Pathway: The Different Path to Reach Orlando by Ryan Reyna

An aim in understanding the different steps Sally Potter took to reach the same essential meaning behind Woolf's Orlando.

Video file, Digital, Venice Film Festival Press Conference

Potter herself states she had to not be afraid to make alterations and stray from fidelity in order to be true to the central message of Orlando. "In order to be kind to a book, you have to be cruel, too."

Original Novel, Second page of Publishing/copyright info left, dedication page right, white book mark "wedding rings"

"To Vita" indicates another layer behind Woolf's story. However, when approaching her adaptation, Potter did not decide to make the relationship between the two a big part of her story.

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

A film treatment by Potter; it summarizes what she believes Orlando's central message is. She outlines in what direction she expects to take her film.

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

Potter begins her story in the present time, 1990.

Original Novel, Blank page left, Preface page 7 right, annotated underlines and side lines

A4 pages, Paper, Typed notes on Virginia Woolf's ideas about the future for women

Potter illustrates her interpretation of Virginia Woolf's ending in Orlando. She also explores how that mentality and underlying themes can help her create a new modern ending for her film.

A4 pages, Paper, Typed notes on Virginia Woolf's ideas about the future for women

Potter sees Orlando as a liberated and having 'found herself' through writing. Her having a child or being married is not conducive, instead it is distracting.

Original Novel, Page 204, green and pencil side lines, page 205, green side lines

Shelmerdine returns to Orlando in an aeroplane in the original novel; Potter's ending does not include a return of Orlando's lover. Instead, she is with her daughter by the Oak Tree still in motion of her life.

4"x6" colour photographs, Photographic paper, Photographs of Khiva location recces, exteriors

Potter chose to change the setting of Orlando's diplomatic affairs from Constantinople to Khiva. This was partly due to a personal desire for the city, but also kept the theme of British international influence seen in Orlando

1 x colour slide in transparent plastic hanging sheet, Digital, Film Stills - Scene 62 - (Tilda Swinton) and 's Daughter (Jessica Swinton) in the film

The orignal text ends the story in 1928, which was the 'present'. So, Potter felt her film should also end in the 'present' which was now 1995.