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INTERVIEW WITH AN AGENT FROM ORANGE

June 23, 2013

PART 1

Q: You say the actor Anthony Perkins was a bearer of a message or meaning of sorts that you as an organization put into him over his career, could you explain that?

A: Yeah, his career was significant in this sense for us, if you look at the years he was active as an actor-it coincides with our own development and evolution-so he is especially relevant.

Q: You mean there are others?

A: Of course-all actors to some degree or another are relevant for us because of their presence ultimately in the ken of the individual-don’t ask me what ken means, ok?

Q: No, I know what the word means.

A: Good!

Q: So stay with Perkins, for the moment, and explain further this idea of a bearer of meaning that you used him for-would he have been aware of this, by the way?

A: Obviously not-not in the slightest. But to understand his life as containing an intentional narrative on our part of a deeper meaning, you have to go back and look at the characters he played in the films that he was cast in-and then the events of his life-not as an actor-are tied in, ultimately, to that same narrative, although, as I say, for him there was no overlapping between the characters he played and his personal life-but there is for us.

Q: Are you referring to his homosexuality?

A: Yes and no-it depends on how you see it-but there is a construable logic, if you want to look for it, between the fictional characters he played and the elements of his private life-but the meaning is not communicatively precise, but rather open to be interpreted as insinuation.

Q: So Perkins was famous and sort of made it with the role he played in Hitchcock’s 1960 film Psycho-are you saying that character has a deeper meaning as symbol or a code or something?

A: The film obviously had a dramatic impact on the public at the time and yes-that character was a source of both fascination and disgust for people, and if you seriously analyze the film from a literary and psychological standpoint, the careful viewer as student will even find social-political commentary on the part of Hitchcock with regard to US Society that is not obvious or readily perceptible-even-to mass audiences-intellectually that is, although in a visceral sense any viewer will feel the impact as insinuation or as subconscious impact of even the sociological level-but, as is the case-it won’t be intellectually perceptible or understandable for them-but they still get exposed in some way to the message-you see the difference?

But that is from a literary standpoint-and you’re not really-or only asking me about that. Yes: this character and the meaning within in the film he transmits to the mind of the viewer forms part of a deeper and much broader contemplation of existence and of human history-that is our contemplation of existence and human history-and to understand that, you have to be familiar the other films he played in. Because from the outset of his career we designed a path or route of development that over the years and as time progressed, his life would end up constructing-especially as an actor, though-because of the influence actors have in the mind and ken of people.

Q: So is Psycho the most important film if one wants to get closer to this deeper or broader meaning you speak of regarding Perkin’s career?

A. No, it’s not-it’s important-it’s part of the core component of it-but it is not the most important element.

Q: What film is, then-I assume it is before Psycho?

A: It is, but I am not going to just tell you the title-because then I would be imposing the meaning itself on you-and that has never been our purpose of imposing meaning, but rather putting meaning as contemplation before people as something that is there if one wants to look for it-as an option, to be accepted or rejected-or not even perceived, you see?

Q: No, I don’t: why would you say something or express even indirectly or as a code, something that you really don’t care if it is understood or not-or even noticed?

A: It is erected, so to speak, as part of your existential horizon as an individual, but it is not designed to force itself upon you-it is just there like a sculpture in a garden off in a forest at the foot of a distant mountain-it becomes part of the space or world you are free to move around in, in a vital-intellectual sense, constituting the very potential-and in a certain sense, also-the limits of your world.

And your world, then, would be a very big and expansive place, really-so that in that world all types of people and approaches to life can fit-and you don’t have to look for deeper meanings to anything, if you don’t care to-which, as we all know, most people-the great majority-don’t. And even those that do, don’t want live at deeper levels all the time-they, too, like to pull back into a known sense of security of the well-known itself-of all that which you can just simply take for granted and don’t have understand or think about. In fact, this state of not thinking is also necessary in some degree or another for all individuals, for human life itself as an individual.

Q: So should I be looking for little message-your little Orange gumdrop as hidden meaning?

A: I don’t know-should you? And who said it’s a gumdrop? In fact its not sweet at all-truth seldom is when one first cognitively moves into new insight and understanding-it is by nature traumatic, although it is also growth as a human being, if you can handle it and have the taste for that sort of thing. And anyway, who says its true?-I mean in the end, only you can do that.

Q: You’re pretty sly, aren’t you-you say two things at the same time, both equally valid-apparently-but you also insinuate a value statement as to your own moral judgment as to which one is preferable.

A: Could be!….But I like your logic-I like your logic a lot….And yes, I am a very moral person-we all here are moral people, just like anybody who says they represent or are associated with us…

Q: Yeah, well we’ll talk about him in another session, if it’s OK with you-let’s leave it here for now.

A. Right, sure.

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