“Is it not first through the voice that one becomes animal?”

“The rite, the becoming-animal of the scapegoat clearly illustrates this: a first expiatory animal is sacrificed, but a second is driven away, sent out into the desert wilderness. In the signifying regime, the scapegoat represents a new form of increasing entropy in the system of signs: it is charged with everything that was "bad" in a given period, that is, everything that resisted signifying signs, everything that eluded the referral from sign to sign through the different circles; it also assumes everything that was unable to recharge the signifier as its center and carries off everything that spills beyond the outermost circle.”

“To become imperceptible oneself, to have dismantled love in order to become capable of loving. To have dismantled one's self in order finally to be alone and meet the true double at the other end of the line. A clandestine passenger on a motionless voyage. To become like everybody else; but this, precisely, is a becoming only for one who knows how to be nobody, to no longer be anybody. To paint oneself gray on gray.”

“The shadow escapes from the body like an animal we had been sheltering.”

“Teori tentang sinema tidak terletak di dalam sinema, melainkan pada konsep-konsep tentang sinema (outside), namun teori sinema ini sepraktis dan seefektif sinema itu sendiri. Para sutradara itu seperti pelukis atau musisi: mereka menguasai dengan baik tentang apa yang mereka kerjakan. Tapi, ketika mengerjakannya, mereka menjadi sesuatu yang lain, mereka menjadi filsuf atau teoritikus – bahkan Howard Hawks yang menyatakan tak butuh teori untuk berkarya, atau Godard yang dalam berkarya seolah-olah menyangkal teori. C2:280”

“Logic is always defeated by itself, that is to say, by the insignificance of thecases on which it thrives.’ Ibid-25bit.ly/Mnhoc7”

“Otak itu utuh. Otak itu layar. Saya tak percaya jika linguistik dan psikoanalisa menawarkan sesuatu yang berarti untuk sinema. Berbeda halnya dengan apa yang ditawarkan biologi otak --biologi molekular. Pikiran itu molekular. Kecepatan-kecepatan molekularlah yang mampu membuat kita mengatasi betapa lambatnya kita (tubuh) merespon. Tepatnya adalah karena sinema membekerjakan imaji di dalam gerak, atau gerak-auto, dengan demikian sinema tak pernah berhenti melacak sirkuit-sirkuit otak". Deleuze: The Brain is The Screen, An Interview”