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

During a recent conversation, esteemed performer Fiona Shaw opened up about her varied professional experiences spanning multiple decades and memorable characters.

Andor's Powerful Speech

While talking about her unforgettable eulogy scene in the Disney+ show Andor, Shaw revealed that the initial version contained stronger language. "I actually spoke a different word in my speech," she explained, "while the screenwriter wanted the studio would approve it."

The performer detailed the unusual shooting circumstances for that particular scene. "When I performed that speech, I was recorded with about 200 cameras to create a hologram. I was entirely by myself in a huge soundstage, with no director nor crew members there with me."

Classic Literature Projects

Speaking about the forthcoming adaptation of Jane Austen's classic novel, Shaw shared enthusiasm about the completed filming. "We've just finished shooting it," she mentioned, "though performers rarely witness is the final film."

The actress commended filmmaker Georgia Oakley as "really lovely 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 Austen's Persuasion, portraying Mrs. Croft. "The director had specific requirements: no wigs and just candle illumination," she remembered. "He genuinely wanted to recreate the feeling of early 19th century life."

Harry Potter Memories

In response to questions regarding her time in the Harry Potter franchise, Shaw spoke fondly about collaborating with her departed co-star. "Richard was the most refined, artistic and talented man," she revealed. "He possessed the most mellifluous handwriting and on one occasion mailed me a note inviting me to lunch in ornate gothic script."

The actress portrayed Griffiths as constantly speaking and sharing fascinating anecdotes with both her and the young actors on set. "He possessed remarkable worldly understanding so we would listen captivated by his tales."

Theatrical Work

Talking about her Broadway performance in the tragedy Medea, Shaw recalled how emotionally demanding the production was. "I met one of the ensemble actors 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 Brooklyn Academy of Music, and finally Broadway. "We grew quite bonded as a company," she noted.

Performance Philosophy

Regarding inquiries concerning her ability to transition between humor and seriousness, Shaw explained that "humor unites people as it's about breaking conventions." However, she confessed that "prior to a comedy, I always rest badly, because you have to catch the wave during performance."

Concerning her method for approaching various roles, Shaw stated: "I find them all challenging. But even if the character you're portraying is quite distant from you, there is often something about them that you recognize."

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." She explained that Rose experiences a functional neurological disorder that causes mobility issues.

"The character doesn't realize of the impact she has on her daughter," Shaw observed. "All she knows is that she desires to get better. She's well-intentioned yet unaware. Perhaps that's what most of us are."

Personal Reflections

When told that audiences perceive her ideal as gang boss roles, Shaw answered with humor: "Goodness me! I'm really not intimidating. But maybe when infused with purpose, my features might seem formidable."

The actress continued: "I am in life sometimes quite scatty so perhaps it's therapeutic for me to play highly intellectual, methodical personalities. I try to depict fascinating individuals so I avoid criticizing them. Please don't fear – come and say hello!"

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 declared, "because the clues to everything are contained within the choice of words."

The actress thinks that "poetry represents the polished form of language, or the instant that's been preserved." As individuals reduce to what they genuinely wish to express, it's frequently lyrical."

Audiobook Work

Regarding her acclaimed audiobook performances, particularly the classic Alice in Wonderland, Shaw shared that "I loved reading Alice in Wonderland because I incorporated everybody I knew into it – my friends and fellow performers."

She described how she voiced the caterpillar as inspired by Alan Rickman, and characterized the Red Queen as reminiscent of Geraldine McEwan. "It consistently feels a honor to record and perform literature," she finished, "despite needing days and days of work."

Collaborating with the Director

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

She shared a specific recollection of their initial encounter: "He left 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."

The actress also described Malick's distinctive method of asking actors "Would you prefer to do this scene indoors or outdoors?" – inquiries seldom made by different directors. "He exclusively used natural light," she added, "meaning actors could perform inside by a window or exterior on location."

Concerning the lengthy post-production, Shaw disclosed that "He takes approximately three years to complete the movie. I had heard from the producer after two years that I was probably one of the main characters, but by the time the film was released, I was nearly gone."

She concluded by describing Malick's unique process: "He constructs this massive framework, and he takes away many components. He fundamentally dismantles films."