The Normal Heart character poster featuring Taylor Kitsch via @MrRPMurphy

The Normal Heart character poster featuring Taylor Kitsch via @MrRPMurphy


The Normal Heart character poster featuring Jim Parsons via @MrRPMurphy

The Normal Heart character poster featuring Jim Parsons via @MrRPMurphy

shananaomi:

The Denver Principles were written in 1983 by the People with AIDS caucus—11 gay men with AIDS from around the country—during the fifth annual Gay and Lesbian Health Conference, held that year in Denver..
As my friend Sean Strub recounts in his excellent memoir, Body Counts:




As the conference was wrapping up, the eleven manifesto co-authors stormed the plenary stage behind a banner that read “Fighting for Our Lives.” They took the microphone and read the manifesto to a stone-silent convention hall. According to media reports at the time, at the end of the presentation, “there wasn’t a dry eye in the house,” and the audience gave them a standing ovation that lasted nearly fifteen minutes. 
The concepts expressed in the Denver Principles manifesto weren’t new—to a large extent, they were an embodiment of feminist health principles—but it was radical for a group of people who shared a disease to organize politically to assert their right to a voice in the public-policy decision-making that would so profoundly affect their lives. Never in the history of humanity had this occurred; for people with AIDS, the Denver Principles document is the Declaration of Independence, Constitution, Bill of Rights, and Magna Carta all rolled into one. 
The Denver Principles defined the philosophical underpinnings of the self-empowerment movement for the AIDS epidemic and the network of service providers we created. It also quickly became a model for organizing by those with other chronic health conditions in the U.S. and around the world. 




I am truly excited to see The Normal Heart get all the publicity in the world, including Matt Bomer also appearing on the cover of Details this month. But some of the language used in their piece is offensive, outdated and insulting. At best, I’d guess it’s a badly executed attempt at clever wordplay, but it still reminded me that I really want to post some additional historical context for the early AIDS epidemic here, too. 
Image via ACT UP.

shananaomi:

The Denver Principles were written in 1983 by the People with AIDS caucus—11 gay men with AIDS from around the country—during the fifth annual Gay and Lesbian Health Conference, held that year in Denver..

As my friend Sean Strub recounts in his excellent memoir, Body Counts:

As the conference was wrapping up, the eleven manifesto co-authors stormed the plenary stage behind a banner that read “Fighting for Our Lives.” They took the microphone and read the manifesto to a stone-silent convention hall. According to media reports at the time, at the end of the presentation, “there wasn’t a dry eye in the house,” and the audience gave them a standing ovation that lasted nearly fifteen minutes.

The concepts expressed in the Denver Principles manifesto weren’t new—to a large extent, they were an embodiment of feminist health principles—but it was radical for a group of people who shared a disease to organize politically to assert their right to a voice in the public-policy decision-making that would so profoundly affect their lives. Never in the history of humanity had this occurred; for people with AIDS, the Denver Principles document is the Declaration of Independence, Constitution, Bill of Rights, and Magna Carta all rolled into one.

The Denver Principles defined the philosophical underpinnings of the self-empowerment movement for the AIDS epidemic and the network of service providers we created. It also quickly became a model for organizing by those with other chronic health conditions in the U.S. and around the world. 

I am truly excited to see The Normal Heart get all the publicity in the world, including Matt Bomer also appearing on the cover of Details this month. But some of the language used in their piece is offensive, outdated and insulting. At best, I’d guess it’s a badly executed attempt at clever wordplay, but it still reminded me that I really want to post some additional historical context for the early AIDS epidemic here, too. 

Image via ACT UP.

