My aim with Waiting, and The Triad Project, is to challenge the conventional structure of a feature film, to transform the passive viewer into an active and creative one. So far, movies have never actively involved the viewer as an actor and director – The Triad Project will change that.
Beckett-like, we have produced something that does not yet truly exist, because it only takes on its final form when the viewer watches it and, in real-time, becomes part of it as their empathy for the protagonist matures.
Consider this Mayan tale. A man is walking along a road in a forest on a moonless night. He sees a snake on the ground, blocking his path, and decides to wait. He falls asleep and only wakes up when the sun is up. He looks over and sees that in place of the snake, there is now only a piece of folded rope. What's changed? Before it was dark, now it is light. The man's not perceiving the rope gave rise to the perception of the snake.
The world of perception is not static, because it has no real substance: that which our senses perceive is only an illusion; only the invisible constitutes reality. Matter is not ultimately evil, but relative to how it is perceived. A simple void is the absence of being, darkness is merely the absence of light. The evil of every entity, including the human being, is diversity itself.
According to Plotinus, in the world of discourse, every individual being also embodies the whole, while in the corporeal world, every individual entity exists for itself alone. Down here, the unity of all the ideas that coexist in the world of discourse is shattered, as every organism is distinct. The institutions of this world are not evil, just perceived in different ways; nobody's reality is the same.