Tilda Swinton (as Martha)

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 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 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 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 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 boundarylessness. It's about classlessness.

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 boundarylessness. It's about classlessness.

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 boundarylessness. 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. I'm going to dress only like this. I'm going to be this kind of man. I'm going to dress and behave only like this.

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. I'm going to dress only like this. I'm going to be this kind of man. I'm going to dress and behave only like this.

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. I'm going to dress only like this. I'm going to be this kind of man. I'm going to dress and behave only like this.

It's such a waste. You know, we don't feel that when we're children. I think maybe I had a very light-filled childhood before I went to boarding school when I was 10. I think that during those first 10 years, I must have felt, and I'm only guessing at this, but I must have had a sort of bedrock of... of possibility. And I really loved it. And I would like to keep it going in my life.

It's such a waste. You know, we don't feel that when we're children. I think maybe I had a very light-filled childhood before I went to boarding school when I was 10. I think that during those first 10 years, I must have felt, and I'm only guessing at this, but I must have had a sort of bedrock of... of possibility. And I really loved it. And I would like to keep it going in my life.

It's such a waste. You know, we don't feel that when we're children. I think maybe I had a very light-filled childhood before I went to boarding school when I was 10. I think that during those first 10 years, I must have felt, and I'm only guessing at this, but I must have had a sort of bedrock of... of possibility. And I really loved it. And I would like to keep it going in my life.

And we all knew it when we were little. We could dress up as anything, a dog or a dinosaur, an old lady, just get a stick and bend over. There's no great miracle to it. And we somehow, as we get older, we're encouraged to lose that sense of possibility and stick to our guns and And then if we want to change, it's some massive trauma to society.

And we all knew it when we were little. We could dress up as anything, a dog or a dinosaur, an old lady, just get a stick and bend over. There's no great miracle to it. And we somehow, as we get older, we're encouraged to lose that sense of possibility and stick to our guns and And then if we want to change, it's some massive trauma to society.

And we all knew it when we were little. We could dress up as anything, a dog or a dinosaur, an old lady, just get a stick and bend over. There's no great miracle to it. And we somehow, as we get older, we're encouraged to lose that sense of possibility and stick to our guns and And then if we want to change, it's some massive trauma to society.

You know, the whole idea of transitioning being terribly, you know, much other people's business, which, of course, it palpably is not. It is nobody's business than the person whose life is being informed by it.