Establishing Shot an interview with Dale Myrand, SOC by Steve Yedlin, ASC
Between set-ups, KNIVES OUT. On the left writer and director, Rian Johnson and A camera focus puller, Don Schroer. Photo by Dale Myrand, SOC
Dale Myrand, SOC was a nominee for this year’s SOC Camera Operator of the Year – Film for his work on Knives Out. He’s operated on many films including J.J. Abrams’ Star Trek, Looper, and Collateral. Establishing Shot is designed to explore our members’ backgrounds and career paths. Their stories…how they got started in the business, who helped them along the way, memorable projects, and future plans. Dale invited his colleague and director of photography, Steve Yedlin, ASC to interview him for this issue: Steve Yedlin, ASC: A camera operator is a bit like an ambassador in that he or she can be the face of the camera department and the main person that actors see right when they’re in the deeply vulnerable state of baring their soul for the camera. What are some strategies you use to maintain continuity of working style yet somehow also tailor that style and your demeanor to the personalities, moods, and needs of the actors?
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Dale Myrand, SOC: I think as an operator you learn to size a set up. You pay attention to the body language and moods of those you work with. You adjust when and how to inject yourself into the process depending on the idiosyncrasies of the day. If things are a little tense, there are allies all around that can help you out. The director, the DP and the 1st AD can be great assets if you find yourself in a sticky situation. But getting the actors to trust you is a big part of making the set work. It seems so simple but one thing I do is figure out all of the eye lines with second team. When first team shows up I am the one that walks them through it. Just this one minor effort makes them realize that you have thought about them and their requirements. It helps put them at ease and begins the process of earning their trust. Yedlin: On that same topic, camera operating can be a bit paradoxical in that—on the one hand, you want to be sort of invisible and not to be another big, loud, needy personality in a power dynamic that may already be fraught with too many of those types.
SOCIETY OF CAMERA OPERATORS · SOC.ORG