🔗 Share this article

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

Andor's Powerful Speech

When discussing her memorable funeral speech in the Star Wars series Andor, Shaw disclosed that the initial version contained stronger language. "I actually spoke a different word in my speech," she clarified, "while the screenwriter hoped that Disney would approve it."

The performer detailed 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 huge soundstage, with no director nor crew members there with me."

Jane Austen Adaptations

Regarding the upcoming screen version of Jane Austen's Sense and Sensibility, Shaw shared enthusiasm about the completed filming. "We've just finished shooting it," she mentioned, "though performers rarely witness is the completed movie."

She praised filmmaker Georgia Oakley as "truly wonderful and very assured." 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. "The director had specific requirements: no wigs and just candle illumination," she recalled. "He genuinely wanted to capture the experience of early 19th century life."

Harry Potter Memories

In response to questions regarding her experience with the Harry Potter franchise, Shaw talked warmly about working with the late Richard Griffiths. "Richard was the most elegant, creative and talented man," she shared. "He possessed the most mellifluous handwriting and once sent 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 child performers on set. "He possessed fantastic general knowledge so we would listen captivated to his stories."

Theatrical Work

Discussing her New York stage role in the tragedy Medea, Shaw recalled how psychologically challenging the show was. "I met one of the ensemble actors several years after, who said: 'I'm not over it yet,'" she shared.

This theatrical work continued for years, starting in Dublin, then moving to London, followed by Washington DC, the Brooklyn Academy of Music, and ultimately Manhattan. "We became very close as a cast," she noted.

Approach to Acting

When questioned about her capacity to move between comedy and drama, Shaw explained that "humor unites people as it's about rupturing the norm." Nevertheless, she admitted that "prior to a comedy, I always rest badly, because you have to find the rhythm during performance."

Regarding her technique for tackling various roles, Shaw stated: "I find them all challenging. But even if the character you're portraying is quite distant from you, there is frequently some aspect about them that you identify with."

Current Projects

Speaking about her latest role in the production Hot Milk, Shaw described her character Rose as "a terrible woman but you can't play anything from that perspective." The actress elaborated that Rose suffers from a functional neurological disorder that causes mobility issues.

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

Self-Perception

When told that viewers consider her ideal as authority figure characters, Shaw answered with humor: "Oh dear! I'm so not scary. But maybe when infused with purpose, my features might seem formidable."

The actress continued: "In reality occasionally rather disorganized so maybe it's redemptive for me to play highly intellectual, methodical personalities. I try to portray interesting people so I never judge them. Don't be scared – come and say hello!"

Passion for Words

Talking about her renowned performance of the poetic work The Waste Land, Shaw conveyed 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."

She believes that "verse constitutes the polished form of language, or the moment that has been captured." As individuals reduce to what they truly want to say, it's frequently lyrical."

Audiobook Work

Regarding her praised spoken-word performances, specifically Alice's Adventures in Wonderland, Shaw revealed that "I loved reading Alice in Wonderland because I included all my acquaintances into it – my friends and fellow performers."

The actress explained how she voiced the caterpillar as channeling Alan Rickman, and portrayed the Red Queen evoking Geraldine McEwan. "It consistently feels a honor to record and perform literature," she finished, "though it requires days and days of work."

Working with Terrence Malick

Recalling her experience working with celebrated filmmaker Terrence Malick on Tree of Life, Shaw portrayed him as distinctive. "Everything Terrence Malick expresses and undertakes is unique," she observed.

She shared a specific recollection of their initial encounter: "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 unusual selection in the world."

The actress also described Malick's unusual approach of asking actors "Do you want to do this scene indoors or outdoors?" – inquiries seldom made by other filmmakers. "He exclusively used natural light," she continued, "so you could either perform interior near glass or outside on the street."

Concerning the lengthy post-production, Shaw revealed that "He takes approximately three years to edit the film. I had heard from the producer following twenty-four months that I was likely among the main characters, but by the time the film came out, I was nearly gone."

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