How Sebastian Stan turned into Donald Trump

If you think you've seen a lot of Donald Trump lately, imagine being Brandi Boulet.

The Toronto-based makeup artist and prosthetist who worked on The Apprentice spent months studying the former and future president to capture his hair, face and body as they aged.

“[We would] change her foundation because it's starting to get a little darker but not quite orange yet. We've changed his favorites throughout, depending on what's [life] We changed the color of his eyebrows, the color of his wig, and then we put a bald patch on him so you could see through the wig as his hair started to lighten,” she said. declared, describing the process of making Sebastian Stan leader of the free world. “When he looked his worst and he was taking diet pills, we would make him sweat and we would make all these lesions on his skin with broken capillaries.”

It was all part of an intensive, large-scale effort to create film versions of Trump and Roy Cohn (Jeremy Strong) for Ali Abbasi's recently released indie drama about the tycoon-turned-politician's relationship with his polarizing lawyer .

Boulet, makeup department head Colin Penman, hair department head Michelle Côté and prosthetics department head Sean Sansom worked feverishly to get the actors into their looks.

It started during research. Côté says Trump's life is so well documented that it was easy to find archival footage to recreate his famous hairstyle. “I had three wigs to work with,” she tells THR of the hairpieces that represented different stages of Trump's life.

Boulet and Sansom also modified the prostheses to differentiate the periods. “In his younger years, he was blonder and his skin was paler,” Boulet explains. “We had a prosthetic that we used throughout the film for all of his stages, and our application changed depending on whether he was younger, older, or chubbier. Because when he was younger we used elevators [Sebastian] to remove his face and make him look younger. Sansom adds: “It gave him more of the profile we know of him: his neck is straighter all the way down to his chin.” Then, they changed mode for its “business” stage. A prosthetic stomach was also used.

Sean Sansom, head of the prosthetics department, and Brandi Boulet, makeup artist and prosthetist, worked with Côté and Colin Penman, head of the makeup department (not pictured) to prepare Stan each day. Briarcliff Entertainment and Rich Mind

To achieve Cohn's look, Penman watched documentaries such as Matt Tyrnauer's 2019 film, Where's My Roy Cohn? “Roy had specific traits,” says Penman. “We had a bone spur taken out of his nose when he was young, so he had this effect on his nose, and he had this kind of dead look, so Sean made these great pieces that we used to lower his eyes a little bit . ” Plus, there was a lot of tanning involved because “Cohn said you can never be too rich or too tan.”

The team also collaborated with Strong on Cohn's look. He embarked on the process after doing a lot of research himself. “He had a lot of good ideas,” Penman says. “Working with someone like Jeremy really pushes you out of your comfort zone.”

Jeremy Strong as Roy Cohn. APPRENTICE PRODUCTIONS ONTARIO INC./PROFILE PRODUCTIONS 2/TAILORED FILMS LTD.

Throughout the film, Cohn becomes increasingly weak and sicker as he battles an illness he says was liver disease, although he is widely believed to have died from complications linked to AIDS. (He died in 1986 at the age of 59.) The makeup department used Cohn's desire to be tan as a way to show that his illness was taking a toll on his body.

“It gets paler and paler until finally we get into yellowed yellows and different tones that were extremely sickly,” Penman says. “Sean also created a second stage device placed under her eyes, which highlighted her sunken cheekbones, and there were lots of shadows on these stunning pieces which accentuated the bone structure of her face. Michelle grayed her hair and the costume became slightly larger to make it appear lighter.

Finding the late Ivana Trump's look was more difficult; there weren't many photos of her from her modeling years before she met Trump. “Once she was more in the spotlight, there was a lot of imagery to capture, and we also used other footage from New York at that time, so there was a lot of material to focus on” , explains Penman.

Given Trump's iconic appearance, the artists wanted to stay as close to his look as possible, but allowed themselves creative freedom “within reason.”

At the start of filming it took them two and a half hours, but by the end of filming they managed to cut it down to 75 minutes. Briarcliff Entertainment and Rich Mind

“Some of the scenes we were filming were based on well-documented events, so it was easy to get stock photographs of them,” Sansom says. Boulet adds: “We see that with our costumes, hair and makeup, we followed exactly what the interviews showed. »

“We tried to bring Sebastian as close as possible [to Trump’s look]” she notes, saying the demanding filming schedule — 50 locations in 30 days — sometimes required them to change Trump's look on the go. “Certain liberties were taken, like we made him very red and sweaty by the end of the movie, and maybe he didn't look like that every day.”

The makeup team had a spray booth on set to maintain the tan needed for this character. APPRENTICE PRODUCTIONS ONTARIO INC./PROFILE PRODUCTIONS 2/TAILORED FILMS LTD.

Côté says that at first it took two and a half hours a day to give Stan his look, but by the end of filming the crew was able to do it in 75 minutes. Penman and Sansom did Strong's makeup for 30 minutes a day and touched up his tan by setting up a spray booth right on set.

“It’s a shame we don’t have a camera, like a time-lapse, to capture all of this,” Penman says.

For their efforts, Trump contributed to his assessment.

He called the film “FAKE and CLASSLESS” in a Truth Social article, adding that he felt the film work was “a cheap, defamatory and politically disgusting hatchet job.”

At the start of filming it took them two and a half hours, but by the end of filming they managed to cut it down to 75 minutes. Briarcliff Entertainment and Rich Mind

This story first appeared in a December standalone issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe.

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