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

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

The Impactful Andor Monologue

When discussing her memorable funeral speech in the Star Wars series Andor, Shaw disclosed that the original script included stronger language. "I actually spoke a different word in my speech," she explained, "while the screenwriter hoped that Disney would approve it."

The actress detailed the unusual shooting circumstances for this specific moment. "When I performed that speech, I was recorded with about 200 cameras for making a hologram. I was entirely by myself in a massive studio, with neither director or production team present in the room."

Jane Austen Adaptations

Regarding the upcoming adaptation of Jane Austen's classic novel, Shaw shared enthusiasm about finishing production. "We've just finished shooting it," she stated, "though performers 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 nineties version of Austen's Persuasion, playing Mrs. Croft. "The director had particular demands: without hairpieces and only candlelight," she remembered. "He genuinely wanted to recreate the feeling of nineteenth-century existence."

Harry Potter Memories

In response to questions regarding her time in the wizarding film series, Shaw talked warmly about collaborating with her departed co-star. "He represented the most elegant, artistic and talented man," she shared. "He had the most mellifluous handwriting and on one occasion mailed me a note asking to lunch in elaborate gothic lettering."

She described Griffiths as continuously talking and sharing fascinating anecdotes with both her and the young actors on set. "He possessed fantastic general knowledge so we would listen captivated by his tales."

Stage Performances

Talking about her Broadway performance in Medea, Shaw recalled how psychologically challenging the production was. "I met one of the ensemble actors several years after, 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 grew quite bonded as a cast," she noted.

Performance Philosophy

When questioned about her ability to transition between comedy and drama, Shaw clarified 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 catch the wave on the day."

Regarding her technique for tackling various roles, 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 recent performance in the production Hot Milk, Shaw characterized her character Rose as "a terrible woman though you cannot perform anything from that perspective." She explained that Rose experiences a functional neurological disorder that causes mobility issues.

"The character doesn't realize of the effect she creates on her daughter," Shaw noted. "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: "Oh dear! I'm really not intimidating. But maybe when infused with intention, my features can appear formidable."

The actress continued: "I am in life occasionally rather disorganized 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 – come and say hello!"

Love for Language

Talking about her renowned performance of the poetic work 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 contained within the choice of words."

The actress thinks that "verse constitutes the refined version of language, or the instant that's been preserved." As individuals boil down to what they genuinely wish to express, it's often poetic."

Voice Recording

Concerning her praised spoken-word performances, particularly the classic Alice in Wonderland, Shaw shared that "I loved reading Alice in Wonderland because I included all my acquaintances into it – personal companions and fellow performers."

She described how she performed the caterpillar as channeling Alan Rickman, and portrayed the Red Queen evoking Geraldine McEwan. "It always seems a honor to sit and speak literature," she finished, "though it requires 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. "All that the director expresses and undertakes is different," she observed.

She shared a specific recollection of their first meeting: "He placed 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."

Shaw also mentioned Malick's distinctive method of asking actors "Would you prefer to do this scene inside or outside?" – questions rarely posed by different directors. "He exclusively used natural light," she added, "meaning actors could perform inside by a window or outside on the street."

Concerning 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 probably one of the primary roles, but by the time the film was released, I was nearly gone."

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