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Original Title. Other Editions 1. Friend Reviews. To see what your friends thought of this book, please sign up. To ask other readers questions about Once Upon a Virus , please sign up. Lists with This Book. This book is not yet featured on Listopia. Community Reviews. Showing Rating details. More filters. Sort order. This was a required text for my Folk Narrative course.

While the subject is the same, the locations are very different. The way that we see specific things in our c This was a required text for my Folk Narrative course. The way that we see specific things in our culture and the way that our culture affects and changes ideas or perceptions is amazing. This idea was hard for me to get at first, but once explained to me, it made so much sense.

Nov 24, Megan Peters rated it liked it Shelves: university. Read for my Anthropology of Infectious Disease and Contagion class. An interesting read and interesting to see how these "folk tales" get told and transmogrify. Ostenion is also discussed quite a lot in Goldstein's book- a concept I had never really considered before. Once you read about ostention, you see it everywhere! Dec 27, Brad rated it really liked it Shelves: folklore , nonfiction-socialtheory.

A nice study of AIDS legends and vernacular risk perception. Alessandra Dreyer rated it really liked it Mar 07, Slay Belle rated it really liked it Dec 20, Sheri rated it really liked it Apr 23, Afsane Rezaei rated it it was amazing Mar 20, Rose rated it really liked it Jan 06, Jeana rated it it was amazing Nov 17, Ana rated it really liked it May 13, Annie Tucker rated it liked it Jan 20, Sarah rated it it was amazing Jul 24, Calista rated it really liked it Mar 17, Tyler Chadwell rated it it was amazing Jan 12, Scott rated it liked it Jun 25, Sarah rated it it was amazing Nov 30, Cj Forneste rated it it was amazing Jun 02, Mel rated it really liked it Apr 08, Susanna rated it really liked it Apr 15, Evan Wade rated it really liked it Mar 04, Katie marked it as to-read Aug 10, C-B added it Jun 13, Suzanne added it Jul 05, Jude added it Jan 29, I had no idea about the show and the actors, but you both said you had that exact same reaction.

QT: The fact that we both learned about suicide because of Pete Duel at age eight or whatever was. LD: For me, that made it this really strong reality. For this town. And having also seen that happen with some of my contemporaries in the industry, how that wear and tear and constant disappointment can lead to that. I really wanted to infuse at least the feeling for the audience that suicide is an absolute possibility for Rick.

QT: From us talking about it, we realized why Pete Duel did it. In retrospect, he was bipolar. He was drinking to self-medicate. So then we thought: Maybe Rick has a drinking problem. I had not written him in that way, but there always was this crazy swing of his emotions. Now there was a rooted cause, and that was the one Leo responded to.

Once upon a Virus: AIDS Legends and Vernacular Risk Perception

It is a poignant moment. LD: Very. When you are in his position, constantly looking for that foothold to stardom and doors keep shutting in your face, after a while you start to realize: Can I be happy where I am? Is there satisfaction in not achieving that goal? But can he get to a place of acceptance and appreciation for being in this industry? Is there any celebration of that, or is it just a constant source of disappointment? MH: You touched on a theme a minute ago. On the surface, this is a film about actors in , dealing with change in Hollywood.

But what is powerful and universal is that, at the root, this is a story about two men battling forces that many men are confronting right now.

Once upon a Virus : AIDS Legends and Vernacular Risk Perception | eBay

Can I reinvent myself? So many guys are facing that anxiety right now.

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MH: Because for men, identity comes from work. Can they reinvent themselves and determine their future? Let me get the fuck out of here and go where good-looking guys make money: Hollywood. BP: [ Smiles. In fact, there were two. At first, I went to the one in North Hollywood. Then I made some money and got to advance to the one in Hollywood, on Sunset Boulevard. It was all you could eat, and that would be your meal for the day. You would just cram as much food as you could, then you were good till the next day. QT: Those Mojo potatoes! QT: But the thing is, Rick was sold a bill of goods everyone else was sold.

To be a young leading man is to be macho and masculine and sexy and handsome and chiseled. QT: Exactly. BP: And everyone came from that. Burt Reynolds. Clint Eastwood. QT: All those guys. Now, in , the new leading men are the exact opposite. They are skinny, shaggy-haired guys. Again, look at And then, who is the complete embodiment of the new anti—leading man? Charles Manson! Plus, he gets the chicks. Manson usurps it all! Even the headlines. He becomes more famous than all of them. Pretty thrilled just to be alive that day. I just felt like he would be all right wherever he landed.

He would figure it out. So when he sees that girl, he knows something new and exciting is coming along.


