Above: Director Timothy Hines
Timothy Hines has long been known as a creative firebrand: a director who refuses easy answers, embraces historical daring, and crafts films that are as ambitious in their ideas as they are in their heart. After building a career around story-driven projects with serious thematic heft, The Red Head is the movie that will expand him into cinema’s broader cultural conversation.
Timothy Hines began his career far from the studio system, cutting his teeth on a string of audacious projects that might have bewildered easy classification. From an early adaptation of A Midsummer Night’s Dream shot in a rain forest to his bold take on H.G. Wells’s sci-fi classic The War of the Worlds, Hines’s work has always had one foot in genre and the other in deep narrative ambition. His version of The War of the Worlds became an indie phenomenon. A re-imagined version, War of the Worlds The True Story, was highly regarded by critics and audiences alike and would earn praise for its inventiveness, blending archival footage and cinematic craft to reshape a familiar tale.
Apocalypse Later described War of the Worlds The True Story as “one of the most fascinating cinematic experiences,” praising its inventive fusion of documentary realism and period storytelling. The film’s commitment to practical effects, models, and period authenticity was singled out as a daring counterpoint to CGI-heavy blockbusters.
Over at Ain’t It Cool News, the film was celebrated as “one of the coolest little films” of its release cycle - a dead-serious faux historical document that played its premise with unnerving conviction. The takeaway was clear: Hines wasn’t parodying Wells. He was inhabiting him.
For Hines, the project was never about playing it safe - and that sensibility would define his later work.
In 2015, he teamed with producer Susan Goforth on 10 Days in a Madhouse, a dramatic biographical exploration of pioneering journalist Nellie Bly. Goforth’s producer credits include that film as well as War of the Worlds The True Story and other Pendragon Pictures features, and her partnership with Hines as co-founder of Pendragon, has been a throughline in his creative evolution.
Notably, 10 Days in a Madhouse featured Christopher Lambert, the internationally recognized star of Highlander, Greystoke: The Legend of Tarzan, and Mortal Kombat. Lambert’s presence signaled that Pendragon’s projects were attracting recognizable global talent willing to step into ambitious historical storytelling. Premiering at Cannes and having a run in AMC theatres across the US, 10 Days in a Madhouse received deep praise from publications such as Gloria Steinem’s Ms. Magazine, “Written and directed by Timothy Hines, I can honestly say this movie is a must-see. Nellie Bly’s heroism and courage truly come to life on the screen.”
Their most recent release, The Wilde Girls - a Depression-era comedy adventure featuring strong, unconventional female characters (Cali Scolari, daughter of Emmy winner Peter Scolari and rising star Lydia Pearl Pentz), played in theaters in New York and Los Angeles before landing on Amazon Prime Video, highlighting Hines’s range and Goforth’s production savvy.
Film critic Avi Offer called The Wilde Girls “a cult classic,” praising it as “wildly original,” “razor-sharp,” and bursting with screwball energy reminiscent of classic Hollywood comedies. It wasn’t faint praise - it was a declaration.Actor Teddy Smith, who portrayed the mountain man Silas Colter, offered insight into Hines’s directing style:
“Tim brought it out of me… I’m a New Yorker and Timothy showed me that I could convincingly play a character that spent his time choking snakes and fighting bears. He believed in me.”
It’s half anecdote, half thesis statement: Hines creates environments where performances aren’t manufactured - they’re unearthed.Tomorrow’s Today, Burt Young, Kelly LeBrock - and the Martini Effect
Before The Wilde Girls, before The Red Head, there was Tomorrow’s Today - a quirky, critically praised feature that united Hines with an unexpected duo: superstars Kelly LeBrock and Burt Young.
LeBrock, immortalized by John Hughes’ Weird Science, and Young, Oscar-nominated for his portrayal of Paulie in Rocky alongside Sylvester Stallone, brought legacy gravitas to the project. Their careers span decades of mainstream success, Young appearing in classics like Chinatown and Once Upon a Time in America lending weight and validation to Hines’s direction.
Kelly LeBrock herself said of Hines:
“I love Timothy. I think Timothy Hines is a director with more spirit and heart than I’ve ever met.”
Above: Superstar Kelly LeBrock
That endorsement matters. LeBrock (for whom the term supermodel was coined for), has worked with major studio systems and seasoned directors. Her words frame Hines not as a scrappy outlier, but as a filmmaker whose passion transcends scale.