"When I first saw Matt from across the room after the hiatus," Molina says, "he was walking with a cane. I didn’t recognize him. He looked like a fragile old man."
— Alfred Molina [x]
"What Matt’s done will redefine him, All Matt’s professional life, he’s clearly been a very good actor, but I think this performance puts him there among the greats."
— Alfred Molina [x]
Matt Bomer Is More Than Just a Pretty Face

[…] In 2011, before he played a set of dancing (thrusting, gyrating) abs in Magic Mike—a role he’ll reprise for the sequel—Bomer heard that the director Ryan Murphy, the creator of Glee and American Horror Story, was casting a film version of The Normal Heart, with a script by Kramer, and immediately lobbied for a meeting. “I wouldn’t have a lot of the rights I have today if it wasn’t for people like Larry,” Bomer says. Marriage, for one, comes to mind. Bomer married his longtime partner, the Hollywood publicity executive Simon Halls, in 2011. The couple have three sons: 6-year-old twins and an 8-year-old. For Bomer, a role in The Normal Heart would be an act of reciprocal advocacy. “I just wanted to be involved with the project in some capacity,” he says. “I didn’t care what my part was.”

Before speaking to Murphy, Bomer had doubts about the merits of his résumé. Murphy had no such reservations. “Matt was the first person I felt would do whatever it took to be true to the history of the part and to the millions of people who have died because of this disease,” he says. “I needed somebody who was a protector of that. That meant going on a really dangerous, incredibly severe diet and going to a dark place emotionally.” According to Murphy, Bomer seized on these difficult tasks, treating them as opportunities. “I’ve known Matt for many years,” he says. “This was a Matt I had not seen before. He was relentless in his pursuit of the truth. He was incredibly hard on himself, always wanting another take. He fought for excellence. It’s the first part that shows the world what Matt can truly do as a dramatic actor.”

Bomer speaks about the experience with great reverence and sincerity, his typically convivial and humorous tone giving way to a serious, humble register. “It’s rare that you get to play a great role that has an arc,” he says. “It’s rare that you get to be a part of something that, hopefully, has some significance socially or historically. And then to have a role that changes you? I think that’s the best you could hope for in this profession, and that was certainly the case here. I don’t think I’ll ever be the same as I was when I started the job.”

• • •

Halfway through our hike up Bronson Canyon’s winding trail, Bomer pauses. “I’m still on the rebound,” he says. It’s mid-afternoon, before our hunt for tacos, and his stubble catches the sun. He comes up here a couple of times a week for the peace of it all but hasn’t yet regained his stamina after his grueling role, so he suggests we sit to discuss his transformation. Resting on a gravelly bluff overlooking all of Los Angeles, the smog and buildings blending seamlessly to create a kind of ghostly beauty, Bomer draws his knees to his chest and takes his phone from his pocket. “It probably seems really narcissistic that I took these,” he says, flicking through his photos. “But I thought if I did all this work, I might as well have some record of it.” Before showing me the images, he takes care to lighten the moment with a joke. “This is my Wednesday selfie, y’all. Enjoy.”

On the screen is a collection of discomfiting pictures, each more painful to view than the last: the sallow, sunken eyes; the concave abdomen; the bones, all too prominent. “I stopped weighing myself after losing 35 pounds,” Bomer says. “I thought the number wasn’t the important thing to focus on. This wasn’t Biggest Loser.” He consulted with doctors, participated in a 14-day alkalized-water, juice, tea, and enzyme cleanse at the We Care Spa in Desert Hot Springs, which he continued at home for another week, and sought advice from his Magic Mike costar McConaughey, based on his experience with Dallas Buyers Club. “He called me and walked me through what he did,” Bomer recalls. “It was very generous, but I took a slightly different path.” It took Bomer three months to attain a sufficiently skeletal figure, a period of time Murphy built into the shooting schedule. “When I first saw Matt from across the room after the hiatus,” Molina says, “he was walking with a cane. I didn’t recognize him. He looked like a fragile old man.”

