The Actress Fiona Shaw Discusses Her Professional Journey: From Andor to Harry Potter

During a recent conversation, esteemed actress Fiona Shaw opened up about her diverse career covering many years and memorable characters.

The Impactful Andor Monologue

While talking about her unforgettable funeral speech in the Star Wars series Andor, Shaw revealed that the initial version included stronger language. "I actually spoke a different word in my speech," she explained, "while the screenwriter hoped that Disney would accept it."

The actress detailed the unique filming conditions 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 no director or production team present in the room."

Jane Austen Adaptations

Regarding the upcoming adaptation of Jane Austen's Sense and Sensibility, Shaw shared enthusiasm about finishing production. "We recently completed shooting it," she stated, "though performers typically doesn't see is the final film."

She praised director Georgia Oakley as "truly wonderful and quite confident." The production took place in beautiful estates throughout Britain, including sites within Dorset, Knebworth, and Devonshire.

Shaw also reflected on her earlier performance in the nineties version of Persuasion, portraying Mrs. Croft. "The director had particular demands: no wigs and just candle illumination," she recalled. "He truly aimed to capture the experience of nineteenth-century existence."

Harry Potter Memories

When asked about her time in the wizarding film series, Shaw spoke fondly about collaborating with the late Richard Griffiths. "Richard was the most elegant, creative and gifted man," she revealed. "He possessed the most mellifluous handwriting and on one occasion mailed me a note asking to lunch in elaborate gothic lettering."

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

Theatrical Work

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

This theatrical work continued for years, starting in Dublin, then moving to London, followed by the American capital, the New York venue, and finally Broadway. "We became very close as a company," she added.

Performance Philosophy

Regarding inquiries concerning her ability to transition between comedy and drama, Shaw clarified that "comedy connects us as it's about breaking conventions." Nevertheless, she admitted that "the night before a comedy, I always sleep poorly, because you have to catch the wave on the day."

Concerning her method for approaching 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 identify with."

Current Projects

Discussing her recent performance in Hot Milk, Shaw characterized her character Rose as "a terrible woman but you can't play anything from that perspective." The actress elaborated that Rose suffers from a nervous system condition 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 both benign and blind. Perhaps that's what many people resemble."

Self-Perception

Upon hearing that audiences perceive her ideal as gang boss roles, Shaw answered with humor: "Goodness me! I'm so not scary. But maybe when infused with intention, my features might seem threatening."

She added: "I am in life occasionally rather disorganized so maybe it's redemptive for me to play very intelligent, organized characters. I try to depict fascinating individuals so I never judge them. Don't be scared – approach and greet me!"

Passion for Words

Talking about her renowned performance of the poetic work The Waste Land, Shaw expressed 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 selection of vocabulary."

She believes 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."

Voice Recording

Regarding her praised spoken-word performances, specifically Alice's Adventures in Wonderland, Shaw revealed that "I loved reading Alice in Wonderland because I included all my acquaintances into it – personal companions and fellow performers."

The actress explained how she voiced the caterpillar as inspired by Alan Rickman, and portrayed the Red Queen as reminiscent of Geraldine McEwan. "It always seems a privilege to record and perform literature," she finished, "though it requires days and days of work."

Working with Terrence Malick

Remembering her time working with renowned director Terrence Malick on Tree of Life, Shaw described him as distinctive. "All that the director says and does is different," she observed.

She shared a particular memory of their first meeting: "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."

Shaw also mentioned Malick's unusual approach 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 disclosed that "He takes approximately three years to complete the movie. I had heard from the producer following twenty-four months that I was probably one of the primary roles, but when the film was released, I was mostly removed."

The actress finished by characterizing Malick's unique process: "He builds this enormous structure, and he removes most elements. He essentially deconstructs films."