A Quote by Keren Woodward

We were approached to do the story of Bananarama as a film. — © Keren Woodward
We were approached to do the story of Bananarama as a film.

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It's true I was approached for 'Heroine' but I couldn't do the film as the dates were clashing with Kamaleswar Mukherjee's film 'Meghe Dhaka Tara' based on the life of Ritwik Ghatak, where I played the lead.
Size Zero' tells the story of a woman and the challenges and body shaming that she faces on a daily basis. I wrote the dialogues of that film, and I was approached for a remake. But I had already said what I wanted to say.
When I was approached for the Kannada version of the film, the makers said it would be their version of 'The Dirty Picture,' based on the life of Silk Smitha. So, I asked them for the exact story. But, I was shocked after hearing the complete story. It was neither like the Bollywood version, nor about the life of Silk Smitha.
I approached writing a story for the CBC Literary Awards as a mercenary venture - $5,000 for one story, not bad. Now, how do you win it? Jurors are wading through skyscrapers of paper, looking for one story that stands out.
Even during my short film days, I approached theatres with the idea of playing them during the interval. They thought it was problematic to screen an offbeat short film in between a commercial film.
Every animated film that I've worked on - whether it was as a story artist or as Head of Story or even as director - where we originally started out with our story and where we eventually ended up were often very different places.
There are so many interpretations that this film [The Lobster] could be approached from. But Yorgos [Lanthimos] is so specifically minded, he's so clinical in his direction of the film.
Abhishek Chaubey has been in my bucket list for a long time. When he approached me, I thought it's for a film he is producing, but I never expected my fourth film to be an Abhishek Chaubey film.
'Race' is one of the most successful film franchises in Bollywood. So I was really excited and honoured on being approached for the film. But since I was already committed to another film during the same time as the makers are planning to shoot 'Race 3,' things eventually didn't work out, unfortunately.
I make a film - and once I've made it, everyone comes along and says 'Ah! This is a film that's political, or social', or whatever. But I'm not telling the story that they see. I made a film, told a story, but I wasn't thinking about exactly what it all meant.
Animation story boarding works differently than live action story boarding. The story crew along with a writer really does shape and create the film - the world and it's characters. We meet almost every day and brainstorm the plot of the film. It's a highly collaborative process - and we continue to improve the story until we literally run out of time.
Honestly, there are so many things about structuring a story for film and telling a story for film that are really different from doing radio.
I never make a distinction between doing a film in Hollywood or doing a film independently. It's just the story. It's always the story for me. The constants are that it should challenge me and I shouldn't repeat myself. And the story should always be a story worth telling.
I don't have the story finished and ready when we start work on a film. I usually don't have the time. So the story develops when I start drawing storyboards. I never know where the story will go but I just keeping working on the film as it develops. It's a dangerous way to make an animation film and I would like it to be different, but unfortunately, that's the way I work and everyone else is kind of forced to subject themselves to it.
'Bubba Ho-Tep' was an accidental story that turned out to be my first film adaptation, and it's still going strong in story and film.
Film 'This Changes Everything' is not a sad story. It's not a slit-your-wrists climate film. It's a story about people who are making change happen.
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