2008, 16:27 minutes, colour, English
The Pitch is an implosion of the metaphorical: Big ideas are visualized in small models. Some of the ideas are shrunk in the process to fit into the temporary and improvised containers employed to carry them. New ideas and images are extracted from the heat of the moment. In the logic of this film-performance, compromise and work-around solutions form the most desireable and glamourous ideal, presenting themselves as moments in which stifling constructions of identity are liquified.
The 17 minute uncut video lets us sit in on the encounter of an on-screen listener, who is addressed as a film-producer, and an off-screen talker, telling the story of a film, she wants to make. The talker, who also operates the camera and the film lights in this video-portrait studio situation, employs a diversity of special effects, such as lighting sparklers, holding filters in front of the lens and changing backgrounds, all seemingly in order to illustrate the story‘s development. The listener reacts to the circus around her only sporadically and very laconically. The story, told from off-screen, features two protagonists who resemble the listener and the talker. By the end of the pitch it becomes clear that by folding the description and the performative illustration of the film‘s story into one another, the film, initially presented as dependant on the financial support of the listener for its realization, is completed, instead, during the act of pitching.
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by . Canadian Art, Summer 2004, v. 21, no. 2.
by . The Globe and Mail, Oct. 22, 2002.