Timothy Woodward Jr. Talks Cannes and Directing

Photography: Jonathan Mariande

Markos Papadatos sat down with Emmy winner Timothy Woodward Jr. to discuss his latest cinematic endeavors, his time at the Cannes Film Festival, and the lessons he has learned throughout his journey.

What are some of your latest films that you'd like to talk about?

First of all, let me say thank you, Markos - it's always a pleasure to sit down and talk with you. As far as projects go, I've been fortunate to work on several recently that I'm really proud of. One of the biggest is Eyes in the Trees, a retelling of The Island of Dr. Moreau, where I had the opportunity to direct Anthony Hopkins alongside an incredible cast. It was an ambitious project both creatively and visually, and working with actors of that caliber pushes you to refine your own work as a director.

I also recently completed Foster, starring James Franco, Ron Perlman, Dash Mihok, Rhys Coiro, and Natalie Burn, among others. It's a gripping action thriller set in the 1980s that focuses on human relationships, trauma, and redemption. I'm always drawn to stories that feel emotionally honest while still being cinematic and entertaining - and I love a good period piece. Getting to step back into the '80s and recreate that era was a really special experience.

How was the Cannes Film Festival for you?

Cannes was an incredible experience. Seeing Foster gain attention there this year was genuinely exciting, especially because the film is such a character-driven, emotional story. Having the opportunity to present the project and screen the film felt surreal - a real reminder of just how global filmmaking is.

There's something unique about being at Cannes. You're surrounded by filmmakers, actors, producers, and distributors from every corner of the world, all united by the same passion for cinema. The screenings, meetings, and conversations throughout the festival create an energy that's truly hard to describe unless you've experienced it yourself. To think that just one year earlier Natalie and I were walking those same streets, quietly hoping this film would come together - and then to be standing there watching it screen with the cast, the audience responding the way they did - that's the kind of moment you make films for.

Where do you see yourself in the next five years?

Creatively, I want to keep challenging myself and taking on larger-scale projects - and honestly, directing a franchise is something I'm very excited about pursuing. There's something compelling about building a world that spans multiple films and getting to go deeper with characters and story over time. That's a real goal for me.

On a personal level, what matters most is that Natalie is happy and that her career continues to grow and flourish - watching her succeed means as much to me as anything I accomplish myself. I also hope that by then our family has expanded. That would mean everything.

My wife and I have a number of exciting projects we're currently developing together, and I think the best work is still ahead of us. The goal is to keep evolving, keep collaborating with talented people, and keep making films that audiences genuinely connect with.

What is your advice for young and emerging filmmakers?

The biggest thing I'd say is to focus on mastering your craft and be patient with yourself. Filmmaking is not an overnight career - it takes years of learning, failing, improving, and continuing to push forward.

Don't wait for permission to create. We live in a time where technology has made filmmaking more accessible than ever before, and what matters most is developing your own voice and point of view. Make your film. Just do it.

And finally, treat people with respect. This industry is built on relationships and collaboration. Talent matters, but professionalism and integrity matter just as much.

Were there any moments in your career that have helped define you?

Several moments have shaped me, but one major turning point was directing and showrunning Studio City. Winning an Emmy and receiving multiple nominations for that series was incredibly meaningful - it represented years of hard work and persistence finally paying off. But what made it truly hit home was thinking about the people watching from home. My grandmother, sitting in her living room in South Carolina, and my mom - both watching me accept that Emmy during the CBS primetime broadcast. These are two women who had watched me chase this dream for years, through all the uncertainty and sacrifice that comes with this career - and in that moment, they got to see it validated on the biggest stage. That image stays with me. It's a reminder of where I come from and why I do this.

These last two films have also been really defining. Working with someone as iconic and legendary as Anthony Hopkins is just - wow. He is a true master of his craft, and also one of the kindest people I've encountered in this industry. And Foster was its own kind of adventure. We had enormous action sequences every day, we filmed inside an actual circus, and we got to fully recreate the '80s. Every film teaches you something new about yourself as a director, and those two back-to-back were an extraordinary education.

How does it feel to be a filmmaker in the digital age?

It's exciting because there are more opportunities than ever for filmmakers to reach audiences around the world. The barriers to entry are much lower than they used to be, which has opened real doors for talented storytellers who might not have had them before.

At the same time, audiences today are flooded with content, so authenticity matters more than ever. Technology can enhance filmmaking, but emotional truth is still what connects people to a story - and that will never change.

What's it like working with Academy Award nominee James Franco?

It has been amazing. And there's actually a funny story that sets the stage for it. Natalie and I were at Cannes last year - James had just accepted the role in Foster but we hadn't finalized all of his paperwork yet. We were walking through the festival talking on the phone with some distributors when James came walking past us at a fast clip. Nat and I debated whether to go up and say hello, but we ultimately decided not to - we didn't want to catch him off guard. Fast forward a year, and we just left Cannes having screened Foster starring James Franco, with James Franco in attendance. Pretty full-circle moment.

James is an incredibly intelligent and instinctive actor. What I appreciated most was how collaborative and creatively engaged he was throughout the entire process. He comes to set very prepared, but he also leaves room for discovery in scenes, which creates a fascinating dynamic as a director. He also worked on the screenplay with us, and we hit it off from the start. The whole experience felt organic and alive - the kind of character-driven filmmaking that defined the best of classic Los Angeles cinema.

What would you like to say to your fans and supporters?

First and foremost - thank you. I never take support for granted, because filmmaking is such a collaborative art form, and audiences are a huge part of why we do this.

I'm incredibly grateful to everyone who has supported the films, watched the projects, and followed this journey over the years. The fact that people continue connecting with these stories means everything to me. I'm excited for what's ahead, and I promise to keep pushing myself creatively - and to keep making films that entertain, challenge, and hopefully inspire.

To learn more about Emmy winner Timothy Woodward Jr., follow him on Instagram.