You need your support system. You need that guy you can sit there and watch TV with and not say a fucking word with for five hours. You need to know somebody is there. When we were doing the movie, my relationship with Brad clicked. It was very early on where he improvised a line and it changed everything. And in the scene, Brad ad-libs.

QT: That was a thing Brad just said—and it ended up becoming a thing. BP: True story, this was probably early nineties. I was on set and I was whining about something and lamenting something. I was pretty low. Quit your whining. I would like to be Brad fucking Pitt. I needed to hear it. That day, I flashed on that. MH: Speaking of the nineties, as we said, you guys all popped at the same time. The insecurities, the neuroses—whether it is or , that never changes.

Again, you all have twenty-five years of winning the lottery. The studio system has tons of content, libraries of things that they can make movies of, but in a lot of ways they are hemorrhaging. But these types of films that Quentin is doing are also becoming endangered species. There are some dark ages coming up. BP: The positive of the new landscape is you see more people getting opportunities.

But I see something else happening with the younger generations. And they may not even get to see them. What I always loved about going to a cinema was letting something slowly unfold, and to luxuriate in that story and watch and see where it goes. QT: It requires the right kind of movie—one that hits the right kind of nerve where it becomes a conversation.

Get Out achieved that. Everyone was talking about it, and the whole metaphor of the Sunken Place was something everyone started to use. It sparked genuine conversation. It used to be movies were the pop-culture conversation and it was much rarer for a TV show to break into that place. MH: When you look back at the beginning of your careers, how do you think you are different from when you broke into Hollywood? LD: The first years are seminal. At that point it just becomes about opportunity. And in a weird way, I really connect with myself as a young man trying to get into the industry.

Growing up in L. Had I lived anywhere else, my parents would not have [ laughs ] picked up shop and moved—it was the sheer proximity to auditions. LD: My attitude is the same as when I started. Because we understand that it is fleeting.

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Tastes change; culture changes. And I feel very blessed to have gotten that ticket to be able to do movies. So I feel very connected to that fifteen-year-old kid who got his first movie. BP: I feel the same. But you just refine your craft. Becoming a craftsman after a few decades of doing this. Over time it becomes a home. And it becomes your community.

MH: If you were to give Rick and Cliff advice, what would it be? LD: Stop fucking drinking! And with all the chips stacked against them, that combination of ambition got together to make something that was a phenomenal piece of art.

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The universe is watching over you. What about the rest of the world? QT: But it can all change in a moment. Three years or four years after the movie takes place, think about where Rick could be. The thing is, you get one audition and now your life is different. BP: Two. The first left to do another film because he got offered a lead, and then the second guy fell out. I think it had something to do with chemistry. MH: I want to hear about the structure of the film.

Review of Once Upon a Virus: AIDS Legends and Vernacular Risk Perception by Diane E. Goldstein

It takes place over three days. This article appears in the Summer issue of Esquire Subscribe. I certainly felt it, I think Brad felt that. We were given this incredible backstory. All that character history naturally infused its way into these two days in a really organic way. It was just there in the gestures, and there in the relationship. QT: Well.

Titanic is only a couple days. LD: [ Laughs. Looks at Hainey and Pitt. I guess it is. The lights come up at Cannes—what do you want people to think? Where things land afterward. I think all good films find their place. LD: Brad and I were talking about the anticipation for it. I felt like I sat for fifteen minutes in this intergalactic world of people jumping in and out of different realms of reality and then dragons.

There was just this collage of. He crossed paths with many famous people in town. Like Brian Wilson. You guys have lived in this town a long time. What six degrees of weirdness do you have? He drove a hearse and lived in Echo Park. We went out one night and everyone else had peeled off, and we ended up back at his place and it was like six in the morning. A real, you know, drunk and stony night, and he proceeded that night to tell me how he thought he was going to die young like his dad.

And I just chalked it up to, you know, stony a. Then he got The Crow the next year. MH: And his father, Bruce Lee, is depicted in the new movie. LD: I have one. One of the most ominous and sad ones. I grew up revering River Phoenix as the great actor of my generation, and all I ever wanted was to have just an opportunity to shake his hand. And one night, at a party in Silver Lake, I saw him walk up a flight of stairs. And then the crowd got in my way, and I looked back and he was gone.

The actor we all talked about. Just to be able to have that, always wanting to just—and I remember extending my hand out, and then. QT: Yeah. The last performance Burt Reynolds gave was when he came down and did a rehearsal day for that sequence, and then the script reading. And that was really amazing. QT: I found out from three different people that the last thing he did just before he died was run lines with his assistant.

MH: Brad, what do you remember about those days with Burt? Always had something sharp to say—funny as shit. A great dresser.