By admin 
Toronto pulsed with the familiar energy of the Toronto International Film Festival, a vibrant backdrop against which Sebastian Stan found himself navigating a whirlwind of studio visits and press junkets. Amidst the bustling ambiance of a local restaurant, a brief respite from his demanding schedule, Stan settled in for a meal and a candid conversation with Variety. The actor, who has become a prominent figure in both the Marvel Cinematic Universe and the wider landscape of independent cinema, spoke with a quiet intensity about a project deeply personal to him: "Fjord." This film represents a long-cherished ambition, a return to his Romanian heritage that he’s been nurturing since his teenage years.
"Fjord" is more than just a movie for Stan; it’s a profound artistic homecoming, a partial yet significant reconnection with the country of his birth and the language that shaped his early years. The film is directed by the acclaimed Romanian auteur Cristian Mungiu, a filmmaker whose work Stan has admired and followed for years. For Mungiu, "Fjord" marks his first foray into English-language filmmaking, while for Stan, it signifies his inaugural role in Romanian. The collaboration between the two artists had been a long-gestating concept, a creative synergy that finally found its perfect expression when the right script emerged. In "Fjord," Stan embodies Mihai, a devoutly fundamentalist father whose children are taken from him by the state. The narrative is rooted in the experiences of a real family, and Mungiu’s distinctive directorial style is evident throughout, characterized by extended, unbroken takes and a deliberate avoidance of close-ups, fostering a sense of immersive realism.
Stan’s current career trajectory is marked by significant critical acclaim. Fresh off an Oscar nomination for his transformative performance in "The Apprentice" in 2024, the same year he secured a Golden Globe for Best Actor in a Comedy for "A Different Man," he articulates a clear vision for his artistic pursuits. He acknowledges that fatherhood and entering his 40s have profoundly reshaped his perspective. "How do I raise kids in today’s world?" he mused, turning the interview into a more personal dialogue. "And how do I not pass on something I’m myself trying to work through?" This introspective questioning underscores a deeper engagement with themes of legacy, identity, and the intergenerational transmission of experience, themes that resonate powerfully within "Fjord."
Adding another layer to his diverse portfolio, Stan has achieved the rare feat of building a presence in both the Marvel and DC cinematic universes. He recently met with Matt Reeves, the visionary director behind "The Batman," who expressed admiration for "The Apprentice." Around the same time, Stan proactively reached out to DC Studios co-CEO James Gunn, expressing his availability and readiness to contribute to any upcoming projects. While he remains tight-lipped about his specific role in the DC universe – the mere mention of Harvey Dent elicits a visible shift in his demeanor – he speaks with immense admiration for the ambitious undertaking Reeves is orchestrating. "I go to set sometimes and I look around and I’m like, I think we’re making fucking ‘Godfather Part Two,’" Stan remarked, highlighting the meticulous three-year shaping process Reeves has dedicated to the film. He conveyed a strong sense of anticipation for the project’s eventual release, suggesting it will be a significant payoff for audiences.
Stan describes himself as "allergic" to repetition, expressing concern about the pervasive overexposure of actors in contemporary media, which he believes can hinder their ability to fully inhabit diverse roles. He emphasizes the responsibility that comes with the profession, stating, "We’re not doctors, we’re not on the front lines. This is the only way we get to communicate." This sentiment reflects a commitment to using his platform to explore meaningful and impactful stories.
Regarding "Fjord," which has unfortunately drawn divisive reactions online, with some labeling it a "MAGA movie," Stan refutes these characterizations. He argues that such judgments often come from individuals who have not actually seen the film. He expresses a hopeful desire for a divided country to find common ground and engage in shared cinematic experiences. The film, he asserts, is not about assigning blame but rather about acknowledging universal human flaws and the unfortunate reality of children bearing the brunt of societal or familial discord.
The decision to return to Romania for "Fjord" was deeply personal for Stan. The film’s overarching theme of the immigrant experience served as his initial point of connection. Upon reading the script, he was transported back to his own childhood experiences of immigrating to the United States, recalling the feelings of shame and the acute self-awareness of being different. He shared a poignant anecdote about his mother’s advice, which mirrored the sentiment in the film: to maintain neutrality, neither seeking allies nor making enemies, but simply being kind. As he matured and gained confidence in embracing his distinctiveness, around the age of 16 or 17, he made a personal commitment to eventually make a film in Romania, a way to reclaim and reconnect with his roots. The opportunity to collaborate with Mungiu, a director whose work he had long admired for its nuanced moral ambiguity and distinctive visual style, felt like a predestined convergence. The initial discussions with Mungiu revolved around finding the right project, and when Mungiu presented "Fjord," it was clear that it was the perfect vehicle for their shared artistic vision.
