🔗 Share this article

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

The Impactful Andor Monologue

When discussing her memorable eulogy scene in the Star Wars series Andor, Shaw disclosed that the initial version 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 actress described the unusual shooting circumstances for that particular scene. "When I performed that speech, I was recorded with about 200 cameras for making a hologram. I was entirely by myself in a huge soundstage, with no director or production team present in the room."

Jane Austen Adaptations

Speaking about the forthcoming screen version of Jane Austen's Sense and Sensibility, Shaw expressed excitement about finishing production. "We recently completed shooting it," she stated, "and what an actor typically doesn't see is the final film."

The actress commended filmmaker Georgia Oakley as "truly wonderful and very assured." The filming took place in stunning houses throughout Britain, including sites within Dorset, Knebworth, and Devonshire.

The actress also recalled on her earlier performance in the 1995 adaptation of Austen's Persuasion, portraying Mrs. Croft. "Our filmmaker had specific requirements: without hairpieces and only candlelight," she remembered. "He genuinely wanted to capture the experience of nineteenth-century existence."

Wizarding World Reflections

In response to questions regarding her time in the Harry Potter franchise, Shaw talked warmly about working with the late Richard Griffiths. "He represented the most elegant, artistic and talented man," she shared. "He possessed the most mellifluous handwriting and on one occasion mailed me a note inviting me 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 had fantastic general knowledge so we would sit enthralled to his stories."

Theatrical Work

Discussing her Broadway performance in the tragedy Medea, Shaw remembered how emotionally demanding the show was. "I met one of the chorus members several years after, who said: 'I'm not over it yet,'" she shared.

This theatrical work 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 company," she added.

Approach to Acting

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

Regarding her technique for tackling various roles, Shaw stated: "I find them all difficult. But even if the character you're portraying is rather different from you, there is often something about them that you recognize."

Current Projects

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

"The character doesn't realize of the effect she creates on her daughter," Shaw observed. "All she knows is that she wants to improve. She's both benign and blind. Perhaps that's what many people resemble."

Personal Reflections

When told that audiences perceive her perfect for authority figure characters, Shaw responded with amusement: "Oh dear! I'm so not scary. But perhaps when filled with intention, my features might seem formidable."

She added: "I am in life sometimes quite scatty 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 expressed her deep connection 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 "poetry represents the refined version of language, or the moment that has been captured." When people reduce to what they truly want to say, it's often poetic."

Audiobook Work

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

The actress explained how she performed the caterpillar as inspired by Alan Rickman, and characterized the Red Queen as reminiscent of Geraldine McEwan. "It consistently feels a honor to record and perform literature," she finished, "though it requires extended periods of work."

Collaborating with the Director

Recalling her experience working with celebrated filmmaker Terrence Malick on Tree of Life, Shaw described him as distinctive. "Everything Terrence Malick says and does is unique," she noted.

The actress recounted a particular memory of their initial encounter: "He placed 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 exotic choice in the world."

The actress also described Malick's distinctive method of asking actors "Would you prefer to do this scene inside or outside?" – questions rarely posed by other filmmakers. "He only employed natural light," she continued, "meaning actors could perform interior near glass or exterior on location."

Concerning the extensive editing process, Shaw revealed that "He takes approximately three years to edit the film. I had heard from the producer after two years that I was probably one of the main characters, but by the time the film came out, I was nearly gone."

The actress finished by characterizing Malick's unique process: "He constructs this massive framework, and he takes away many components. He essentially deconstructs films."