Animation studio Golden Wolf has promoted long-time executive producer Dotti Sinnott to the new title of managing director for the studio while adding Heidi Stephenson as head of production, and elevating Tan Jones to exec producer.
Sinnott originally joined the studio’s London-based office in 2015 as a freelance producer where she oversaw projects for Nike, Disney, Ubisoft, and more. In 2017, she assumed the title of EP and spearheaded the studio’s expansion into New York City. Her leadership played an integral role for the studio’s transition into remote production during the COVID-19 pandemic. Now in her seventh year with Golden Wolf, Sinnott will now oversee the business operations for both the New York and London offices as managing director.
Stephenson, a newcomer to the animation studio, has experience spanning from animation production all the way to broadcasting and will manage internal production across both offices as the head of production. Executive producer Jones assists in managing the production team and has overseen projects for brands such as Nike and Adidas. A fellow Golden Wolf veteran, Jones’ promotion includes the new responsibility of spearheading all new business ventures for the studio globally.
“I couldn’t be more excited to have Dotti, Heidi and Tan by my side as we take Golden Wolf to the next stage of our evolution,” said Golden Wolf founder Ingi Erlingsson. “Having been my right hand woman for over half a decade, Dotti is the perfect person to lead this exceptional team into uncharted territory as we broaden our horizons into music, AI and more.”
Golden Wolf recently celebrated its ninth anniversary earlier this month. The studio has 27 staff members total, with team members hailing from countries around the world.
Review: Director John Crowley’s “We Live In Time”
It's not hard to spend a few hours watching Florence Pugh and Andrew Garfield fall and be in love. In "We Live In Time," filmmaker John Crowley puts the audience up close and personal with this photogenic British couple through the highs and lows of a relationships in their 30s.
Everyone starts to think about the idea of time, and not having enough of it to do everything they want, at some point. But it seems to hit a lot of us very acutely in that tricky, lovely third decade. There's that cruel biological clock, of course, but also careers and homes and families getting older. Throw a cancer diagnosis in there and that timer gets ever more aggressive.
While we, and Tobias (Garfield) and Almut (Pugh), do indeed live in time, as we're constantly reminded in big and small ways — clocks and stopwatches are ever-present, literally and metaphorically — the movie hovers above it. The storytelling jumps back and forth through time like a scattershot memory as we piece together these lives that intersect in an elaborate, mystical and darkly comedic way: Almut runs into Tobias with her car. Their first chat is in a hospital hallway, with those glaring fluorescent lights and him bruised and cut all over. But he's so struck by this beautiful woman in front of him, he barely seems to care.
I suppose this could be considered a Lubitschian "meet-cute" even if it knowingly pushes the boundaries of our understanding of that romance trope. Before the hit, Tobias was in a hotel, attempting to sign divorce papers and his pens were out of ink and pencils kept breaking. In a fit of near-mania he leaves, wearing only his bathrobe, to go to a corner store and buy more. Walking back, he drops something in the street and bang: A new relationship is born. It's the... Read More