LOS ANGELES — Mark Ruffalo, knowing his host liked sweets, showed up at playwright Larry Kramer's Manhattan home with pastries in tow — unaware that the then-77-year-old's health now restricted such pleasures.
It was spring of last year and the actor was set to begin production on the long-attempted film adaptation of Kramer's groundbreaking 1985 AIDS-political play, The Normal Heart. Little did he know, but Ruffalo's true audition was just beginning.
"Are you queer?" the playwright asked right off.
"No, I'm not queer."
"Have you read my book?"
"Well, you have to read it, otherwise you can't fully play this part."
Ruffalo, recounting the exchange recently during a spirited conversation at a Hollywood hotel, called it his moment of recognition. "He was testing me," the 46-year-old actor said. "And I remember just feeling a sense of fear in that moment."
The actor, who has played roles ranging from a brawny green superhero (the Hulk in The Avengers) to a hapless sperm donor to a lesbian couple (The Kids Are All Right) in the course of his 25-year-career, now takes on Kramer's quasi-autobiographical Ned Weeks, the ornery gay activist at the center of The Normal Heart who fervently tries to shake the public to action after a mysterious disease begins plaguing the gay community in the early '80s. Even his friends at times find him beyond obnoxious.
After enduring a winding road from stage to screen, the story, which was significantly reworked, ultimately came to be marshaled and directed by Ryan Murphy and landed at HBO. The film, which also stars Julia Roberts, Matt Bomer and Taylor Kitsch, premieres 9 p.m. Sunday.
Imbued with passion, pain and fury, the drama beckons one to look back just as gay rights are undergoing a sea change. To remember a society before gay TV characters were a commonality and same-sex marriage an actuality in more and more places.
The action in The Normal Heart takes place between 1981 and 1984 in New York City, when the gay community was still in the reverberations of the Stonewall riots and the sexual revolution. It hones in on sexual politics during the early days of the AIDS crisis — with its central character undergoing moments of rage and powerlessness in the fight to raise awareness while most of his co-workers counseled a more moderate, step-by-step approach.
It's a period Ruffalo had lived through on the opposite coast, in Los Angeles, reading about the unexplained virus in the pages of the LA Weekly as a teenager. "It felt like a pandemic. And I was young, so I was still idealistic, and it was jarring to see the inhumane response to it all," he recalled. "It didn't compute. But Larry was right, I didn't fully understand how deep it went."
The pair's initial sit-down lasted three hours. From there, a friendship started. And the tutelage followed. The legendary and divisive figure in the gay rights movement offered a master class of sorts, sharing photos and stories of the places and people at the heart of the turmoil. He even offered Ruffalo his round-framed glasses for use in the film.
Kramer, who is HIV-positive and has undergone health complications since receiving a liver transplant more than a decade ago, retains his sense of humor. In an email, Kramer said he was struck with disbelief when Murphy put Ruffalo's name forward for the role of Ned.
"To be played by such a fine and handsome actor (I should have looked this good,)" he wrote. "We hung out together a lot, and I didn't ask myself, can he play me. Actors are hired to portray, and good ones like Mark make it their job to go for it all out, which Mark did. He was also extremely passionate about his taking on the part, consumed with it. And this was very touching to me."
Murphy and Ruffalo stressed that the film takes on a new focus from Kramer's agitprop drama. Murphy, who bought the rights to the play in 2012 and spent three years working on the script with Kramer, estimates that almost half of the film is new material.
"The play was meant to get you out of your seat, to take you out of your ennui and drive you to action," Ruffalo said. "But a lot of time has passed, so it becomes something else. We don't have to shake the audience out of apathy. What we do is deepen the picture, show what kind of journey we were on that led us to where we now find ourselves."