A work in constant progress (and occasional regress).
Release Date:
October 20, 2020
Original Title:
Reach Capacity
Production Companies:
Metro Pictures Productions
Ratings / Certifications:
N/A
Runtime: 13
Almost forty years after its first appearance in You The Better, the house returns as a character in Beckman’s new work Reach Capacity, now symbolising real estate. The economic and political elements and the structure of the film are closely associated with the most famous of all board games dealing with real estate, Monopoly. Its origins go back to the early 1900s, when Elizabeth Magie created a first version of what she called The Landlord’s Game. Magie’s game had two sets of rules, a Prosperity set and a Monopolist set (only the latter was kept by Parker Brothers when they further developed the game without her). Magie’s aim was to illustrate how society as a whole thrives when monopolies are banished and income is distributed equally. Beckman takes over Magie’s dual game structure by having her screen flip over when a monopoly is reached.
Animation:
Zach Hart
Ericka Beckman
Camera Operator:
Jacob Lutter
Kamaryn Pendelton
Sara Boldt
Jack Berner
Compositor:
Sam Hall
Costumer:
Alexandra Wilson
Digital Compositor:
Beth Warshafsky
Erinn E. Hagerty
Director:
Ericka Beckman
Foley Recordist:
Zach Hart
Ryan Curso
Grip:
Christian Kalcik
Julia Payne
Rebecca Williams
Lighting Technician:
Christian Kalcik
Julia Payne
Ariel Nehorayoff
Rebecca Williams
Location Manager:
Ryan Muler
Music:
Lilly Dickenson
Brooke Halpin
Music Consultant:
Brooke Halpin
Producer:
Zach Hart
Production Assistant:
Sophie Carleton
Maxwell Paparella
Homa Sarabi-Daunis
Erica Sheu
Javier E. Castillo
Daphne Disiz
Alix Daunis
Yitian Yan
Sophie Olsson
Prop Maker:
Erik Guzman
Mark Rosen
Ford Bostwick
Rotoscoping Artist:
Erinn E. Hagerty
Beth Warshafsky
Sound Engineer:
Ross Matthei
Sound Mixer:
Rodney Jones
Title Designer:
Philippe Roy
Visual Effects Design Consultant:
Beth Warshafsky
Vocals:
Kim Keown
Brooke Halpin
Nadia Healy
Ericka Beckman
Writer:
Ericka Beckman
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While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:
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Filtering is applied here to film projects flagged as "adult" by TheMovieDB. Pending "popular demand" I am contemplating a login and profile system with preferences (such as whether to allow adult images to appear) and permissions (such as data entry).
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