Sebastian Stan

Um, yeah, I think there's a degree of fear or I would argue. And, and I, I thought, I think also as we've experienced it, some degree of confusion about how to feel and how to deal with his sort of him being president again, which, which is not a wrong response. It's a human response. I, I just, I guess as we see it, um,

Um, yeah, I think there's a degree of fear or I would argue. And, and I, I thought, I think also as we've experienced it, some degree of confusion about how to feel and how to deal with his sort of him being president again, which, which is not a wrong response. It's a human response. I, I just, I guess as we see it, um,

As long as fear, indifference, or ignorance is not what's driving things, where they become sort of accepted as it pertains to art, then you should have whatever emotions you need to have.

As long as fear, indifference, or ignorance is not what's driving things, where they become sort of accepted as it pertains to art, then you should have whatever emotions you need to have.

As long as fear, indifference, or ignorance is not what's driving things, where they become sort of accepted as it pertains to art, then you should have whatever emotions you need to have.

Well, of course. I mean, how could it not? I mean, there were a couple parts to the film that I sort of related to. I mean, one, you know, I struggled with weight when I was a little kid. You know, I had my own, and obviously coming from a different country and trying to learn a new language and fit in, right?

Well, of course. I mean, how could it not? I mean, there were a couple parts to the film that I sort of related to. I mean, one, you know, I struggled with weight when I was a little kid. You know, I had my own, and obviously coming from a different country and trying to learn a new language and fit in, right?

Well, of course. I mean, how could it not? I mean, there were a couple parts to the film that I sort of related to. I mean, one, you know, I struggled with weight when I was a little kid. You know, I had my own, and obviously coming from a different country and trying to learn a new language and fit in, right?

I had my own experiences where I felt alienated or where I felt people acted differently towards me because I was different or I sounded different or whatever, right? There was that piece.

I had my own experiences where I felt alienated or where I felt people acted differently towards me because I was different or I sounded different or whatever, right? There was that piece.

I had my own experiences where I felt alienated or where I felt people acted differently towards me because I was different or I sounded different or whatever, right? There was that piece.

Then there was the piece of which actually I wasn't aware of, which Aaron Schoenberg, the writer, director and Adam Pearson, who also stars in the movie, who has neurofibromatosis, made me aware of, which was this piece about how as a as a recognizable person and recognizable actor on the street, I am sort of public property very much in the same way that somebody with a disability is actually recognized.

Then there was the piece of which actually I wasn't aware of, which Aaron Schoenberg, the writer, director and Adam Pearson, who also stars in the movie, who has neurofibromatosis, made me aware of, which was this piece about how as a as a recognizable person and recognizable actor on the street, I am sort of public property very much in the same way that somebody with a disability is actually recognized.

Then there was the piece of which actually I wasn't aware of, which Aaron Schoenberg, the writer, director and Adam Pearson, who also stars in the movie, who has neurofibromatosis, made me aware of, which was this piece about how as a as a recognizable person and recognizable actor on the street, I am sort of public property very much in the same way that somebody with a disability is actually recognized.

And I have experienced that invasion of privacy. I experience it daily when I walk around or if I'm sitting at lunch, someone's filming without my consent or someone's whispering or you feel people look at you or sometimes people come up and they tap you on the shoulder. And so these are all very similar things that Edward or people that have stood out for various reasons deal with all the time.

And I have experienced that invasion of privacy. I experience it daily when I walk around or if I'm sitting at lunch, someone's filming without my consent or someone's whispering or you feel people look at you or sometimes people come up and they tap you on the shoulder. And so these are all very similar things that Edward or people that have stood out for various reasons deal with all the time.

And I have experienced that invasion of privacy. I experience it daily when I walk around or if I'm sitting at lunch, someone's filming without my consent or someone's whispering or you feel people look at you or sometimes people come up and they tap you on the shoulder. And so these are all very similar things that Edward or people that have stood out for various reasons deal with all the time.

And the third part of it was... But once I got the prosthetics on, which were incredible by this artist, Mike Marino, I went out on the street and I really walked around New York City and sort of experienced people's reactions firsthand. And I got to see how limited the narratives around disability and disfigurement are.

And the third part of it was... But once I got the prosthetics on, which were incredible by this artist, Mike Marino, I went out on the street and I really walked around New York City and sort of experienced people's reactions firsthand. And I got to see how limited the narratives around disability and disfigurement are.

And the third part of it was... But once I got the prosthetics on, which were incredible by this artist, Mike Marino, I went out on the street and I really walked around New York City and sort of experienced people's reactions firsthand. And I got to see how limited the narratives around disability and disfigurement are.