Antonio Banderas Quotes

To make great movies, there is an element of risk. You have to say, 'Well, I am going to make this film, and it is not really a sure thing.'

If you are going to be dogged with doubts you shouldn't be making movies.

I don't think it's a mistake to put every great idea into the first movie, because I've always said there won't be a second movie if you go 'we'll hold back these ideas for another one.

I like making movies. I like the process. I like trying out new ideas, and if they don't work, they don't work. That's the reason I generated the money in the first place, to be able to try things. That's where I spend my money.

You hope that the ideas will come together. You just don't know. That's part of what I suppose is part of being brave and putting creative work out there.

It's kind of dangerous to cut in the camera, but that's the only way I know how to direct.

I think one thing that's important to maintain is a sense of fear, always doubting yourself... a good dose of insecurity helps your work in some ways.

I'd be lying if I said I had confidence in every choice I've made, that I have faith in every film I do on every shot.

The best films come about through experimentation.

I always try to make films in such a way that it's hard to imagine how they came to be, or where they came from.

The truth about filmmaking is you have all these ideas and you're trying to convince everybody that they should buy into this idea, but at two o'clock in the morning when you're all on your own you're going, 'Geez, I hope I know what I'm doing. I hope this idea is gonna work.'

You have to have conviction and completely question everything and anything you do. No matter how much you study, no matter how much you know, the side of your brain that has the smarts won't necessarily help you in making art.

For me, every day is a new thing. I approach each project with a new insecurity, almost like the first project I ever did. And I get the sweats. I go in and start working, I'm not sure where I'm going. If I knew where I was going I wouldn't do it.

I approach each project with a new insecurity, almost like the first project I ever did, and I get the sweats, I go in and start working, I'm not sure where I'm going.

I think what's so great about making your first feature film is that you're so naive in some ways; you don't know what to expect, and you don't question things as much because you're just trying to figure it out as you go.

We have secured names and trademarks with either loose ideas or intentions, or with our imaginations. Sometimes things come of it, or they don't.

I kind of muddled through 'Pride & Prejudice,' but with 'Atonement,' I knew what I was doing. That makes it sound like I had no doubt. I had doubts - I didn't know whether it would work. But I knew exactly what I wanted to try to do.

There was a time when a studio executive would really love something and have no proof at all that it would work and just do it because they believed in it. That's how 'Star Wars' happened.

When you make a film, you never quite know what you're getting into.

I became passionate about filmmaking. The thrill to make something out of nothing and to go out there to see whether it will work or not attracted me.

You can always hear a director saying, 'Well I don't really know what this piece is saying, so therefore, I reject it.' There are any number of things you can anticipate going wrong, and sometimes they go right. But I think the things you like most are the things that get rejected first. That's just how things work.

If I have an idea in my head, within no time it's into the computer, it may take more time to make it sound right, but that's the only issue.

I've done a lot of movies, and you really never know. You do a movie and you think that it's great, and then you see it and it doesn't work.

I've often hesitated in beginning a project because I've thought, 'It'll never turn out to be even remotely like the good idea I have as I start.' I could just 'feel' how good it could be. but I decided that, for the present, I would create the best way I know how and accept the ambiguities.

Every new painting is like throwing myself into the water without knowing how to swim.