Creator-Owned Debut from Filmmaker Noah Marks Leans Into Handcrafted Worldbuilding at a Time When Hollywood Doubles Down on What He Calls “Safe” IP
HOLLYWOOD, CA, UNITED STATES, January 15, 2026 /EINPresswire.com/ — At a moment when Hollywood insists that “IP is king,” while pouring billions into remakes, reboots, and sequels, THE RENAISSANCE OF ODDITY TODD is daring to do the one thing the system keeps sidelining: launch a wholly original sci-fi fantasy world from scratch. The movie takes place in a world where the ‘Sonus’, masters of vibration, are hunted by the relentless World Collective, the fate of mankind rests on the shoulders of one Sonus with a cryptic childhood.
Noah Marks is a multidisciplinary filmmaker based in New York City, excelling as a director, editor, producer, VFX artist and musician. Marks is also known for producing, editing and composing the slasher/thriller, DIRECTOR’S CUT that opened with a limited theatrical release and is now available on Shudder. Rue Morgue raised its blend of slasher and psychological horror elements, noting its effective use of tension and practical effects.
Developed in parallel as both a feature film and a novel, the independently written, directed, edited, and produced project from emerging filmmaker Noah Marks is a creator-owned narrative that treats new IP not as a liability, but as the point. “Everyone says they want fresh IP, but they only really want it after somebody else has proven it’s safe,” says Marks. “If IP is truly king, why are new ones treated like a liability?”
While studios chase pre-sold awareness and nostalgia, ODDITY TODD introduces a brand-new mythos engineered for long-term worldbuilding instead of short-term brand extension. The project has been conceived from the outset as an expandable universe that can live across screens and pages, giving partners an immediately ownable IP with a singular creative voice at the center. Far from a reboot, franchise spin-off, or algorithm-chased package, THE RENAISSANCE OF ODDITY TODD is rooted in practical creativity: handcrafted visuals, in-camera solutions wherever possible, and an original soundtrack set to an score that collides dark orchestral soundscapes with trap-driven hip-hop.
Built in an era where originality is loudly celebrated on panels yet quietly avoided on slates, and where AI tools can generate content faster than executives can read coverage, the film positions itself as a human-driven and creator-owned work. “The industry says it wants originality; they know they need it… but only after someone else proves it’s safe,” says Marks. “It’s gatekeeping, but we live in a world where you can build new gates.”
THE RENAISSANCE OF ODDITY TODD is currently in active distribution discussions, with the team targeting partners who see the strategic value in nurturing new IP rather than strip-mining existing libraries. The finished feature anchors a broader IP strategy that includes the companion novel and potential downstream extensions, positioning the title as a test case for audience appetite for bold, creator-led storytelling. A newly released trailer offers industry and audiences a first look at the film’s world, visual language, and tone ahead of release, inviting viewers to decide for themselves if originality still has a fighting chance in today’s marketplace.
Watch the trailer: The Renaissance of Oddity Todd
https://youtu.be/FvbPYrhOLek?si=UHkUl3KS9k3QzI9z
Amy Prenner
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Official The Renaissance of Oddity Todd Trailer
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