The Actress Fiona Shaw Discusses Her Career: From Andor to Harry Potter

During a recent conversation, renowned performer Fiona Shaw shared insights about her varied professional experiences covering multiple decades and iconic roles.

The Impactful Andor Monologue

While talking about her memorable funeral speech in the Star Wars series Andor, Shaw revealed that the original script included stronger language. "I did say a different word in my speech," she explained, "while the screenwriter hoped that Disney would accept it."

The performer described the unique filming conditions for that particular scene. "While I delivered that speech, I was filmed by about 200 cameras for making a hologram. I was entirely by myself in a massive studio, with neither director or production team there with me."

Classic Literature Projects

Regarding the upcoming screen version of Jane Austen's classic novel, Shaw expressed excitement about the completed filming. "We've just finished shooting it," she mentioned, "though performers rarely witness is the completed movie."

She praised director Georgia Oakley as "really lovely and quite confident." The production took place in stunning houses across the UK, including locations in Dorset, Knebworth, and Devonshire.

Shaw also reflected on her previous role in the nineties version of Persuasion, portraying Mrs. Croft. "Our filmmaker had particular demands: no wigs and just candle illumination," she remembered. "He truly aimed to recreate the feeling of nineteenth-century existence."

Wizarding World Reflections

In response to questions regarding her time in the wizarding film series, Shaw talked warmly about collaborating with the late Richard Griffiths. "Richard was the most elegant, creative and gifted man," she shared. "He possessed the most mellifluous handwriting and on one occasion mailed me a note inviting me to lunch in elaborate gothic lettering."

She described Griffiths as constantly speaking and telling interesting stories with herself and the young actors on set. "He possessed fantastic general knowledge so we would sit enthralled by his tales."

Stage Performances

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

This theatrical work had an extensive run, starting in Dublin, then traveling to England, followed by the American capital, the Brooklyn Academy of Music, 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 explained that "humor unites people as it's about rupturing the norm." However, she admitted that "prior to a comedy, I always sleep poorly, because you have to catch the wave on the day."

Regarding her technique for tackling various roles, Shaw stated: "I discover each one challenging. But even if the person you're playing is quite distant from you, there is frequently some aspect about them that you identify with."

Current Projects

Speaking about her latest role in Hot Milk, Shaw described her character Rose as "a difficult person though you cannot perform anything from that viewpoint." The actress elaborated that Rose suffers from a functional neurological disorder that causes mobility issues.

"She is unaware of the impact she has on her daughter," Shaw observed. "Her only concern is that she wants to improve. She's both benign and blind. Perhaps that's what most of us are."

Personal Reflections

Upon hearing that audiences perceive her ideal as authority figure characters, Shaw answered with amusement: "Oh dear! I'm so not scary. But maybe when infused with purpose, my features can appear formidable."

She added: "In reality occasionally rather disorganized so maybe it's redemptive for me to play highly intellectual, organized characters. I try to portray interesting people so I avoid criticizing them. Please don't fear – approach and greet me!"

Passion for Words

Discussing her celebrated interpretation of the poetic work The Waste Land, Shaw conveyed her profound relationship with language and poetry. "My heart is always in the language," she declared, "because the clues to everything are there in the choice of words."

The actress thinks that "verse constitutes the polished form of language, or the instant that's been preserved." As individuals boil down to what they truly want to say, it's often poetic."

Voice Recording

Concerning her praised spoken-word performances, specifically Alice's Adventures in Wonderland, Shaw shared that "I loved reading Alice in Wonderland because I included all my acquaintances into it – personal companions and other actors."

She described how she voiced 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 concluded, "though it requires days and days of work."

Working with Terrence Malick

Remembering her time working with celebrated filmmaker Terrence Malick on Tree of Life, Shaw described him as unconventional. "Everything Terrence Malick says and does is different," she observed.

She shared a particular memory of their first meeting: "He placed a message on my answering machine which said, 'I wonder, would you come and help 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 exotic choice in the world."

Shaw also mentioned Malick's distinctive method of asking actors "Would you prefer to do this scene inside or outside?" – inquiries seldom made by different directors. "He exclusively used natural light," she added, "meaning actors could perform interior near glass or outside on the street."

Regarding the extensive editing process, Shaw revealed that "He takes approximately three years to edit the film. I had been told by the producer after two years that I was likely among the primary roles, but by the time the film came out, I was mostly removed."

The actress finished by characterizing Malick's distinctive approach: "He builds this enormous structure, and he removes most elements. He essentially deconstructs films."