Quotes About Cameras

Being on the red carpet is both fun and a little nerve wracking, but more fun.

I've always been scared to do a play. I don't know why, because doing 'Happy Days' was like a play with three cameras.

When I was on 'Loose Women' I never thought you have to keep it light. I had my own view. It sounds daft, but I forgot that there were cameras there because I got very heated in discussions.

Hidden camera shows were coming back around 2010, so we got together one night and we said, 'What's our version of a hidden camera show?'

And if you take the cameras out of the courtroom, then you hide, I think, a certain measure of truth from the public, and I think that's very important for the American public to know.

I always feel like any criminal who doesn't have a mask on is dumb: particularly the ones who don't realize that all mini-marts have cameras. I find that so hilarious. Or bank robbers without a mask. You're like, 'Have you seen no movies?'

When we were doing 'Freaks and Geeks', I didn't quite understand how movies and TV worked, and I would improvise even if the camera wasn't on me. I thought I was helping the other actors by keeping them on their toes, but nobody appreciated it when I would trip them up. So I was improvising a little bit back then, but not in a productive way.

I just love the process of working with other actors. It's like jamming with a musician, except it takes a little more effort to get to that place as an actor, because you have the cameras and lights and everything. But I love jamming with these people.

Sometimes I wear makeup while I play - I did it during the World Cup because the cameras were always on us, but for club, not so much. If I'm wearing it on the field, I try not to apply too much.

Because I'm shooting 'The New Normal' and 'Real Housewives of Atlanta' at the same time, so my schedule is double. I leave one show and go and shoot the other. The cameras are with me for, like, every day of my life. So I'm extremely tired.

You know, when cameras are rolling, improvisation doesn't feel natural. The pressure is too great. You're on a time schedule. You've got 60 crewmen.

Look, at the same time that I don't want to be a celebrity, I understand that when you make movies you put yourself out in the public eye. I'd be a baby and a fool to be like, 'Why are there cameras taking pictures of me?' when I'm on a billboard for a movie. I think that's a very absurd concept.

If you're in a motion-capture studio, you have spherical, reflective markers, which are picked up by cameras that emit infrared - it reflects it, and then the cameras pick up the data.

You can kind of run drills and practice, rehab behind closed doors as much as you can, but there's nothing that simulates being in front of a live audience with live TV cameras.

When every moment is constantly being filmed, it's hard to relax.

All I do in Dublin is relax and live away from the cameras. There are a few coffee shops I love and I spend my days in there drinking cappuccinos.

Sometimes, they don't even make films with good cameras - they shoot with normal cameras and release the films. If this is going to be the case, the industry will not see quality films.

You know, I do music. If you look under the hood of the industry I'm in, it's all based on technology. From radio to phonographs to CDs, it's all technology. Microphones, reel-to-reels, cameras, editing, chips, it's all technology.

When you go into a bar, there are hundreds and hundreds of cameras in that bar - many of them installed by that bar. They might be checking something or taking a picture of you.

Cameras flashed. I turned away and saw spots. It was surreal. That's what people always say to describe moments that are merely unusual. I thought: You have no fucking idea what surreal is. My hangover was really warming up now, my left eye throbbing like a heart.

The casino seemed like a good idea at first—right off the highway, filled with drunks and elderly, neither of whom are known for eyesight. But I am feeling crowded and fidgety, aware of the cameras in every corner, the doors that could snap shut.

Most Londoners did not know that, on average, their likenesses were transmitted forty times a day as they commuted to and from work, ran errands between buildings or simply window-shopped. The cameras were a legacy of IRA terrorism.

On TV, you have wardrobe fittings, you have four cameras on you at all times, and you're worried about your angles and your lighting and your shots.

We had two cameras, so they could turn it on and shoot as much as we wanted. You don't have to worry about wasting money on film. A lot more takes are possible.