For the theatre one needs long arms; it is better to have them too long than too short. An artiste with short arms can never, never make a fine gesture.

But I never looked like that!’ - How do you know? What is the ‘you’ you might or might not look like? Where do you find it - by which morphological or expressive calibration? Where is your authentic body? You are the only one who can never see yourself except as an image; you never see your eyes unless they are dulled by the gaze they rest upon the mirror or the lens (I am interested in seeing my eyes only when they look at you): even and especially for your own body, you are condemned to the repertoire of its images.

It is no longer the sexual which is indecent, it is the sentimental.

Every exploration is an appropriation.

I call the discourse of power any discourse that engenders blame, hence guilt, in its recipient.

Ensnared in his starvation, Chaplin-man is always just below political awareness. A strike is a catastrophe for him because it threatens a man truly blinded by his hunger; this man achieves an awareness of the working-class condition only when the poor man and the proletarian coincide under the gaze (and the blows) of the police.

Those who fail to reread are obliged to read the same story everywhere.