All Quotes

"Know the difference between a catastrophe and an inconvenience. — To realize that it's just an inconvenience, that it is not a catastrophe, but just an unpleasantness, is part of coming into your own, part of waking up."

"The change is from inner to outer. — We start by dissolving our attitude not by altering outer conditions."

"Choose the positive. — You have choice — you are master of your attitude — choose the POSITIVE, the CONSTRUCTIVE. Optimism is a faith that leads to success."

"Cease negative mental chattering. — If you think a thing is impossible, you'll make it impossible. Pessimism blunts the tools you need to succeed."

"A goal is not always meant to be reached, it often serves simply as something to aim at."

"Don't fear failure. — Not failure, but low aim, is the crime. In great attempts it is glorious even to fail."

"Research your own experience; absorb what is useful, reject what is useless and add what is essentially your own."

"When asked what the difference between a karate punch and a kung-fu punch was during his first U.S. screen test in 1965, Bruce Lee replied, “Well, a karate punch is like being hit by an iron bar—whack! A kung-fu punch is like being hit by an iron ball swung on an iron chain with an iron ball attached to the end—it goes WHANG!—and it hurts inside.” Then he stood up and showed exactly what that might look like in a flurry of hands and feet moving so fast they blurred."

"Bruce Lee was grateful to those who helped his career. When The Green Hornet was cancelled, he wrote to producer William Dozier to say, "I like to take this opportunity to thank you personally for all that you've done to start my career in show business. Without you, I would never have thought about being in Hollywood. I've gained tremendous experience from the Green Hornet and believe I've improved steadily since the first show----that of minimizing and hacking away the unessential.""

"When I was having dinner with Chuck Norris I did ask him: "If you and Bruce would be in a real fight to death, who would win?", and he said without thinking: "Bruce of course. Nobody can beat him.""

"Bruce Lee lived martial arts every day! He could do things in the martial arts that others could not. He was very friendly and outgoing and usually the center of attention. We met after the national championships in 1964 during a dinner. Because I had just won the championship, he immediately challenged me. He said, "I want to challenge you to an arm wrestling match." I thought this guy barely weighs 120 pounds soaking wet. This will be simple, and I immediately accepted his challenge. Then he said, "But we’re going to arm wrestle — Chinese style." I agreed since I really thought I could take him any way that he wanted to wrestle. At the time, I weighed about 225 pounds to his 120 pounds. So we got to it, and I will confess that trying to twist his arm was like trying to twist a piece of steel! He looked at me and smiled while I was giving it all I had. Then he just dumped me over like it was nothing at all. He was quite a martial artist– the best I’ve ever seen. Yet with skill that masterful, he was always very warm and friendly — the kind of guy everyone wanted to meet."

"I wouldn't have put a dime on anyone to beat Bruce Lee in a real confrontation. Bruce Lee was the best street fighter I ever saw, even to this very day, and not just pound for pound — but against anyone in a real fight."

"His martial art skills made Lee arguably the greatest martial artist of his time — or any other."

"The story was particularly serious . . . I know Bruce Lee from secondary school in Nigeria. I come from Ghana, and there has always been a race, a loving rivalry between two countries. So I was picked on. Every child who is bullied, has an imaginary hero. I had several, and Bruce Lee was the greatest. Every little boy has a little bit of Bruce Lee in him."

"There's no doubt in my mind that if Bruce Lee had gone into pro boxing, he could easily have ranked in the top three in the lightweight division or junior-welterweight division."

"The slender, swift Bruce Lee was the Fred Astaire of martial arts, and many of the fights that could be merely brutal come across as lightning-fast choreography."

"I wanted to do in boxing what Bruce Lee was able to do in the martial arts. Lee was an artist and, like him, I try to get beyond the fundamentals of my sport. I want my fights to be seen as plays."

"In a dictionary, you say "greatest", you say "Bruce Lee", that's the way it is. He is second to no one."

"When Bruce Lee kicked, you don't shut your eyes. Because when you shut your eyes, you cannot see Bruce Lee kick it's so fast! Human beings cannot move like cartoon [sound effects], that's the fastest you can be. Even Muhammad Ali or Mike Tyson, their punches are fast, but you still can see [them]."

"If Bruce Lee wasn't the greatest martial artist of all time, then certainly he is the number one candidate."

"I considered him by far the greatest. And for those who don't considering him the greatest, at least he is the top candidate for being actually the greatest."

"Every kid, I believe, in America noticed that guy behind The Green Hornet— the one who could kick, the one who could punch, the one who could move so amazingly—all eyes centered on him. … The makers of The Green Hornet had to actively restrain Bruce Lee from being himself because they realized every time they saw the rushes that everything else was wiped off-screen."

"I truly liked and admired Bruce. I worked with him some and he helped me in my foot movement and back fist. Bruce probable weighed 135 pounds at most, but he could hit like a mule. I know, because he knocked me under Sharon Tate’s barstool at Columbia Pictures in 1968. Bruce never confronted any big men to my knowledge. There are stories out there, but none I personally know of. I will say this; I would have picked Bruce in any street situation. He had the knowledge and the attitude to carry him through anything."

"I remember many times my father (Ed Parker) talking about, pound for pound, Lee was the best martial artist, he'd ever seen."

"Bruce Lee is my idol. I need to learn some techniques of Bruce Lee, especially the quickness of his hands and legs."

