"It's a character that I always found really likable. I'm fond of Zorro because he was a popular figure who worked for the people"
About this Quote
Banderas is selling something more interesting than swashbuckling nostalgia: a star’s case for a certain kind of hero in an era that keeps recycling the wrong ones. Calling Zorro “really likable” sounds modest, almost casual, but it’s a carefully chosen entry point. Likeability is the soft power that lets a folk hero slip past politics and land in the audience’s lap. He’s not pitching Zorro as a perfect moral icon; he’s pitching him as someone you’d actually follow, which matters when heroism too often arrives packaged as grim righteousness.
The key phrase is “popular figure who worked for the people.” Popular isn’t accidental here. Zorro is mass culture before “mass culture” became a sneer: a character designed to travel across classes, languages, and generations. Banderas, a global movie star with one foot in Hollywood spectacle and another in European tradition, understands that crossover appeal as a kind of legitimacy. Zorro belongs to the crowd, not the court.
“Worked for the people” turns the mask into a job description. The subtext is a gentle rebuke to heroes who serve institutions, empires, or ego. Zorro’s charm has always been that he performs charisma while redirecting power: he uses theater (the costume, the signature) to expose the theater of authority. In the late-90s/early-2000s context of Banderas embodying him, this is also about representation without lecturing - a Latino-coded hero framed not as “issue” but as pleasure, with a populist spine.
The key phrase is “popular figure who worked for the people.” Popular isn’t accidental here. Zorro is mass culture before “mass culture” became a sneer: a character designed to travel across classes, languages, and generations. Banderas, a global movie star with one foot in Hollywood spectacle and another in European tradition, understands that crossover appeal as a kind of legitimacy. Zorro belongs to the crowd, not the court.
“Worked for the people” turns the mask into a job description. The subtext is a gentle rebuke to heroes who serve institutions, empires, or ego. Zorro’s charm has always been that he performs charisma while redirecting power: he uses theater (the costume, the signature) to expose the theater of authority. In the late-90s/early-2000s context of Banderas embodying him, this is also about representation without lecturing - a Latino-coded hero framed not as “issue” but as pleasure, with a populist spine.
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| Topic | Movie |
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