crying because Netflix did a thing and now I have Sean on my main page
"Er…I’m really sorry about this.[turns the award forward] Turn it that way. Er…this is a bit of a nightmare for me. I’ll try not to mumble, try and speak clearly. I’d like to thank, erm…[producer] Derrin [Schlesinger], [writer] Tony Grisoni, for looking after me and being my friend and writing things which are beautiful. And I’d like to thank [director] Sean Durkin for taking me through it, ‘cos it was a little difficult at times. Er, who else do I want to thank…I want to thank [casting director] Shaheen [Baig], for always being very nurturing and kind and supportive and putting me in front of directors who…didn’t really want me there, heh. So that’s a help. My agent, Conor McCaughan, who’s really nervous at the moment…he said ‘if you win, which you won’t, don’t…it up!’ Uh, who else…who else do I thank…er, the cast — Rory [Kinnear], lovely. Shirley [Henderson], known you for a long time, did my first-ever job with you, and you’re a very nice, lovely lady. And, er…did a little film this week with a little girl, seven years old, called Najwa, and if you’re watching — which you shouldn’t be — I’d like to say you were really lovely and it was a really lovely experience. Who else — [producer] Peter Carlton, I think I might’ve forgot you, got you there. Uh, who else, one more: my dad, yeah, who brought me up. He’s my, uh, favourite man in the world. Who else…my friends, Bob, at the pub…Emma [Scott], who’s my friend as well, did makeup… Oh, yeah, really important, really important: a woman called Lesley Halley, who was Miss Halley, who was my drama teacher at school when I was this high. I should’ve sort of ended up in Bernard Matthews [Farms] or places like that, and she went to my dad’s house and said ‘I think your boy could be an actor.’ And that was a big deal to my dad; he worked in a shipyard [as a] shop steward and he wasn’t really…didn’t want me to be an actor, really, kind of, that sort of thing. So she put me on that road, so thank you, Lesley, really, thank you.”
He must have been mad. This is no man to jape with. You had only to look at Bolton to know that he had more cruelty in his pinky toe than all the Freys combined.
(The fact that Sean had a hand in designing his look in DUFE and slept in it won’t surprise any fans here!)
What is the collaboration between you and Scott like? How much input do you have into the actual design of the gore/creatures?
Marino: He would give me an idea and then I’d do a design and run with it. He was pretty free and open to what I came up with. He was specific as far as the effects - especially the camouflage that was supposed to be on Santino, but that rapidly changed once Sean Harris got in the mix. We came up with an idea and I did a design on Photoshop of this guy with all these scratches and symbols all over his body. I didn’t even wait to get it approved, I just started making things cause we only had a week before they started filming. It was a last minute change and almost impossible to do. The ambitious end of it was that there were over one hundred and fifty prosthetics that had to be made in a week, but we pulled it off. I pretty much figured out what it was going to look like and we all collaborated on it in the shop.
What can you tell me about what’s going on with Sean Harris’ character in some of the images we’ve seen of him thus far? The makeup on him looks like it took quite a while to create.
Marino: The process took five to six hours and we had four people doing the makeup on him all at one time. It was me, Mike Fontaine, Dave Presto, and Art Sakamoto all jamming on it. We would do his face first and then glue on all his body prosthetics. Finding out where they go and how they line up again for the next day was quite a challenge. He was super patient and a very intense actor so he was into it and he didn’t care how long it took. There are a lot of hidden symbols on him and backwards writing, too. You may have to pause it and look, but there’s definitely some subliminal stuff in there. There were even a couple of days when he slept in the makeup. We took all the paint off and removed the face pieces so we could redo his face the next day. It was just too long of a process to do everyday and too difficult on the skin so we tried to leave as much on as we could and then repaint everything.
- "Sean Harris gets some chilling moments as the primary villain of the piece." (x)
- "Sean Harris bringing his own brand of creepy to the subject of Sarchie’s investigation…" (x)
- "To top things off, the demonically possessed killer hunted by Sarchie is played by Sean Harris, who transfixed viewers as the cold-blooded assassin Micheletto in The Borgias.” (x)
- "… leading up to a stairwell knife fight between McHale and Sean Harris that is nothing short of intense and amazing. You gotta go "Wow"!" (x)
- "As the demon-possessed, Harris and Horton provide the film’s best performances, fearsomely disquieting as feral beasts…" (x)
- "Sean Harris seems right at home as the disturbed soldier, however. He fearlessly tackles the role with expert skill and provides some of the film’s more thrilling moments." (x)
- "I also have to give proper credit to Sean Harris (Prometheus) who plays the film’s chief antagonist and is every bit as important to the film’s climactic scene as Bana and Ramirez. In this case, Harris is the equivalent of Jennifer Carpenter in Emily Rose, though he doesn’t get nearly as … bendy?” (x)
Movies.com: Speaking of great actors, how did Sean Harris come on your radar for casting?
Derrickson: I am so glad you brought him up because of all the directorial decisions I’ve ever made on any film, casting Sean is the decision I’m most proud of. The success of the movie depends on the performance of that particular character, especially during the climax. When you see the movie, you’ll see what I’m talking about.
I read dozens of actors in New York and L.A. for the role and couldn’t find anyone I felt confident could pull it off. It’s a really demanding role, and with Sean I had seen him in Prometheus, but that didn’t weigh in my thinking at all. It was actually his one scene in Harry Brown with Michael Caine. That sequence has a complexity and a sophistication that’s primal and dangerous, and it’s unlike anything I’d seen an actor do. It was understated, but it was extraordinarily powerful and I just knew that he could do it. I just knew.
It was a real leap of faith, but it was one I took in great confidence. I offered him the role without ever reading him, without ever even talking about the role. He’s English and lives in London, and so I just told the studio, “This is the guy, he’ll nail it” and they trusted me. And I think Sean was really appreciative of that fact. I didn’t offer it to anyone else, and I didn’t talk seriously with anyone else about it. And it’s funny because what he does in Harry Brown is nothing like what he does in this movie. It’s not like they’re similar roles, it’s just the quality of the actor.
I’m very proud of that decision because it proved I was correct, but more than that, what he does in the climax of this movie is some of the deepest acting I’ve ever seen. He really went into a kind of a trance state the last night we were shooting that scene. It was kind of scary, honestly, how far down the rabbit hole he went, but it was awesome. Just awesome.
Movies.com: I have a feeling he’s got a big career ahead of him.
Derrickson: He absolutely does. I really believe with absolute conviction I could have cast 500 different actors and shot the same scene 500 times and no one would have topped what Sean Harris does. He is a truly remarkable actor, and I’ve never seen anyone do work the way he does. It was a privilege to watch.