The profound impact of "Fjord" on Stan stems from its exploration of complex familial dynamics and the clash of belief systems. While the film draws inspiration from a specific family whose children were taken by the state, Mungiu was careful to avoid a purely documentary approach, allowing for fictional elements to shape the narrative. Stan delved into the study of various families, but his own personal history proved to be a significant wellspring of inspiration. His relationship with his father, and the influence of his maternal grandfather, offered a lens through which to understand the "stereotypical Eastern European father" – a figure characterized by reserve, sternness, and an often inscrutable emotional landscape. This personal resonance informed his portrayal of Mihai, a character deeply entrenched in a specific religious belief system. To capture the essence of this faith, Stan attended sermons in Romania, seeking to understand the inherent trust in divine providence that permeated these communities, a stark contrast to his own potential reaction to the unthinkable scenario of his children being taken away.
Stan has been open about his complex relationship with his father, and notably, he paid tribute to his stepfather, who raised him, during his Golden Globe acceptance speech for "A Different Man." This personal journey into fatherhood has undoubtedly amplified his introspection. He muses on the subconscious desire to rectify past shortcomings, to provide the emotional and familial support he perhaps lacked in his own upbringing. However, his primary focus now is on mindfulness. He recognizes how deeply ingrained parental voices and internalized beliefs can shape one’s identity, often without conscious awareness. The core challenge, he explains, is to navigate this internal landscape and avoid perpetuating patterns that he himself is still trying to resolve.
The polarizing reception of "Fjord" has not gone unnoticed by Stan. He directly addresses the "MAGA movie" label, dismissing it as a superficial and often uninformed categorization. He posits that such labels arise from a lack of engagement with the film’s nuanced themes and a broader societal tendency towards entrenched ideological camps. Stan laments the normalization of the idea that one side possesses a monopoly on truth. He champions the need for films like "Fjord" to foster dialogue and encourage a more empathetic approach to understanding differing perspectives. The film, he emphasizes, is not an indictment of any particular group but rather a reflection on shared human fallibility and the unfortunate consequences that befall innocent parties.
Regarding the audience’s desire to see his character "explode," Stan offers a grounded perspective. He acknowledges that in reality, individuals often lack the emotional tools for such dramatic outbursts. Having recently portrayed larger-than-life characters in "A Different Man" and "The Apprentice," he sought a different kind of challenge in "Fjord." Mungiu’s signature style of long takes and a reluctance to employ close-ups demanded a more restrained and internalized performance, forcing Stan to explore the complexities of characters who struggle with self-expression. He notes that cinema sometimes romanticizes these internal struggles, and he was drawn to the raw, unpredictable nature of characters who grapple with unspoken emotions.
Stan’s current artistic drive is characterized by a deliberate avoidance of self-repetition. He perceives a growing saturation of actors in the public consciousness, making it increasingly difficult for them to disappear into their roles. He believes that actors, while not on the front lines of societal crises, have a vital role to play in communicating important ideas. His pursuit of roles is less about the specific genre or character and more about the opportunity to offer something novel and engaging. When this pursuit is coupled with relevant and thought-provoking subject matter, the impact becomes even more profound. As he matures, Stan is drawn to projects that possess a timeless quality, sparking conversations about contemporary issues and offering lasting resonance.
His childhood fascination with Batman is a well-documented passion. He fondly recalls "Batman Returns" as his favorite superhero film, a memory intrinsically linked to a Christmas viewing experience in Europe. He also admits a fondness for "Batman Forever," particularly championing Jim Carrey’s portrayal of the Riddler. When pressed about Tommy Lee Jones’s performance in the same film, Stan acknowledges his talent but suggests that Carrey’s overwhelming presence in that particular movie overshadowed other performances. Growing up in Europe, Batman was a universally recognized icon, and the advent of the Marvel Cinematic Universe initially seemed to close the door on his aspirations for DC roles, leaving him feeling destined to be known solely as Bucky Barnes.
The confluence of opportunities that led him to the DC universe was remarkable. He received an invitation to meet with Matt Reeves, who had been impressed by "The Apprentice" and was keen to discuss a new project. Simultaneously, Stan proactively contacted James Gunn, expressing his readiness and enthusiasm for any potential DC collaborations. He likens the experience to being on parallel tracks that, surprisingly, complement each other.
The intense speculation surrounding his role as Harvey Dent is a constant presence. Stan acknowledges the challenge of maintaining secrecy in the digital age and expresses a newfound appreciation for Tom Holland’s past struggles with similar situations. He reiterates his immense respect for Reeves’s vision for the new Batman film, describing it as a potential "Godfather Part Two" in its scope and ambition. He emphasizes the three years Reeves has invested in shaping the project and assures audiences that the film will be a rewarding experience, grounded in realism and authenticity, which he found particularly compelling.
When asked to offer a single line from "Fjord" out of context, a challenge previously posed to David Harbour, Stan pauses, contemplating the request. After a moment of reflection and a lighthearted exchange about the possibility of uttering a simple "hello," he offers a more cryptic, yet intriguing, tidbit: the word "cookies" makes an appearance in the film. He concludes with a smile, leaving the audience to ponder its significance. This interview, edited for clarity and conciseness, offers a glimpse into the multifaceted world of Sebastian Stan, an actor navigating the complexities of his craft, his heritage, and his evolving understanding of life and legacy.
