"I think in art, but especially in films, people are trying to confirm their own existences"
About this Quote
Morrison isn’t praising cinema as escapism; he’s diagnosing it as a mirror people lean into to reassure themselves they’re real. Coming from a frontman who treated the stage like a ritual and the crowd like an organism, the line has the cool chill of someone who’s watched audiences outsource their inner lives to images. “Confirm” is the tell: it implies doubt, a nagging suspicion that ordinary experience doesn’t feel authenticated until it’s reflected back through art.
Films get singled out because they don’t just represent life; they simulate it with industrial confidence. The camera’s gaze confers importance, continuity, narrative. You sit in the dark and borrow a ready-made arc - a beginning, a crisis, a catharsis - then carry that structure back into your own messier days. Morrison’s subtext is half-compassion, half-warning: if your sense of self depends on being recognized by a screen, you’re vulnerable to whatever stories the screen supplies. Identity becomes a consumer good, validated by aesthetics, genre, and the comforting authority of a close-up.
The cultural context matters: late-60s America is swimming in mass media, celebrity, and televised war, with “reality” increasingly mediated. Morrison, steeped in poetry and performance, understands that art can be a doorway to deeper perception - but he also sees the trap. The audience doesn’t just watch the film; it uses the film to watch itself, hoping the reflection holds long enough to feel like proof.
Films get singled out because they don’t just represent life; they simulate it with industrial confidence. The camera’s gaze confers importance, continuity, narrative. You sit in the dark and borrow a ready-made arc - a beginning, a crisis, a catharsis - then carry that structure back into your own messier days. Morrison’s subtext is half-compassion, half-warning: if your sense of self depends on being recognized by a screen, you’re vulnerable to whatever stories the screen supplies. Identity becomes a consumer good, validated by aesthetics, genre, and the comforting authority of a close-up.
The cultural context matters: late-60s America is swimming in mass media, celebrity, and televised war, with “reality” increasingly mediated. Morrison, steeped in poetry and performance, understands that art can be a doorway to deeper perception - but he also sees the trap. The audience doesn’t just watch the film; it uses the film to watch itself, hoping the reflection holds long enough to feel like proof.
Quote Details
| Topic | Art |
|---|---|
| Source | Help us find the source |
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