pliable, gooey prototype. In a scene reminiscent of Cronenberg, Stan was able to remove pieces of this model.

Marino’s ability to transform actors is evident in Colin Farrell’s portrayal of the Penguin in “The Batman” (2022) and the upcoming HBO spinoff series. As Marino puts it, “When Colin saw the sculpture I created, ideas just started popping. After we did a makeup test, it was like magic – he knew how to talk, walk, and he instantly became the character.

Marino, gearing up for his first directorial venture, rooted in a script he penned with a 1980s backdrop (he suggests it won’t rely heavily on special effects), maintains the same fervor for the transformative potential of latex and silicone that he had when he spent countless hours immersed in Cinefex magazine issues as a young teen. Marino likens his work in makeup effects to Michelangelo’s portrayal of beauty centuries ago through painting and sculpture, stating that his current medium is hyper-realistic silicone. He calls his special effects studio Prosthetic Renaissance, explaining that this art form is exceptionally unique, akin to moving sculptures and paintings combined.

Regarding Pearson, if given a chance to undergo an experimental transformation that alters his appearance as depicted in “A Different Man,” he declines. Although the difficulties it presents have marked his journey, Pearson feels his current visage is integral to the life path he has walked thus far.

He playfully teases his friends, suggesting that his disability often takes on a significant part in shaping his less-than-stellar character, he adds with a chuckle. He believes that transitioning from an able-bodied state to a disabled one might be challenging, but he suspects the reverse would be even more difficult. The journey we traverse and the battles we face are integral to our identity, and they’re deeply intertwined.

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2024-09-20 13:31