Bomer puts his phone back in his pocket and runs his finger through the dirt. “That’s what I signed up for,” he says. “That’s my job. And it’s the least I could do for Larry Kramer.” Bomer also prepared exhaustively, renting out a Los Angeles theater where he’d run through lines every day, often alone. “On some level,” Bomer continues, “Larry probably saved my life. He happened to be on set the day doma was overturned. In many ways, he’s responsible for doma being overturned in the first place. He’s an Abraham Lincoln figure—he has affected the cultural landscape of this country, and not always popularly.”

Throughout filming, the set of The Normal Heart resonated with a sense of duty. But Mark Ruffalo, who plays Ned Weeks—Felix Turner’s loving partner and Kramer’s fierce, fictional proxy—recognized that Bomer’s performance came from a uniquely primal place. “Matt goes the farthest distance, as far as the turn he makes in the movie, and it’s significant,” Ruffalo says. “We all understand what this movie means and where it fits culturally—the significance of it. And Matt understands it at an even deeper level, being one of the most celebrated actors to be openly gay. There’s an urgency he had in relation to the material. It was like life or death.”

Standing up and brushing himself off, Bomer shakes his head as if in disbelief, having come to terms only recently with the magnitude of what he’s accomplished. This success had been a long time in the making for Bomer, more than 20 years since he’d first picked up the book after school in the drama room of his suburban Texas high school, and despite the toll the work has taken on him, he is determined not to let up. “Getting up here takes you out of the close-up and into the wider shot,” he says. “We’ll go as high as you like.”

• • •

"We’ll go there," Bomer says, "and then we’ll go there." We’ve arrived at an intersection with two equally appetizing taco trucks, and Bomer, physically starved but artistically satiated, has decided to sample both. We sit down in a squat freestanding garage beside the Tacos El Gallito truck. Bomer slides into a tattered vinyl booth, squeezes lime over his carne asada, and takes an eager bite while considering future prospects. He’s been up into the hills today. He’s seen the view, the distance, the possibilities. Many in Hollywood believe they are boundless. "The true reveal of Matt is still to come, in terms of just how big he can be," Bonnie Hammer says. "But we have a movie star on our hands. A true movie star."

And yet Bomer sounds increasingly grounded. “I don’t care about the size of the roles,” he says, “or how they’re marketed or billed or anything like that. I would love to be a part of stories that tell us about where we’ve come from, where we are, where we’re going—with great directors.” Polite in a way that could also be read as politic, Bomer, who once nearly dropped acting to pursue a career in psychology, refuses to name those directors. “It’s such a long list,” he says. “I mean, I hate to even identify certain people, because I don’t want anyone to feel alienated. I want to work with anyone who’s passionate about telling a story. I obviously have a list of people I really love, but it’s a really long list. So I can’t single anybody out. You know, you don’t want to forget to say ‘Darren Aronofsky’ and then have him happen to see something here and be like, ‘Why didn’t that asshole say me?’”

Aside from The Normal Heart, which is already generating awards-season buzz for both Bomer and Ruffalo, and the final season of White Collar, Bomer has filmed an upcoming movie, Space Station 76, which he calls “a darkly comedic John Cheever story set in space.” He was also cast as the lead in a biopic about the talented but tragic actor Montgomery Clift. “I could see it as a cable movie,” Bomer says. “But they’re still exploring the idea of doing it for theaters.”

Having earned some time now to think and assess, Bomer’s talking like he’s found his way, no clairvoyants required. An unwavering hunger and adaptability have given him faith in his direction, and he’s preparing to enjoy the rewards. “Listen,” Bomer says as we stand to make our way to the second taco truck. “We’ve gone with the flow. We’ve ridden the wave, the crest, and the trough, and here we are. Que Rico, like it says on the truck over there: How rich it is.”

Details

"Matt goes the farthest distance, as far as the turn he makes in the movie, and it’s significant. We all understand what this movie means and where it fits culturally—the significance of it. And Matt understands it at an even deeper level, being one of the most celebrated actors to be openly gay. There’s an urgency he had in relation to the material. It was like life or death."
— Mark Ruffalo [x]