Dennis Flippin – Flatters Interview

5th September 2024

Dennis Flippin – Flatters Interview. by Joe Muldoon.

Particularly during the pandemic with most of us having extra time on our hands, we spent a lot more time on the internet than ever before; was this inspired by interactions with the Georgias the world, especially during that period?

Dennis Flippin: During the pandemic, the internet was flooded with all sorts of conspiracy theories, especially about the planet. With cancel culture being so intense, we wanted to pick a topic that let us have some fun without causing too much drama. The subject we chose felt just right—something most people wouldn’t get too worked up about. And since we were all living in the RV park at the time, our set was basically right outside, no commute necessary. This project was all about making the most of what we had and just rolling with it.

With Flatters being an impressively small-scale production, how did you go about casting and assembling your crew?

When you’re working on a small-scale production like Flatters and the payment is credit, it’s really about finding people who are eager to get involved. For example, our neighbor Mike Sena stepped up to handle sound, even though he had no prior experience. Raven Krogstad took on the role of Production Designer, bringing her own unique flair to the project. The lead roles of Lenny and Georgia are played by Doug Wyckoff, who also wrote Flatters, and his wife, Teresa Wyckoff. Doug and Teresa are both stand-up comedians, and their chemistry really brought their characters to life.

I should also mention that while directing, I made it a point to guide and teach the crew along the way, especially since some were new to filmmaking. My girlfriend played the news reporter, which was a fun addition to the cast. As for the role of Bob, we have Teresa to thank. She’s an amazing producer with a knack for getting things done. She searched the internet and found Maurice through Backstage, and his talent truly stood out from the rest. We were fortunate to have a small support crew for a couple of days, including AC Ian Taylor and PA Olivia Cade. While some of the crew were relatively inexperienced, what mattered most was their willingness to learn and their dedication to telling the story.

You were heavily involved with the cinematography and editing; what did you consider during the planning process? The opening sequence has an LED-infused palette that’s almost cyberpunk.

When planning the cinematography, I had to be really intentional because I was juggling so many roles—Director, DP, Operator, Gaffer, and Key Grip all at once. I often thought back to Roger Deakins’ advice about being selective. When you’re managing multiple things on your own, you’ve got to be clear about your objectives. Every shot, from the actor’s positioning to the camera angles, had to be planned out in advance since we didn’t have the luxury to experiment with different setups.

For example, in one of the bathroom stall scenes, you’ll notice a pair of boots positioned to make the space look more crowded, even though no one’s actually in the stall. It’s a tiny detail, but one that needed careful thought.

Lighting was a particular challenge. I’d often start setting up 4 or 5 hours before anyone else arrived, so we could hit the ground running once the crew showed up. Everything had to work smoothly, and if something didn’t, I’d adapt the script on the spot to make it fit. I approached the project as a challenge to see what we could pull off with a skeleton crew. Take the bathroom scene, for instance—there was no crew at all, just the actor and the sound guy.

For the look, I wanted something cinematic with a gritty edge, which is where that LED-infused palette comes in. I used this old LED light that had a nasty green tint —normally something I’d avoid, but it gave the shower scene this perfect cyberpunk vibe. I paired it with a tungsten key light with a CTS gel to get the mood just right. Being a one-man band was definitely a lot of work, but it was rewarding too. Of course, I’d prefer a larger, more experienced crew in the future, but this project was all about planning ahead and being adaptable.

Without giving it away for audiences who have yet to see the short, what inspired *that* finale?

The finale? That was all Doug—he came up with that wild idea. We had a lot of conversations about how to wrap things up, and we both agreed it needed to go out with a bang. Like, we wanted the audience to be sitting there thinking, ‘Wait… did that just happen?!’ It’s the kind of ending where you need a minute to process what you just saw. We figured if people left in disbelief, we’d done our job!

What’s next for Lenny?

What’s next for Lenny? Well, he’s still dead set on supporting his wife and, believe me, he’s willing to go to the ends of the earth—literally—to prove his love for her. We’re actually working on a feature where that dedication gets put to the ultimate test. Without giving too much away, it’s turning into a road trip movie, packed with dark comedy and some seriously bizarre characters along the way. Buckle up—it’s gonna get crazy!

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