Pathway: Orlando: Adaption, by Stevie Christian

A4 pages, handwritten in pencil, Paper, Handwritten notes on intertitles, with sketches and key quotes

This shows the different time periods and their themes which can then be linked to the choices in colour etc to create the desired tone.

Mood sheet continued, Black and white A3 computer printed, Paper

This shows how each aspect of the set design reflects a tone that Potter wanted to create which again mirrors Wolf's various changes in tone throughout the piece.

Watercolour mounted on black card, with b/w photocopy, Paper, Painting of tents on frozen Thames

1 x A4 black photograph album; 34 vellum pages; 24 x colour prints, Mixed, Presentation book containing Sally Potter's notes on the film and colour photographs of Tilda Swinton at Hatfield House

use of sound to mirror the changes in time.

1 x A4 black photograph album; 34 vellum pages; 24 x colour prints, Mixed, Presentation book containing Sally Potter's notes on the film and colour photographs of Tilda Swinton at Hatfield House

interesting to view the synopsis of Orlano from the perspective of Potter.

1 x A4 black photograph album; 34 vellum pages; 24 x colour prints, Mixed, Presentation book containing Sally Potter's notes on the film and colour photographs of Tilda Swinton at Hatfield House

Potter's notes indicate here the use of Ivy in Woolf's original which equates to Potter's use of green to represent the victorian period.

Video file, Digital, Selected Scene Commentary by Sally Potter

Potter's commentary on the use of the direct gaze as well as discussing the move through history in terms of colour etc.

1 x A4 black photograph album; 34 vellum pages; 24 x colour prints, Mixed, Presentation book containing Sally Potter's notes on the film and colour photographs of Tilda Swinton at Hatfield House

Overview of the way in which Potter wishes to create the differences between the different historical period.

1 x A4 black photograph album; 34 vellum pages; 24 x colour prints, Mixed, Presentation book containing Sally Potter's notes on the film and colour photographs of Tilda Swinton at Hatfield House

• 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’.

1 x A4 black photograph album; 34 vellum pages; 24 x colour prints, Mixed, Presentation book containing Sally Potter's notes on the film and colour photographs of Tilda Swinton at Hatfield House

Potter also changes the use of camera to show the different periods, trying to embody the 'oil painting' style of the earlier periods, making the camera more intimate as we reach the modern era.

1 x A4 black photograph album; 34 vellum pages; 24 x colour prints, Mixed, Presentation book containing Sally Potter's notes on the film and colour photographs of Tilda Swinton at Hatfield House

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.

Black and white A4 computer printed, Paper, Revised draft of screenplay

We can see how Potter kept the essence of Orlando's grandour as well as remaining faithful to the text, using a passage from the book as a voice over.

Video file, Digital, Venice Film Festival Press Conference

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.