🔗 Share this article

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

Andor's Powerful Speech

When discussing her unforgettable funeral speech in the Star Wars series Andor, Shaw revealed that the initial version contained more explicit wording. "I did say a distinct term in my speech," she clarified, "and the writer hoped that Disney would accept it."

The performer described the unusual shooting circumstances for this specific moment. "While I delivered that speech, I was recorded with about 200 cameras for making a hologram. I was completely alone in a huge soundstage, with no director nor crew members there with me."

Classic Literature Projects

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

She praised director Georgia Oakley as "truly wonderful and quite confident." The filming took place in stunning houses across the UK, including sites within Dorset, Knebworth, and Devonshire.

The actress also recalled on her earlier performance in the 1995 adaptation of Austen's Persuasion, portraying Mrs. Croft. "The director had particular demands: without hairpieces and only candlelight," she recalled. "He genuinely wanted to capture the experience of early 19th century life."

Wizarding World Reflections

When asked about her time in the Harry Potter franchise, Shaw spoke fondly about working with the late Richard Griffiths. "He represented the most elegant, artistic and talented man," she revealed. "He possessed the most mellifluous handwriting and on one occasion mailed me a note asking to lunch in ornate gothic script."

She described Griffiths as constantly speaking and telling interesting stories with herself and the young actors on set. "He possessed remarkable worldly understanding so we would listen captivated by his tales."

Theatrical Work

Talking about her New York stage role in the tragedy Medea, Shaw recalled how emotionally demanding 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, beginning in Ireland, then moving to London, followed by Washington DC, the Brooklyn Academy of Music, and finally Broadway. "We grew quite bonded as a company," she added.

Approach to Acting

Regarding inquiries concerning her ability to transition between humor and seriousness, Shaw clarified 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."

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

Current Projects

Discussing her latest role in Hot Milk, Shaw described her character Rose as "a terrible woman though you cannot perform anything from that viewpoint." She explained that Rose suffers from a functional neurological disorder that makes walking difficult.

"She is unaware of the effect she creates on her daughter," Shaw observed. "All she knows is that she desires to get better. She's both benign and blind. Maybe this represents what many people resemble."

Personal Reflections

Upon hearing that viewers consider her perfect for gang boss roles, Shaw responded with humor: "Oh dear! I'm so not scary. But maybe when infused with purpose, my features might seem threatening."

She added: "I am in life occasionally rather disorganized so perhaps it's therapeutic for me to play highly intellectual, organized characters. I try to depict fascinating individuals so I avoid criticizing them. Please don't fear – approach and greet me!"

Love for Language

Talking about her celebrated interpretation of T.S. Eliot's The Waste Land, Shaw expressed her deep connection with language and poetry. "My heart is always in the language," she declared, "because the clues to everything are there in the selection of vocabulary."

She believes that "poetry represents the polished form of language, or the moment that has been captured." When people reduce to what they truly want to say, it's often poetic."

Voice Recording

Regarding her acclaimed audiobook performances, specifically Alice's Adventures in Wonderland, Shaw revealed that "I enjoyed recording Alice in Wonderland because I included 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 sit and speak literature," she finished, "though it requires days and days of work."

Working with Terrence Malick

Remembering her time working with celebrated filmmaker Terrence Malick on his film Tree of Life, Shaw portrayed him as distinctive. "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 "Do you want to do this scene inside or outside?" – questions rarely posed by different directors. "He only employed natural light," she added, "meaning actors could perform interior near glass or outside on the street."

Concerning the extensive editing process, Shaw disclosed that "The director requires about three years to edit the film. I had heard from the producer after two years that I was probably one of the primary roles, but when the film was released, I was nearly gone."

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