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

In a recent interview, acclaimed actress Fiona Shaw opened up about her diverse career spanning many years and iconic roles.

The Impactful Andor Monologue

When discussing her unforgettable eulogy scene in the Disney+ show Andor, Shaw revealed that the original script included stronger language. "I did say a distinct term in my speech," she clarified, "while the screenwriter hoped that Disney would accept it."

The performer described the unique filming conditions for this specific moment. "When I performed that speech, I was recorded with about 200 cameras to create a hologram. I was completely alone in a massive studio, with no director or production team there with me."

Classic Literature Projects

Regarding the upcoming adaptation of Jane Austen's Sense and Sensibility, Shaw shared enthusiasm about the completed filming. "We recently completed shooting it," she mentioned, "and what an actor rarely witness is the final film."

She praised director Georgia Oakley as "really lovely and quite confident." The production took place in beautiful estates throughout Britain, including locations in Dorset, Knebworth, and Devonshire.

Shaw also reflected on her previous role in the 1995 adaptation of Austen's Persuasion, playing Mrs. Croft. "Our filmmaker had particular demands: no wigs and only candlelight," she recalled. "He truly aimed to recreate the feeling of early 19th century life."

Wizarding World Reflections

In response to questions regarding her time in the Harry Potter franchise, Shaw spoke fondly about working with the late Richard Griffiths. "Richard was the most refined, artistic and gifted man," she shared. "He possessed the most beautiful penmanship and once sent me a note asking to lunch in ornate gothic script."

The actress portrayed Griffiths as constantly speaking and sharing fascinating anecdotes with both her and the child performers on set. "He had remarkable worldly understanding so we would sit enthralled to his stories."

Stage Performances

Discussing her New York stage role in Medea, Shaw remembered how psychologically challenging the production was. "I encountered one of the chorus members three years later, who said: 'I'm not over it yet,'" she disclosed.

The production continued for years, beginning in Ireland, then traveling to England, followed by Washington DC, the New York venue, and ultimately Manhattan. "We became very close as a cast," she added.

Performance Philosophy

Regarding inquiries concerning her capacity to move between comedy and drama, Shaw explained that "comedy connects us as it's about breaking conventions." However, she confessed that "prior to a comedy, I always sleep poorly, because you have to find the rhythm on the day."

Regarding her method for approaching various roles, Shaw stated: "I discover each one challenging. But even if the person you're playing is quite distant from you, there is often something about them that you identify with."

Recent Work

Speaking about her recent performance in Hot Milk, Shaw characterized her character Rose as "a terrible woman though you cannot perform anything from that viewpoint." The actress elaborated that Rose experiences a functional neurological disorder that makes walking difficult.

"The character doesn't realize 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 viewers consider her perfect for authority figure characters, Shaw answered with amusement: "Goodness me! I'm so not scary. But maybe when infused with purpose, my features can appear threatening."

She added: "I am in life occasionally rather disorganized so perhaps it's therapeutic for me to play very intelligent, methodical personalities. I try to depict fascinating individuals so I never judge 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 conveyed her profound relationship with language and poetry. "I'm consistently devoted in the language," she stated, "since the indicators to everything are contained within the choice of words."

The actress thinks that "verse constitutes the refined version of language, or the moment that has been captured." As individuals boil down to what they genuinely wish to express, 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 incorporated everybody I knew into it – personal companions and other actors."

She described how she voiced the caterpillar as channeling Alan Rickman, and characterized the Red Queen evoking Geraldine McEwan. "It consistently feels a privilege to sit and speak literature," she concluded, "despite needing extended periods of work."

Working with Terrence Malick

Recalling her experience working with renowned director Terrence Malick on Tree of Life, Shaw described him as distinctive. "All that the director expresses and undertakes is unique," she noted.

The actress recounted a specific recollection of their first meeting: "He left a message on my voicemail 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."

The actress also described Malick's distinctive method of asking actors "Would you prefer to do this scene indoors or outdoors?" – questions rarely posed by different directors. "He exclusively used natural light," she continued, "so you could either perform inside by a window or outside on the street."

Regarding the lengthy post-production, Shaw disclosed that "He takes approximately three years to edit the film. I had been told by the producer after two years that I was probably one of the main characters, but by the time the film was released, I was mostly removed."

The actress finished by describing Malick's distinctive approach: "He constructs this massive framework, and he removes most elements. He essentially deconstructs films."