Behind Tomorrow’s Today was producer Dominick Martini, whose friendship profoundly impacted Hines. Martini’s death in 2023 left what those close to the production described as a void - not just professionally, but spiritually. It was a personal loss that reshaped Hines’s creative trajectory.
Those who know the timeline understand: out of that grief came the drive to complete The Wilde Girls. Creation as catharsis. Comedy as survival.
Crucial to this leap is Susan Goforth, co-founder of Pendragon Pictures and a producer with a knack for shepherding ambitious projects from script to screen. With theatrical production experience and a background in acting, from Broadway productions to feature films, Goforth brings what insiders call “hands-on execution” to every stage of production. She produced 10 Days in a Madhouse with its compelling, nuanced storytelling and also War of the Worlds The True Story, demonstrating her range and determination to nurture films that blur art with cultural relevance.
Goforth isn’t simply a producer in title. She is infrastructure - development, financing pathways, physical production oversight, delivery execution. She co-founded Pendragon Pictures alongside Hines and has been instrumental in maintaining continuity across decades of filmmaking evolution.
This synergy explains much of why The Red Head feels like more than a passion project - it feels built to fly.
But the team doesn’t stop there. Strengthening the The Red Head’s international positioning is executive producer Kimberly Olsen, who is helping drive development, packaging, and market strategy for The Red Head while serving as a co-creative producer. Olsen brings significant industry credibility to the project: she is attached as Executive Producer on Paper Tiger, starring Scarlett Johansson, Adam Driver, and Miles Teller, and is involved with Killing Castro starring Al Pacino. She also directed the international award-winning film The Emerald Purse, establishing herself as a talented filmmaker in her own right. Based in Spain and operating with a distinctly international lens, Olsen focuses on high-level creative collaboration and strategic advancement - precisely the kind of global-minded leadership that positions The Red Head for crossover appeal between prestige independent cinema and the broader international marketplace.
Above: The Red Head a major motion picture about to begin filming. Director Timothy Hines, producers Susan Goforth and Kimberly Olsen.
Why The Red Head Is Different - and Bigger
As the next title on Pendragon’s slate, The Red Head channels all of Hines’s strengths - historical reverence, emotional depth, and narrative ambition - and escalates them. Based on the life of Dutch resistance hero Hannie Schaft, this World War II story centers on a woman whose courage and ferocity made her one of the most wanted figures of the Nazi era, and whose life has been ripe for cinematic portrayal for decades.
Unlike some of Hines’s earlier genre and period works, The Red Head is not a reinterpretation of fantasy or genre literature - it is rooted in the visceral truth of real history, with the potential to resonate across generations of viewers. The stakes, both narrative and emotional, are as high as any wartime epic; the characters embody bravery, moral complexity, and the lived experience of resistance in the face of systematic brutality.
For Hines, this isn’t just another film - it’s a statement. Thematically, it represents his early evolution from genre experimenter to storyteller grappling with history’s deepest moral questions. Stylistically, it’s his place to showcase a deeper level of dramatic scope that the broader film world is craving.
Why Now? Why This Story?
In today’s cinematic landscape - where audiences are hungry for stories that feel real, courageous, and emotionally electrifying, The Red Head lands at the perfect cultural moment. Its themes of resistance, moral courage, and personal sacrifice resonate not just as historical fact but as cinematic metaphors for the challenges of our age.
More importantly, the film is the career moment that is positioned to elevate Timothy Hines from revered independent figure like Yorgos Lanthimos, to a director with a signature voice and mainstream impact. As The Red Head finds its waiting audience - and early conversations with distributors, festivals and industry insiders suggest it will - it will be Hines’s most high-profile film to date.
This is redemption and reinvention in narrative form: a filmmaker who spent years honing craft and vision with a tremendous genre fanbase now stepping squarely into the cultural center.
And perhaps that’s the most exultant part of this whole story: not just the war. Not just the awards. Not just the cast.
But the long, stubborn belief that independent cinema - when fueled by conviction, loyalty, loss, and unrelenting drive - is able to punch its way into history.
Media Contact
Company Name: Pendragon Pictures
Contact Person: Susan Goforth
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Phone: +1 310-480-0837
City: Los Angeles
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Country: United States
Website: www.pendragonpictures.com