"Actually, the father of mixed martial arts, if you will, was Bruce Lee. If you look at the way Bruce Lee trained, the way he fought, and many of the things he wrote, he said the perfect style was no style. You take a little something from everything. You take the good things from every different discipline, use what works, and you throw the rest away."

"You may abandon your own body but you must preserve your honour."

"Never stray from the Way."

"Driving is a spectacular form of amnesia. Everything is to be discovered, everything to be obliterated. Admittedly, there is the primal shock of the deserts and the dazzle of California, but when this is gone, the secondary brilliance of the journey begins, that of the excessive, pitiless distance, the infinity of anonymous faces and distances, or of certain miraculous geological formations, which ultimately testify to no human will, while keeping intact an image of upheaval. This form of travel admits of no exceptions: when it runs up against a known face, a familiar landscape, or some decipherable message, the spell is broken: the amnesic, ascetic, asymptotic charm of disappearance succumbs to affect and worldly semiology."

"Yet there is a certain solitude like no other - that of the man preparing his meal in public on a wall, or on the hood of his car, or along a fence, alone. You see that all the time here. It is the saddest sight in the world. Sadder than destitution, sadder than the beggar is the man who eats alone in public. Nothing more contradicts the laws of man or beast, for animals always do each other the honour of sharing or disputing each other’s food. He who eats alone is dead (but not he who drinks alone. Why is this?)."

"What you have to do is enter the fiction of America, enter America as fiction. It is, indeed, on this fictive basis that it dominates the world."

"There are cultures that can only picture their origins and not their ends. Some are obsessed by both. Two other positions are possible: only picturing one's end - our own culture; picturing neither beginning nor end - the coming culture."

"Boredom is like a pitiless zooming in on the epidermis of time. Every instant is dilated and magnified like the pores of the face."

"A series of accidents creates a positively lighthearted state."

"There is no aphrodisiac like innocence."

"One day, we shall stand up and our backsides will remain attached to our seats."

"Dying is nothing. You have to know how to disappear. Dying comes down to a biological chance and that is of no consequence. Disappearing is of a far higher order of necessity. You must not leave it to biology to decide when you will disappear. To disappear is to pass into an enigmatic state which is neither life nor death. Some animals know how to do this, as do savages, who withdraw while still alive, from the sight of their own people."

":Two bodies side by side, which are not asleep and know it: a strange kind of communication sets in between them, formed of respect for simulated sleep, and yet it needs to betray itself by some furtive sign — a breathing pattern which is not that of real sleep or movements which are not those of a dreaming body, Neither, however, wants to break the spell. It is a conspiracy in the dark, an emotional conspiracy filled with delicious tension."

":There has been much discussion of the uninterpretable answer to the question: 'are you lying?' But ask someone next to you, very softly so as not to wake him: 'are you asleep?' If he replies that he is, then that makes him a liar. But he can reply by pretending to be asleep, which is not actually lying, but pretend-ing to lie. There is a big difference, since this is a lovers' game. The question itself is a lovers' game because it assumes the partner is not asleep while making every effort not to wake him. Besides, these are the same questions: do you love me? are you lying to me? are you asleep? And the reply — yes, I love you, yes, I'm lying, yes, I'm asleep — is equally paradoxical. But it is not untruthful. It simply comes from another world which is not the truth of the first. 'Yes, I'm asleep. Yes, I'm lying. Yes, I love you': all these answers reflect a marvellous somnambulism and, all in all, a very clear grasp of the relations we establish with reality when we are sleeping, lying or in love."

"Here begins my delirious self-criticism (all self-criticism is delirious, the worst form of the critical spirit being that which claims to be directed against itself). Nonetheless, I accuse myself of:"

"The need to speak, even if one has nothing to say, becomes more pressing when one has nothing to say, just as the will to live becomes more urgent when life has lost its meaning. (p. 30)"

"Picturing others and everything which brings you closer to them is futile from the instant that ‘communication’ can make their presence immediate. (p. 42)"

"The close-up of a face is as obscene as a sexual organ seen from up close. It is a sexual organ. The promiscuity of the detail, the zoom-in, takes on a sexual value. (p. 43)"

"Challenge, and not desire, lies at the heart of seduction. (p. 57)"

"Seduction is the world’s elementary dynamic… All this has changed significantly for us, at least in appearance. For what has happened to good and evil? Seduction hurls them against one another, and unites them beyond meaning, in a paroxysm [sudden outbreak of emotion] of intensity and charm. (p. 59)"

"Distinctive signs, full signs, never seduce us. (p. 59)"

"THERE IS NEVER ANYTHING TO PRO-DUCE. In spite of all its materialist efforts, production remains a utopia. We can wear ourselves out in materializing things, in rendering them visible, but we will never cancel the secret. (p. 65)"

"And so one can imagine that in amorous seduction the other is the locus of your secret — the other unknowingly holds that which you will never have the chance to know. (p. 65)"

"I don't agree with the libertarians. I want my security first. I'll deal with all the details after that."

"Take provocation, for instance, which is the opposite and the caricature of seduction. It says: "I know that you want to be seduced, and I will seduce you." Nothing could be worse than betraying this secret rule. Nothing could be less seductive than a provocative smile or inciteful behaviour, since both presuppose that one cannot be seduced naturally and that one needs to be blackmailed into it, or through a declaration of intent: "Let me seduce you" (p. 67)"