Tilda Swinton (as Martha)

No, no, no. You are absolutely right. Singularly inspired and informed by the uniforms. In fact... I'm making a piece of work now about that very thing, how central my response to my father and my grandfather's uniforms has been. I used to watch my parents getting dressed up to go out to grand parties and my mother would wear some really nice silk dress and look beautiful.

No, no, no. You are absolutely right. Singularly inspired and informed by the uniforms. In fact... I'm making a piece of work now about that very thing, how central my response to my father and my grandfather's uniforms has been. I used to watch my parents getting dressed up to go out to grand parties and my mother would wear some really nice silk dress and look beautiful.

No, no, no. You are absolutely right. Singularly inspired and informed by the uniforms. In fact... I'm making a piece of work now about that very thing, how central my response to my father and my grandfather's uniforms has been. I used to watch my parents getting dressed up to go out to grand parties and my mother would wear some really nice silk dress and look beautiful.

But my father had all the glamour. He had, you know, the gold frogging and the medals and And those black trousers with the scarlet stripe down the side. Scarlet. I mean, it occurred to me the other day. Here I am working with Pedro Almodovar, who's, you know, works in scarlet. He is one of the great artists who work in scarlet.

But my father had all the glamour. He had, you know, the gold frogging and the medals and And those black trousers with the scarlet stripe down the side. Scarlet. I mean, it occurred to me the other day. Here I am working with Pedro Almodovar, who's, you know, works in scarlet. He is one of the great artists who work in scarlet.

But my father had all the glamour. He had, you know, the gold frogging and the medals and And those black trousers with the scarlet stripe down the side. Scarlet. I mean, it occurred to me the other day. Here I am working with Pedro Almodovar, who's, you know, works in scarlet. He is one of the great artists who work in scarlet.

And scarlet has always really meant something as a child of, you know, Scottish culture. military family. Scarlet is an important thing for the British Army. And yeah, it's hugely important. And I have always been truly, sincerely and seriously interested in clothes and what they do for us and to us. I was one of four, but I have three brothers, no sisters. And I didn't have many dresses.

And scarlet has always really meant something as a child of, you know, Scottish culture. military family. Scarlet is an important thing for the British Army. And yeah, it's hugely important. And I have always been truly, sincerely and seriously interested in clothes and what they do for us and to us. I was one of four, but I have three brothers, no sisters. And I didn't have many dresses.

And scarlet has always really meant something as a child of, you know, Scottish culture. military family. Scarlet is an important thing for the British Army. And yeah, it's hugely important. And I have always been truly, sincerely and seriously interested in clothes and what they do for us and to us. I was one of four, but I have three brothers, no sisters. And I didn't have many dresses.

I wore a lot of hand-me-downs as the third child often does, and they were boys' clothes. And, you know, nothing's different. I still wear boys' clothes. They are, you know, usually the most comfortable things to wear for me.

I wore a lot of hand-me-downs as the third child often does, and they were boys' clothes. And, you know, nothing's different. I still wear boys' clothes. They are, you know, usually the most comfortable things to wear for me.

I wore a lot of hand-me-downs as the third child often does, and they were boys' clothes. And, you know, nothing's different. I still wear boys' clothes. They are, you know, usually the most comfortable things to wear for me.

But the fact that I can wear both, and I encourage everybody to wear both, by the way, which is why it's so important for people to understand that clothes are just choices and and we can wear whatever we want and choose our identity every morning or every hour. That aspect of clothing has always been really important for me. I love it.

But the fact that I can wear both, and I encourage everybody to wear both, by the way, which is why it's so important for people to understand that clothes are just choices and and we can wear whatever we want and choose our identity every morning or every hour. That aspect of clothing has always been really important for me. I love it.

But the fact that I can wear both, and I encourage everybody to wear both, by the way, which is why it's so important for people to understand that clothes are just choices and and we can wear whatever we want and choose our identity every morning or every hour. That aspect of clothing has always been really important for me. I love it.

I think you've just described your interest in androgynous style. I don't even know that it's androgynous. I just feel that it's about being boundaryless. And you described, you know, with certain accuracy that Orlando, the Virginia Woolf novel and the film that we made in 1992 is about gender. I would suggest it's not only about gender.

I think you've just described your interest in androgynous style. I don't even know that it's androgynous. I just feel that it's about being boundaryless. And you described, you know, with certain accuracy that Orlando, the Virginia Woolf novel and the film that we made in 1992 is about gender. I would suggest it's not only about gender.

I think you've just described your interest in androgynous style. I don't even know that it's androgynous. I just feel that it's about being boundaryless. And you described, you know, with certain accuracy that Orlando, the Virginia Woolf novel and the film that we made in 1992 is about gender. I would suggest it's not only about gender.

It's sort of glancingly about gender, but it's really more about boundaries. It's about classlessness. It's about internationalism. It's about someone who's immortal, by the way. And that feeling of endless possibility, that's something that really fuels my motor. And I've always had that sense that, you know, why limit yourself? Why say yes? I'm going to be this kind of woman.

It's sort of glancingly about gender, but it's really more about boundaries. It's about classlessness. It's about internationalism. It's about someone who's immortal, by the way. And that feeling of endless possibility, that's something that really fuels my motor. And I've always had that sense that, you know, why limit yourself? Why say yes? I'm going to be this kind of woman.