I first met Yann Bean in 2018 when I photographed him on the streets of Paris for my book ‘Garçon Style’. Even then, there was a quiet intensity about him—a presence and mystery, which I’ve come to realise is central to his work as an actor. In the years since, I’ve followed his journey across screen and sound, and was struck by his vocal performance in The Substance—a film that, like Yann himself, holds more than what you initially see.
We recently sat down to talk about his creative path through photography and acting, what it’s like to bring a pivotal character to life without appearing on screen, and why he still believes that truth in storytelling matters more than ever.
Let’s start with The Substance—how did you get involved in the project, and what was it like to bring such a pivotal character to life without being seen on screen?
I actually got a call for a casting, and pretty quickly realized it was for The Substance. I had already auditioned for a couple of other parts in the film, so I was familiar with the project. It took about two or three months before I heard back, and apparently it came down to me and one other person. I’m really glad they chose me. Funny enough, I recorded my audition on my phone instead of using my professional setup at home. Maybe that rawness worked in my favor.
We recorded in a studio in Paris, and a few months later I came back to do the French version of the voice as well. Since I’m fluent in French, it made sense to carry the character across both versions.
As for bringing such a central character to life without ever being seen—this was a first for me at this scale. I’ve done a lot of voice work and animation over the years, but playing a character off screen in a major film was completely new. And it was honestly amazing. Like with most film projects, you don’t fully grasp the impact of it until you see the finished result. But it felt really special.
Your voice in The Substance carries so much authority and mystery. How did you prepare for that role?
Well I didn’t prepare in quite the same way I would for an on-camera role. Obviously, there wasn’t a need to work on the physicality—how the character moves, how they carry themselves, or their visual presence. But I still thought about those things. Even though no one would ever see it, I found myself instinctively bringing a bit of physicality into the performance, like you do in animation. It helps—moving your body changes your voice, and that nuance can come through in the recording.
Of course, I did all the usual prep in terms of voice care—making sure my voice was rested, doing my breathing and articulation exercises, and keeping stress to a minimum. That part is the same no matter what the project is. But I think it’s interesting how much of the unseen still informs what ends up being heard.
The Substance is such an unusual film. What were your first thoughts on viewing, and did you expect such an incredible response?
Complete honesty? I’m a total wuss when it comes to anything involving needles or blood—I’ll literally pass out. So when we were recording and I was shown a few of the scenes, I was already feeling a bit uneasy. I think the sound guy picked up on it at one point and cracked a joke to lighten the mood.
But the real challenge came during the premiere. I was lucky to have one of my friends there with me. I told him ahead of time, “I’m not sure I can handle watching certain scenes,” and during those moments, I’d just turn to him, close my eyes, and he’d let me know when it was safe to look again.
That said, I loved the film. I just had to watch parts of it… selectively. And from the moment I got the role, I had this sense that The Substance would go one of two ways—it would either be too much for audiences and disappear, or it would hit hard and really make waves. I’m so glad it was the latter. It’s amazing to see it get the recognition it deserves.
You’ve worked across different mediums—film, television, voice work. Is there a particular type of performance you feel most at home in, and why?
I really feel most at home in the theater—on stage. It’s been too long since I’ve done it, but that’s where I feel most grounded and alive as an actor.
Truthfully I guess it can be any medium if I’m surrounded by creative people who are genuinely collaborative. It’s rare, but when a director or team really trusts you and gives you freedom, it’s priceless.
I’m especially drawn to complex characters—the ones with layers. Maybe it’s the so-called bad guy who isn’t entirely a prick, or the good guy who has something a little hidden, a little off. I love exploring those subtleties, those little things that make a character human. Because that’s what people are really like, right?
Your role in the award-winning Tondex 2000 stands out for me as a beautifully crafted character study. I also had the honour of sitting in the London screening where it won 3 awards, including you for Best Actor. Are there any roles that stand out for you as being particularly rewarding and why?
Thank you so much for that, and I’m really happy you were there in London to see the film—it meant a lot to have friends in the audience for such a special moment.
I guess I touched on this in the last question, but for me, the most rewarding roles are the ones that feel truthful. That’s really what I’m always striving for. And I think it’s what audiences crave, too—not just content, but real stories with depth and emotion.
There’s just so much BS out there. There’s a difference between stories that are crafted with care and those that are just… produced. And I truly believe that most people can sense that difference. Deep down, we’re all waiting to be amazed. Everyone’s still looking for that next great love story or the next great thriller—something that moves them, surprises them, stays with them.
That’s why it’s so special when you get to be part of something that’s actually different. Whether you loved The Substance or not, I think Coralie really stuck to her vision—and that’s rare. That kind of artistic integrity is something not many people get to hold onto in this business.
You’ve lived quite a creative life. I first met you when you were still working as a photographer. What was your path into acting?
Wow, that feels like a century ago. And that shot you took of me on the streets of Paris—still one of my favorites, by the way.
It all really started when my mother took me to see The Bald Soprano when I was 12 or 13. I remember watching the two leads on stage having so much fun, and I was having just as much fun in the audience. I could feel everyone around me was loving it. That moment planted something deep in me: the idea that you could do a job where you get to have fun and create that same joy for others. That was it. That was the beginning.
Then came amateur acting groups, classes, and a performing arts high school. I moved to New York at 17, trained under Bill at the Esper Studio, and have been actively pursuing the craft ever since.
But there was a rough period—I had a motorcycle accident, lost my reps, and just hit a wall. I needed to stay creative, to feel like I was doing something, and that’s when photography came into my life.
I was incredibly lucky—my dear friend Mitchell McCormack took me under his wing. I went from helping him on set to being one of his full-time assistants, and he taught me everything. I’ll always be grateful to him. I still shoot now and then—it’s become more of a hobby—but I still love it.
That being said, acting was always my true passion. It’s been a long journey, with ups and downs like anyone else’s, but I’ve now been doing it for close to 20 years, and I’m not planning to stop.
You’re a man with mixed heritage. How has being both American and French shaped the way you approach your work as an actor?
I guess I’ve come to a kind of peace with all of that over the years. I’ve stopped worrying about whether people fully understand it. I’m completely French and completely American. I don’t have an accent in either language, but I can take one on if needed. Some people might find that confusing but there are plenty of people out there who do get it. Who see the richness in that duality, in being able to move between cultures and perspectives. It’s actually become an asset, something I lean into now rather than try to explain or justify. It’s added layers to how I approach characters, especially when it comes to identity, nuance, or belonging. So yeah, it’s gotten easier—and I wouldn’t trade it for anything.
What’s next for you—are there any upcoming projects, personal goals, or creative dreams you’re currently chasing?
I’m really happy to have landed a role in a new TV series about Mihajlo Pupin. It’s a massive project and I’m thrilled to be a part of it. I’ll be shooting throughout the summer in Serbia.
On a more personal level, there’s a photography and mixed media project I’ve been sitting with for a while. I’ve already shot all the photos—it’s the next stage that I need to dive into now. It’s been on my mind for the past couple of years, and I think the time has come to finally bring it to life.
And then there’s theater. I really want to get back on stage. I’m currently working on a play with a friend, and there’s another potential project in the works as well. We’ll see where it all goes, but I’m excited about what lies ahead.
