• Potter also tries to do the same with costume and architectute. At the start we should have a sense of opulence with the furniture but as the fim continues, this should fade and have a glean of ‘antiques’ about them. This matches Woolf as Orlando in the last chapters of the book reflects upon his change in taste and regards one room at his house as rather garish but at the time pleasant as he was obsessed with ‘metal’.
Potter uses light as one of the ways in which she created diffinative 'feels' between the different era's represented within the book.Potter begins with the dazzling sunlight and dark, to oil lamps and candles and moody nights, to the artifical lights of the 20th century Similar to Woolf who creates distinct tones for the different time periods with particular reference to the tones and moods London embodies as the book unfolds.
Here, Potter discusses the following:
• Potter herself says in an interview inn venice in 1992 that one has to be cruel to be kind and she used this approach in order to create the ‘essence of Orlando’ . This is particularly true in the ending as she chose to finish the film in the year 1992 when the film was completed, mirroring Woolf’s ending.
• She hoped to be ‘true to the essence without being a slave to the literature because the film has to be about life and cinema and not about books’.
• Potter wanted each ‘epoch’ of time within the film to have its own feeling which again can be seen within the book as Orlando narrates the changes in mood and setting throughout the book. One way in which Potter helped portray the sense of moving time was through the means of travel which Orlando takes, from horseback to motorbike.
• Potter explains that the essence of Orlando is the about the entrapment of sexuality as Orlando as a man trying to escape the imprisonment of masculinity and ditto with Orlando as a woman with the conclusion that ‘gender’ is merely an intrapment and within this prison is a human being.