“The historical fact is that cinema was constituted as such by becoming narrative, by presenting a story, and by rejecting its other possible directions. The approximation which follows is that, from that point, the sequences of images and even each image, a single shot, are assimilated to propositions or rather oral utterances [...].”

“An image of thought called philosophy has been formed historically and it effectively stops people from thinking.”

“Opening is an essential feature of univocity. The nomadic distributions or crowned anarchies in the univocal stand opposed to the sedentary distribution of analogy. Only there does the cry resound: ‘Everything is equal!’ and ‘Everything returns!’. However, this ‘Everything is equal!’ and ‘Everything returns!’ can be said only at the point in which the extremity of difference is reached. A single and same voice for the whole thousand-voiced multiple, a single and same Ocean for all the drops, a single clamour of Being for all beings: on the condition that each being, each drop, and each voice has reached the state of excess – in other words, the difference which displaces and disguises them and, in turning upon the mobile cusp, causes them to return.”

“Morality consists in this for each individual: to attempt each time to extend its region of clear expression, to try to augment its amplitude, so as to produce a free act that expresses the most possible in one given condition or another. -- Gilles Deleuze, The Fold: Leibniz and the Baroque, 73”

“It is always from the depths of its impotence that each power center draws its power, hence their extreme maliciousness, and vanity”

“Christianity taught us to see the eye of the lord looking down upon us. Such forms of knowledge project an image of reality, at the expense of reality itself. They talk figures and icons and signs, but fail to perceive forces and flows. They bind us to other realities, and especially the reality of power as it subjugates us. Their function is to tame, and the result is the fabrication of docile and obedient subjects.”

“In the literary machine that Proust’s “In Search of Lost Time” constitutes, we are struck by the fact that all the parts are produced as asymmetrical sections, paths that suddenly come to an end, hermetically sealed boxes, noncommunicating vessels, watertight compartments, in which there are gaps even between things that are contiguous, gaps that are affirmations, pieces of a puzzle belonging not to any one puzzle but to many, pieces assembled by forcing them into a certain place where they may or may not belong, their unmatched edges violently forced out of shape, forcibly made to fit together, to interlock, with a number of pieces always left over.”