A Quote by Scott Borchetta

The camera is the gatekeeper to the audience that's watching you. — © Scott Borchetta
The camera is the gatekeeper to the audience that's watching you.
You're in front of an audience, but you're playing for a camera. There's this huge adrenaline rush, because you know that besides the audience in the studio, there are millions of people watching at home.
Because I'm a special gatekeeper. I'm the head gatekeeper. Because, although, as you can see, I'm only a head, I'm also the gatekeeper. Which makes me the head gatekeeper. Which makes me very special, don't you agree?
In the grand spectrum of things in WWE, you are wrestling for that camera and that camera and that camera - and all the cameras they have - and you have to make things work that way because, through that camera, there's a million people watching.
You're watching the movie for the first time when you're working with the actors in front of the camera. You don't think about how the audience will react. You discover the film.
The thing about 'Veep' is that you never really know where the camera's going to be. So you're not really just saying your line and then just watching it: you're trying to act the whole time just in case the camera is watching you.
But there's an enormous difference between an audience that's watching you because they can't wait to see what comes next and an audience that's watching you because they're waiting for you to fail.
But don't get caught out there looking goofy. It's weird. When you do something that stinks, it's going to last forever on the Internet. There's always someone in the audience with a camera phone and if you're not 100%, you're going to be watching yourself on YouTube.
I try to make all my work as honest as possible. I want the audience to feel like they're watching two people talking-having a conversation-as opposed to watching actors fake it. I want the audience to get lost in the fact that this is so good it could be real.
My mind is in so many different places while we're shooting. Part of it is watching the performance, part of it is watching the camera, and part of it is thinking about the stuff that we have to get that day. It's always a pleasure watching, but you also take it for granted, when you're on the actual grind, making the show.
I've done panel shows, which I enjoy, and on those you're recording half-an-hour of TV and sometimes they film for two hours. But with 'Britain's Got Talent,' you're on camera for eight hours, with a large theatre audience watching - and in between you're being filmed for ITV2 as you eat your lunch.
And as an actor, just working with someone as seasoned and professional and kind as Richard Jenkins, it's always a learning experience watching him - on camera and off camera, just soaking it all up.
I remember watching movies like 'Fatal Attraction' and watching the audience go bananas at the end of the film.
Multi-camera's fun because you have the immediacy of the audience and just being able to tell the story more or less straight through. The thing I like about single-camera is that you have the luxury of shooting a lot of different options.
I can never remember being afraid of an audience. If the audience could do better, they'd be up here on stage and I'd be out there watching them.
In a play, you can adjust your performance to audience reaction, but in a film, it's like you're trapped in a bad dream watching yourself act, and you're in the audience.
In a play, you can adjust your performance to audience reaction, but in a film it's like you're trapped in a bad dream watching yourself act and you're in the audience
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