Two chairs are anything but couch potatoes in this stop-motion animation spec spot, which opens on a picturesque shot of a city skyline, the rooftop of an apartment building in the foreground.
There’s an aggressive banging against the door leading to the roof, accompanied by vocalizations seemingly straight out of a porn movie. The door bursts open to reveal two upholstered living-room chairs in heated passion. They go at it hot and heavy under the daylight sky, as the X-rated soundtrack continues. In an energetic montage, this love-on-a-rooftop anthropomorphism imaginatively assumes all the positions—including one perilously close to the building’s edge. Talk about falling out of your chair.
Cut to later that day, as a woman returns to her darkened apartment. She’s puzzled by the sight of the two chairs, their arms denuded and torn, the stuffing exposed and protruding. Unbeknownst to her, the culprit was pure, reckless passion.
The woman reaches a logical but incorrect conclusion when she spies her cat, huddled anxiously in a corner. She grabs a broom, the scene goes to blackout, and we hear a screech—as the feline falls victim to the two promiscuous chairs. De-clawing may be imminent.
A supered end tag puts this bizarre slice-of-inanimate-object-life into marketing perspective: "Old World/furniture restoration & reupholstery."
The ad was directed, animated and produced by Adam Pesapane, who goes by the mono-moniker Pes. He is repped as a director by New York production house CCCP NY, a recently formed sister company to Czar Films, New York. Czar and CCCP are the U.S. counterparts to the longstanding studios of the same name in Amsterdam. CCCP is positioned as a shop for up-and-coming filmmakers who are often asked to work within the constraints of modest budgets.
The spec piece entailed some 20 days of shooting—such are the painstaking trials of animating outdoors. "Roof Sex" was shot on location in Manhattan’s East Village by DP Mai Iskander. The total budget was just under $8,000.
Sam Welch of Homestead Editorial, New York, served as editor, audio mixer and sound designer. Colorist was Eric Alvarado of Post Perfect, New York.
