Pathway: The Adaptation Process by Nida Sheriff

What is lost and what is gained?

Shot from Orlando's daughter's point of view through video camera, long shot of Orlando sitting against the oak tree

Shot from Orlando's daughter's point of view through video camera, long shot of Orlando sitting against the oak tree

Why are you sad?

1 x colour slide in transparent plastic hanging sheet, Digital, Behind the Scenes Images - Tilda Swinton on location for an a scene not used in the final cut of the film

1 x colour slide in transparent plastic hanging sheet, Digital, Behind the Scenes Images - Tilda Swinton on location for an a scene not used in the final cut of the film

Tilda Swinton in 1920's getup. Not used in film. Vita Sackville-West?

Black and white A4 computer printed with handwritten annotations, bound into book, Paper, Orlando Sally Potter’s Shooting Script page 97 front

Black and white A4 computer printed with handwritten annotations, bound into book, Paper, Orlando Sally Potter’s Shooting Script page 97 front

Last scenes.

Black and white A4 computer printed with handwritten annotations, bound into book, Paper, Orlando Sally Potter’s Shooting Script page 96 front

Black and white A4 computer printed with handwritten annotations, bound into book, Paper, Orlando Sally Potter’s Shooting Script page 96 front

Last scenes.

Black and white A4 computer printed with handwritten annotations, bound into book, Paper, Orlando Sally Potter’s Shooting Script page 95 front

Black and white A4 computer printed with handwritten annotations, bound into book, Paper, Orlando Sally Potter’s Shooting Script page 95 front

Last scenes

Page 3 of Orlando's costumes by location. Typed A4 sheet.

Page 3 of Orlando's costumes by location. Typed A4 sheet.

Costume decisions. Leather jacket?

Page 3 of storylines. A4 typed page that has been cut in half.

Page 3 of storylines. A4 typed page that has been cut in half.

Story breakdown including the 20th century birth of Orlando's daughter and present day.

Handwritten notes on Orlando, black pen on half of A4 piece of white paper, torn in half, back

Handwritten notes on Orlando, black pen on half of A4 piece of white paper, torn in half, back

Begins with "Death", ends with "Birth"

Handwritten notes on Orlando, pencil on half of A4 piece of white paper, torn in half

Handwritten notes on Orlando, pencil on half of A4 piece of white paper, torn in half

The future begins now.

Page 4 of general notes on Orlando, black printed text on A4 paper

Page 4 of general notes on Orlando, black printed text on A4 paper

The present moment. How much of the 20th century needs to be shown?

Page 1 of early developmental handwritten notes and ideas by Sally Potter on Orlando, black pen on A4 lined paper in pad

Page 1 of early developmental handwritten notes and ideas by Sally Potter on Orlando, black pen on A4 lined paper in pad

Immortality

Original Novel, Page 202, green side line, page 203, pencil side lines, white bookmark "return to the oak tree"

Original Novel, Page 202, green side line, page 203, pencil side lines, white bookmark "return to the oak tree"

Orlando returns to the Oak Tree

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

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

Sally Potter's musings on whether or not Virginia Woolf would approve of the modernisation of the story. She also mentions the overriding themes of the film being much more than simply gender and how Orlando's life comes full circle through love and ultimately loss.

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

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

Woolf's ideas about women. In the novel, Orlando thrives when left alone in her house to write and recollect and reflect on memories. In the film, however, Orlando has a daughter (instead of a son) who remains present and who makes an impact on her life. It should be mentioned that the child actor playing Orlando's daughter is in fact Tilda Swinton's own daughter.

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

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

A slightly more refined approach to Potter's divisive treatment of the narrative.

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

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

The book divided into themed "areas" of time and space.

A4 pages, handwritten, Paper, Pre-draft handwritten notes on key scenes

A4 pages, handwritten, Paper, Pre-draft handwritten notes on key scenes

"Keep the momentum going" - Potter has mentioned the first half of the book is "stronger" than the second female half and she hopes to make the second half as dynamic to keep the momentum going of Orlando's discoveries.

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

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

End of Virginia Woolf's novel. When does the book end? When does the novel end? Why?

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

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

Themes of time and sexual identity and love

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

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

In the last line, Potter mentions Orlando entering the present moment.

Revised draft script for Orlando, black printed text on white A4 paper with annotations in pencil, page 90, front

Revised draft script for Orlando, black printed text on white A4 paper with annotations in pencil, page 90, front

Orlando speaks to the camera. Breaking the fourth wall and giving the viewer deeper insight into Orlando's musings as a man or woman.

Colour, handwritten, Paper, Zurich draft, handwritten, scene 93-end, Nov 26-29 1988

Colour, handwritten, Paper, Zurich draft, handwritten, scene 93-end, Nov 26-29 1988

An obvious attempt by Sally Potter to bring the theme of gender to the forefront. This scene was not used in the final film where Orlando seems to make an almost effortless transition from living life as a man to living life as a woman.

Black and white, handwritten, Paper, Rough draft 1 of screenplay

Black and white, handwritten, Paper, Rough draft 1 of screenplay

The scene of Orlando's transition.

Black and white, handwritten, Paper, Rough draft 1 of screenplay

In the rough draft there is no relationship between Orlando and the Turkish dignitary which obviously was decided upon later in the process, perhaps to strengthen the themes of gender roles and expectations.

Handwritten notes in black ink on white A4 paper listing "next steps"

Several scenes that were not kept/left out of the finished film. Why? Sally Potter seems to have divided the chapters in the book representing chronological periods in Sackvilles/Orlando's life into periods of learning and social commentary.

Handwritten notes marked "3" in red ink on white A4 paper

Sally Potter thinks about music - Elizabethan music and music to reflect the bleak winter of the book.