The Actress Fiona Shaw Talks About Her Career: From Star Wars to Wizarding World

In a recent interview, esteemed actress Fiona Shaw opened up about her varied professional experiences covering multiple decades and memorable characters.

Andor's Powerful Speech

When discussing her unforgettable funeral speech in the Disney+ show Andor, Shaw disclosed that the initial version contained more explicit wording. "I did say a distinct term in my speech," she explained, "and the writer wanted the studio would accept it."

The performer described the unusual shooting circumstances for that particular scene. "While I delivered that speech, I was filmed by about 200 cameras for making a hologram. I was completely alone in a massive studio, with no director nor crew members present in the room."

Jane Austen Adaptations

Regarding the upcoming screen version of Jane Austen's classic novel, Shaw shared enthusiasm about the completed filming. "We recently completed shooting it," she stated, "though performers rarely witness is the completed movie."

She praised filmmaker Georgia Oakley as "really lovely and quite confident." The filming took place in beautiful estates across the UK, including locations in Dorset, Knebworth, and Devonshire.

Shaw also reflected on her earlier performance in the nineties version of Persuasion, portraying Mrs. Croft. "The director had specific requirements: without hairpieces and only candlelight," she recalled. "He genuinely wanted to recreate the feeling of nineteenth-century existence."

Harry Potter Memories

When asked about her experience with the Harry Potter franchise, Shaw talked warmly about collaborating with the late Richard Griffiths. "Richard was the most elegant, artistic and talented man," she revealed. "He possessed the most beautiful penmanship and once sent me a note inviting me to lunch in ornate gothic script."

She described Griffiths as continuously talking and sharing fascinating anecdotes with herself and the child performers on set. "He possessed fantastic general knowledge so we would sit enthralled by his tales."

Stage Performances

Talking about her New York stage role in the tragedy Medea, Shaw recalled how emotionally demanding the production was. "I encountered one of the chorus members several years after, who said: 'I'm not over it yet,'" she disclosed.

This theatrical work continued for years, starting in Dublin, then traveling to England, followed by the American capital, the New York venue, and finally Broadway. "We grew very close as a cast," she noted.

Performance Philosophy

When questioned about her ability to transition between humor and seriousness, Shaw clarified that "comedy connects us as it's about rupturing the norm." Nevertheless, she confessed that "the night before a comedy, I always sleep poorly, because you have to catch the wave during performance."

Concerning her technique for tackling different characters, Shaw commented: "I discover each one difficult. But even if the character you're portraying is rather different from you, there is frequently some aspect about them that you recognize."

Recent Work

Discussing her latest role in Hot Milk, Shaw characterized her character Rose as "a terrible woman but you can't play anything from that perspective." The actress elaborated that Rose experiences a nervous system condition that causes mobility issues.

"She is unaware of the effect she creates on her daughter," Shaw noted. "Her only concern is that she wants to improve. She's both benign and blind. Maybe this represents what most of us are."

Personal Reflections

Upon hearing that viewers consider her perfect for gang boss roles, Shaw responded with amusement: "Oh dear! I'm really not intimidating. But perhaps when filled with purpose, my features can appear formidable."

The actress continued: "I am in life occasionally rather disorganized so maybe it's redemptive for me to play very intelligent, methodical personalities. I try to portray interesting people so I never judge them. Please don't fear – approach and greet me!"

Passion for Words

Talking about her celebrated interpretation of T.S. Eliot's The Waste Land, Shaw expressed her deep connection with words and verse. "I'm consistently devoted in the language," she stated, "since the indicators to everything are contained within the selection of vocabulary."

The actress thinks that "poetry represents the refined version of language, or the instant that's been preserved." When people boil down to what they truly want to say, it's frequently lyrical."

Voice Recording

Concerning her acclaimed audiobook performances, particularly the classic Alice in Wonderland, Shaw revealed that "I enjoyed recording Alice in Wonderland because I incorporated everybody I knew into it – personal companions and fellow performers."

The actress explained how she performed the caterpillar as inspired by Alan Rickman, and portrayed the Red Queen evoking Geraldine McEwan. "It always seems a privilege to record and perform literature," she finished, "though it requires extended periods of work."

Working with Terrence Malick

Remembering her time working with renowned director Terrence Malick on Tree of Life, Shaw described him as unconventional. "All that the director expresses and undertakes is unique," she observed.

She shared a specific recollection of their first meeting: "He placed a message on my voicemail which said, 'I wonder, would you assist me with my film?' We went out for breakfast. He said, 'Well, what are you going to have?' I said, 'I'm going to have scrambled eggs.' He said, 'I think I'll have scrambled eggs too,' like it was the most unusual selection in the world."

Shaw also mentioned Malick's unusual approach of asking actors "Would you prefer to do this scene inside or outside?" – questions rarely posed by other filmmakers. "He only employed natural light," she continued, "meaning actors could perform interior near glass or exterior on location."

Regarding the lengthy post-production, Shaw disclosed that "He takes approximately three years to edit the film. I had been told by the producer following twenty-four months that I was probably one of the main characters, but when the film was released, I was mostly removed."

She concluded by characterizing Malick's distinctive approach: "He builds this massive framework, and he takes away many components. He fundamentally dismantles films."