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Highlight of Switchblade Sisters: 'Orlando' with Rachel True

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Last Played: December 22, 2020
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This week’s episode is a real treat because we get to talk to the wonderful and exuberant Rachel True. She has chosen a movie that really blew our hair back; Sally Potter’s fantastical romance, Orlando. Rachel begins the episode by detailing her journey to see this movie in the early ’90s by taking a bus across Los Angeles. Rachel goes on to elaborate on the difficulty of being a black female actor and the limited roles she gets offered. She also talks about how she was often forced to utilize a “hood” accent when auditioning, and how that may have lost her a part in Clueless. And lastly, Rachel opens up about her experience working on The Craft, and why she fights to get the same respect as the other members of the cast.Please consider financially supporting our show by becoming a Maximum Fun member at can purchase Rachel’s True Heart Intuitive Tarot, Guidebook and Deck right HERE.If you haven’t seen Orlando yet – it’s great!With April Wolfe and Rachel True.
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I think another thing I really loved about this film to was the way Orlando lived. Their life is sort of how I think a lot of artists live like life is art artist life, right? So no matter what situation you are in, sort of Tilda sweetens a sort of aloof right watching it experiencing it. Yet sitting back and watching it yet still accessible performance was astonishing to May. Well, I think that that might have to do with the fact to that Sally Potter was very interested in making this character very innocent and almost childlike, she said. Quote a child before he or she gets very hurt in the world lives very much in the present, approaching each new situation as it is an extraordinary magical event. As we become adults, we forget that we bring with us our past like a rock on her back, like, Oh, yeah, I've seen that before, Not a fresh response. Um, for an individual, when you give up your past, whether it's the accidents of class, background or you're hurt as a child, that was the past. Now is the present. People don't have to be determined by their past. That's what I mean. If you're really coming into the present and life is really beginning, you can learn from the past, but you don't have to bring it with you like a burden. And that's what she was directing Tilda with Was this idea that she was a burden less person? She would come into a scene and be like, Well, I'm meeting it for the first time. Let's see what happens right? Which in that scene where she she looks in the mirror and I'm paraphrasing You probably have the exact line, but it's like she says it was formally he now a female same person, nothing different. Just a different sex, as if it is raining today. You know, just a as a fact, not something as in modern society, right? With all the rights things that were going on now, it would not be approached so innocently. So there was something so super refreshing, I think, in the early nineties, when I went and saw this one because I had not been living in L. A for very long. I'm in New York. I'm a dialogue in New York. I couldn't drive, so I couldn't get anyone to go see Orlando with me. Nobody wanted to. I took the bus from Hollywood to the West Side just to see this film. And I remember being just awestruck by Tilda because I hadn't seeing her in my memory. I don't think I had seen her in anything before this. I wasn't aware of her, but I came resolutely aware until the sweating in 1992. And in fact, I remember all these years later when I saw her in like the beach, I was like, This is fine, But where is the stuff? Where where are the rules? So I was not at all surprised to see her takeover eventually. No, no, I have the same thoughts, too. But, I mean, you're right, that this is the first, even though they had been both Sally Potter and Tilda Swinton had been working for quite a while individually, Um, Tilda Swinton, most famously with Derek Jarman and those collaborations. And that's how those two met. Um, it
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