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By randeep
April 17, 2024
Collision Award Jury Q&A

Dotti Sinnott, Managing Director, Golden Wolf/Doodles

Dotti Sinnott is the Managing Director of Golden Wolf and Head of Content Operations at Doodles.

Dotti Sinnott, Managing Director, Golden Wolf/Doodles
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A small bouncy random shape

Meet Dotti Sinnott, Managing Director, Golden Wolf/Doodles

Dotti Sinnott is the Managing Director of Golden Wolf and Head of Content Operations at Doodles. Beginning her career as a producer at Bigstar, she produced graphics for TV series and documentaries, including Alex Gibney’s “The Armstrong Lie” and Robert Kenner’s “Merchants of Doubt.” In 2015, Dotti joined Golden Wolf London, where she oversaw a wide range of projects for Nike, Apple, Disney, the NBA, Ubisoft, Supercell and more. After a brief sabbatical at a sourdough bakery, Dotti launched Golden Wolf’s New York office in 2018, and moved into the global Managing Director role in 2022. Since Golden Wolf’s acquisition by Doodles in 2023, Dotti has also taken on management of all creative content operations for the next-generation entertainment studio, including live & digital experiences, original content & lifestyle products. 

Q: What was your first job in the industry? What did it teach you?

My first industry job was as a Production Assistant at Bigstar Motion Design. I dove right in the deep end, and within a month I was producing my first project, a documentary graphics package. I learned very quickly how to move fast, ask a lot of questions and trust my creative team.

A bouncing geometric shape

There are undeniably great challenges ahead with new technology sure to impact our ways of working. But in this there’s opportunity too. I hope that we’ll see these new tools used by artists, not replacing artists, to create innovative outlets for creativity.

Dotti Sinnott, Managing Director @ Golden Wolf/Doodles

Q: Who inspired you to join the field/who inspired your work?

My Dad has always inspired me to forge my own path. As a cartoonist working from home at a time when that was not the norm, he opened up the creative world to me in so many ways. I grew up in his studio, going to cartooning festivals and gallery shows, surrounded by art and artists. I never wanted to outgrow that.

Q: Which project are you most proud to have worked on?

I’m so proud of producing Golden Wolf’s iconic Crown Royal spot. Not only does it continue to be one of our most referenced pieces, but the challenges of making such a dynamic spot in under six weeks taught me so much about what a really great team can do together.

Q: What do you look forward to most as a founding Collision Award jury member?

I’m honored to be a part of celebrating the art of animation, especially among so many venerable peers. I’m excited to make new connections and explore all the submissions.

Q: When you look at the future of animation in your field, what do you see?

There are undeniably great challenges ahead with new technology sure to impact our ways of working. But in this there’s opportunity too. I hope that we’ll see these new tools used by artists, not replacing artists, to create innovative outlets for creativity. 

Q: What 3 animated films/shows/games/experiences were among some of your favorite work from 2023?

I’m biased, but there’s a certain 60 second segment in Netflix’s The Monkey King that I absolutely love. Really fun to see Spiderverse pick up where it left off and continue to push the possibilities for longform animation. And it was exciting to see the Sphere open, bringing so much attention to the possibilities of animation in physical spaces. 

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