why dolls?
My relationship to dolls and to many objects came from going with my parents to antique car shows and swap meets. While my dad hung out with his car guys, my mother and I would wander the booths of antiques dealers. There was never much extra money, much less extra free time in my house, so these occasions made an impact. My mother loved talking to the vendors about the before life of the objects and often there were little cards with elaborate stories detailing the history of the object – example – I saw a different side of my mother, who could most readily be described as the drill seargean in our house. Chores and homework piano practice.. Here she became a curious detective, a historian, interested in the places in the past a given thing had been. In hindsight, I’m sure many of these stories were concocted by vendors to make the object seem more worthy of its price tag, but it served to form my early impressions that objects held stories. My mother bought my first “investment doll” a Floradora with real human hair, porcelain face, sawdust filled body and a somewhat hastily sewn costume, definitely not of her original vintage. When these dolls were made in the early 1900s, they were considered too realistic and unpleasant to look at and play with.. too uncanny…Perhaps that is what appealed to me…That doll meant a lot to me, my mother rarely spent money on frivolities and that she valued this doll and even more that she thought me a good steward of this antique meant a lot to me. The FLoradora doll ( I never named her) sat in my childhood room in a wicker rocker we purchased for her, doll sized and perfect. I kept the small card with details of her origins held in place by a rusted pin. As one of the items in my portfolio for submission to art college, I made a drawing of her, accidentally choosing a very hard lead, so her drawing seems like a wisp of a thing.. Many years later I loaned her out to a filmmaker to make a macabre little short film in which she shone and she still resides in a cabinet in my studio, her joints loose and head lolled at an angle.

Director bio
Beck Underwood is a filmmaker based In New York CIty and Woodstock, NY. She combines stop motion animation and live action in her work. Beck has worked as a production designer on several feature films and has been affiliated with the production company Glass Eye Pix for over 35 years in a variety of capacities.
Largely self-taught, her first animated short "that creepy old doll" was created during a class in stop motion animation at SVA.
Since 1998, she has made 25 short films and curated programs of short films by over 50 filmmakers. Her films have screened in tiny storefronts and on the big screen at the Museum of Modern Art as well as many venues and festival around the globe. The Lure of Ponies is her first feature film.
Beck is also a mentor and educator at the Lower Eastside Girls Club in New York and teaches animation workshops for all ages.
CAST






Beth Dixon …....… Frances Faraday
Fiona Green ……………....... Midge
Abby Ahmad ……................ Lottie
Erikka James …………….... Harriett
Laurie Olinder …................… Penny
Cody Kostro …………….......... Nick
Beatrix O'Gorman ….........… Lady B
Miladys Ramirez ……........ Miss Kitty
Don Campbell …............Andy Bear
Viveca Freeman ……….............…Lily
Heidi Koelbl ........ Spellbound Lily
Sinead Day MacLeod …......the eyes






Alicia Mikles ….....................… Dot
Deirdre Day …………....…....... Ash
Hannah Hale .......Honey, Scratch
Noelle Melody …….....…Trix, Billie
Beck Underwood .......Cubby, Mice
Jack Warren ………..….......... Wren

Hester Mundis …...............… Agnes
Ana Asensio …....................... Lupita
Anna Kohler …................... Goldie
Emily Bennett ………............ Scarlet
Martha Frankel ................... Rusty
Steve Heller …..................... Rocky
Chatterboxes & Busy Bodies
Gareth Brown
Nancy Howell
Sue Story
and Larry Fessenden as Wolfman & Quint

CREW
Beck Underwood - writer, director and animator; set, puppet and prop design; cinematography
Kaila Chambers - additional animation & super 8
Maddalena De Beni - cinematography: live action
Hilla Eden - cinematography: live action & super 8
Sara Elizabeth Lotte - Frances' wardrobe
Michele Elise - cowgirl doll tailoring
Clare O'Sullivan - crochet baby doll booties
Skylar Naughton - art assistant
Sinead Day Macleod - art assistant
Walker White - set assistant
Jack Fessenden - grip
Ari Green - set assistant
POST PRODUCTION
Beck Underwood - editor, sound design
Larry Fessenden - editing advisor and post production supervisor
Sabine Hoffman - editing advisor
Eugene Lehnert - vfx supervisor and colorist
Vivian Baumann - addition vfx
Ben Cheah - sound design, foley
Tom Efinger (Red Hook Post) - sound & dialogue edit, additional foley & mix
Jen Gilleran - additional foley
Matt Rocker (Underground Audio) dialogue recording
Wade Strange (See-Through Sound) dialogue recording
Ron Kuhnke (K-Town Audio) dialogue recording
MUSIC
original score by Elizabeth Ziman & Jon Titterington
Tony Barba - woodwinds
Hannah Schroeder Jackson - cello
title animations by Beck Underwood & Nancy Howell