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    Home » Elias Ups Doddy To Creative Dir.

    Elias Ups Doddy To Creative Dir.

    By SHOOT StaffFriday, June 21, 2002Updated:Tuesday, May 14, 2024No Comments1533 Views
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    By Christine Champagne

    --

    Bicoastal music/ sound design company Elias Arts has promoted Fritz Doddy from senior composer/associate creative director to creative director. Doddy replaces Alex Lasarenko, who, according to Doddy, will continue to work with Elias on various projects as a freelancer.

    Doddy joined Elias 11 years ago as assistant to company co-founder/chief creative officer Jonathan Elias. A singer/songwriter who studied music composition at Rutgers University, Camden, N.J., Doddy worked with his boss on album projects and development deals, eventually shifting into the company’s spot operations as a composer. "All of a sudden, here I am eleven years later," said Doddy.

    Throughout many of those years, Lasarenko was a mentor to Doddy. "The thing I learned most from him was to always try to understand the client’s perspective. He trained me and the staff here to think about the client and the story they’re trying to tell," Doddy explained.

    Doddy has composed music for such clients as Audi, Coke, Disney, NASDAQ, Pepsi and Motorola. He most recently wrapped a MasterCard spot for McCann-Erickson, New York, which premiered during the broadcast of the U.S. Open.

    In his new position as creative director, stressed Doddy, he will continue to compose music for commercials. "It is very, very, very important to me that I keep writing," he noted. "It’s a muscle you have to keep using."

    Of course, Doddy’s post will include managerial duties. He will supervise a team of seven composers and be responsible for the overall creative direction of Elias’ New York office.

    Looking at the overall picture, Doddy aims to expand the musical horizons of his creative staff, urging them to "get out into the community and start researching modern styles more, getting into underground/alternative situations." Doddy is particularly interested in "bringing the concept of turntablism [a.k.a. DJ-ing] more into our environment, into ad work in general." He is interested, too, in remixing and finding ways to work with young bands on spot music.

    When the right candidates come along, Doddy is also open to adding to his staff of composers. "I’d like to start growing our creative staff again," he said. "I’m really trying to get some fresh blood in here to inspire the people that are here and mix it up a bit."

    Elias’ staff of New York composers includes Matt Fletcher, John Martello, Rich Nappi, Eric Perlmutter, Todd Schietroma, Kerry Smith and Francis Garcia. In Los Angeles, the roster of composers comprises Jimmy Haun, Danny Hulsizer, Chip Jenkins, Christopher Kemp, Ryan Rehm, Michael Sherwood and David Wittman. Dave Gold serves as creative director of the L.A. office, along with Jonathan Elias.

    The company is repped by New York-based Scott Kelliher and Barbara Moscarello on the East Coast, Jill Reehl and Noelle Whitfield of Chicago-headquartered Get Reehl! handle the Midwest, Dallas-based Fran Montoya and Denise Ford cover the Southwest, and Los Angeles-based Shirley Schackmann is responsible for the West Coast.

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    Category:News



    How Family Films Are Taking Over Moviegoing, One Blockbuster At A Time

    Thursday, April 2, 2026
    This image released by Universal Pictures shows, from left, Luigi, voiced by Charlie Day, Mario, voiced by Chris Pratt, Yoshi, voiced by Donald Glover, and Princess Peach, voiced by Anya Taylor-Joy, in a scene from "The Super Mario Galaxy Movie." (Nintendo and Illumination/Universal Pictures via AP)

    As "The Super Mario Galaxy Movie" lands in theaters, coloring stations, collectible popcorn containers and mascot Marios are all in place to entice arguably the most prized moviegoers to Hollywood today: kids. By Sunday, Universal Pictures expects the five-day opening of the "Super Mario" sequel to reach $186 million domestically, and around $350 million worldwide. That would make it easily the biggest hit of the year, surpassing a pair of successes that also launched with young moviegoers in mind: Pixar's "Hoppers" ($297 million worldwide) and Amazon MGM's "Project Hail Mary" ($300.8 million). It's not the start of a new trend but the culmination of one. In 2024, PG-rated movies outgrossed any other rating for the first time in decades, with $3.18 billion in domestic ticket sales according to Comscore. Five of the top six movies worldwide were PG movies: "Inside Out 2," "Moana 2," "Despicable Me 4," "Wicked" and "Mufasa: The Lion King." Last year was no different. PG-rated films amassed $2.96 billion, again besting the longtime leader, PG-13. The top draws globally were "Ne Zha 2," "Zootopia 2," "Lilo & Stitch," "A Minecraft Movie" and the PG-13-rated but not exactly kid-adverse "Avatar: Fire and Ash." Good news has been hard to come by in Hollywood. Contraction, most recently with Paramount Skydance's planned purchase of Warner Bros. Discovery, has added to the anxieties of an already jittery industry. While ticket sales are up so far in 2026, they remain more than 20% below pre-pandemic levels. In February, AMC, the nation's largest exhibitor, said it would continue to shutter underperforming theaters. But despite a lot of talk about the imperiled future of moviegoing, future moviegoers — kids — are turning out in droves. "There's a... Read More

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