The Actress Fiona Shaw Discusses Her Professional Journey: From Star Wars to Wizarding World

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

The Impactful Andor Monologue

When discussing her memorable eulogy scene in the Disney+ show Andor, Shaw disclosed that the original script included more explicit wording. "I actually spoke a different word in my speech," she explained, "and the writer hoped that Disney would accept it."

The performer detailed the unusual shooting circumstances for this specific moment. "While I delivered that speech, I was recorded with about 200 cameras to create 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 adaptation of Jane Austen's classic novel, Shaw shared enthusiasm about finishing production. "We've just finished shooting it," she mentioned, "though performers rarely witness is the final film."

The actress commended 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.

The actress also recalled on her earlier performance in the nineties version of Persuasion, playing Mrs. Croft. "Our filmmaker had particular demands: without hairpieces and only candlelight," she remembered. "He genuinely wanted to recreate the feeling of nineteenth-century existence."

Harry Potter Memories

When asked about her experience with the wizarding film series, Shaw spoke fondly about collaborating with the late Richard Griffiths. "He represented the most elegant, artistic and gifted man," she revealed. "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 both her and the child performers on set. "He possessed remarkable worldly understanding so we would listen captivated to his stories."

Stage Performances

Discussing her Broadway performance in Medea, Shaw remembered how psychologically challenging the production was. "I encountered one of the ensemble actors three years later, who said: 'I'm not over it yet,'" she shared.

The production continued for years, starting in Dublin, then moving to London, followed by the American capital, the Brooklyn Academy of Music, and finally Broadway. "We became quite bonded as a cast," she added.

Performance Philosophy

Regarding inquiries concerning her capacity to move between humor and seriousness, Shaw clarified that "humor unites people as it's about breaking conventions." Nevertheless, she confessed that "prior to a comedy, I always sleep poorly, because you have to catch the wave on the day."

Concerning her method for approaching various roles, Shaw commented: "I find them all challenging. But even if the person you're playing is rather different from you, there is frequently some aspect about them that you identify with."

Current Projects

Speaking about her recent performance in the production Hot Milk, Shaw described her character Rose as "a difficult person but you can't play anything from that viewpoint." The actress elaborated that Rose experiences a nervous system condition that makes walking difficult.

"The character doesn't realize of the effect she creates on her daughter," Shaw observed. "Her only concern is that she wants to improve. She's well-intentioned yet unaware. Maybe this represents what most of us are."

Self-Perception

When told that viewers consider her perfect for authority figure characters, Shaw responded with amusement: "Goodness me! I'm so not scary. But perhaps when filled with purpose, my features can appear threatening."

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. Don't be scared – approach and greet me!"

Love for Language

Discussing her celebrated interpretation of the poetic work The Waste Land, Shaw conveyed her deep connection with language and poetry. "I'm consistently devoted in the language," she stated, "because the clues to everything are there in the selection of vocabulary."

She believes that "verse constitutes the polished form of language, or the instant that's been preserved." When people reduce to what they genuinely wish to express, it's often poetic."

Voice Recording

Regarding her acclaimed audiobook performances, particularly Alice's Adventures in Wonderland, Shaw revealed that "I enjoyed recording Alice in Wonderland because I incorporated all my acquaintances into it – my friends and other actors."

The actress explained how she voiced the caterpillar as channeling Alan Rickman, and characterized the Red Queen evoking Geraldine McEwan. "It consistently feels a honor to record and perform literature," she concluded, "despite needing days and days of work."

Working with Terrence Malick

Recalling her experience working with renowned director Terrence Malick on his film Tree of Life, Shaw described him as distinctive. "Everything Terrence Malick says and does is unique," she observed.

She shared a particular memory 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 inside or outside?" – inquiries seldom made by other filmmakers. "He exclusively used natural light," she added, "so you could either perform inside by a window or exterior on location."

Concerning the extensive editing process, Shaw disclosed that "The director requires about three years to complete the movie. I had been told by the producer after two years that I was probably one of the main characters, but when the film was released, I was nearly gone."

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