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

In a recent interview, esteemed actress Fiona Shaw shared insights about her varied professional experiences spanning multiple decades and iconic roles.

Andor's Powerful Speech

While talking about her unforgettable eulogy scene in the Star Wars series Andor, Shaw revealed that the initial version contained stronger language. "I actually spoke a distinct term in my speech," she clarified, "while the screenwriter hoped that Disney would accept it."

The actress 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 completely alone in a massive studio, with neither director nor crew members there with me."

Classic Literature Projects

Speaking about the forthcoming adaptation of Jane Austen's classic novel, Shaw expressed excitement about finishing production. "We've just finished 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 filming took place in stunning houses throughout Britain, including sites within Dorset, Knebworth, and Devonshire.

Shaw also reflected on her previous role in the nineties version of Austen's Persuasion, portraying Mrs. Croft. "Our filmmaker had particular demands: without hairpieces and just candle illumination," she recalled. "He genuinely wanted to recreate the feeling of nineteenth-century existence."

Wizarding World Reflections

In response to questions regarding her time in the Harry Potter franchise, Shaw talked warmly about collaborating with her departed co-star. "He represented the most refined, 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."

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 sit enthralled to his stories."

Theatrical Work

Talking about her New York stage role in the tragedy Medea, Shaw recalled how psychologically challenging the show was. "I met one of the chorus members 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 New York venue, and ultimately Manhattan. "We became very close as a company," she added.

Performance Philosophy

When questioned about her ability to transition between humor and seriousness, Shaw explained that "comedy connects us as it's about rupturing the norm." However, she confessed that "the night before a comedy, I always sleep poorly, because you have to catch the wave during performance."

Regarding her method for approaching different characters, Shaw commented: "I discover each one difficult. But even if the person you're playing is rather different from you, there is often something about them that you recognize."

Recent Work

Discussing 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 viewpoint." The actress elaborated that Rose experiences a functional neurological disorder that causes mobility issues.

"She is unaware of the effect she creates on her daughter," Shaw noted. "All she knows is that she desires to get better. She's well-intentioned yet unaware. Maybe this represents what many people resemble."

Personal Reflections

Upon hearing that audiences perceive her perfect for authority figure characters, Shaw responded with amusement: "Goodness me! I'm so not scary. But perhaps when filled with intention, my features might seem threatening."

She added: "In reality sometimes quite scatty so perhaps it's therapeutic for me to play highly intellectual, organized characters. I try to portray interesting people so I never judge them. Please don't fear – approach and greet me!"

Passion for Words

Talking about her renowned performance of T.S. Eliot's The Waste Land, Shaw expressed her deep connection with words and verse. "My heart is always in the language," she stated, "since the indicators to everything are contained within the choice of words."

The actress thinks that "verse constitutes the polished form of language, or the moment that has been captured." As individuals boil down to what they genuinely wish to express, it's frequently lyrical."

Audiobook Work

Regarding her praised spoken-word performances, specifically the classic Alice in Wonderland, Shaw revealed that "I enjoyed recording Alice in Wonderland because I incorporated everybody I knew into it – personal companions and fellow performers."

The actress explained how she performed the caterpillar as channeling Alan Rickman, and characterized the Red Queen as reminiscent of Geraldine McEwan. "It always seems a honor to record and perform literature," she concluded, "though it requires extended periods of work."

Collaborating with the Director

Recalling her experience working with celebrated filmmaker Terrence Malick on his film Tree of Life, Shaw described him as distinctive. "All that the director says and does is different," she observed.

The actress recounted a specific recollection 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."

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 other filmmakers. "He only employed natural light," she added, "meaning actors could perform inside by a window or exterior on location."

Regarding the extensive editing process, Shaw revealed that "The director requires about three years to edit the film. I had been told by the producer after two years that I was likely among the primary roles, but when the film was released, I was mostly removed."

The actress finished by describing Malick's unique process: "He builds this massive framework, and he removes most elements. He fundamentally dismantles films."