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DIRECTOR      CAST      CREW

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.

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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.

 

IMDB

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

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Hester Mundis …...............… Agnes

Ana Asensio …....................... Lupita

Anna Kohler................... Goldie

Emily Bennett ………............ Scarlet

Martha Frankel ................... Rusty

Steve Heller..................... Rocky

Chatterboxes & Busy Bodies

Merrill Rauch

Gareth Brown

Mimi Goese

Holly George Warren

Annie Nocenti

Nancy Howell

Sue Story

and Larry Fessenden as Wolfman & Quint

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CREW

PRODUCTION

 

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

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