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

In a recent interview, acclaimed performer Fiona Shaw opened up about her varied professional experiences covering many years and iconic roles.

Andor's Powerful Speech

When discussing her unforgettable eulogy scene in the Star Wars series Andor, Shaw disclosed that the original script included more explicit wording. "I did say a different word in my speech," she explained, "and the writer wanted the studio would accept it."

The actress detailed the unusual shooting circumstances for that particular scene. "While I delivered that speech, I was filmed by about 200 cameras for making a hologram. I was entirely by myself in a massive studio, with neither director or production team there with me."

Jane Austen Adaptations

Speaking about the forthcoming adaptation of Jane Austen's Sense and Sensibility, Shaw expressed excitement about finishing production. "We've just finished shooting it," she stated, "though performers rarely witness is the completed movie."

She praised filmmaker Georgia Oakley as "truly wonderful and very assured." The filming took place in stunning houses across the UK, including locations in Dorset, Knebworth, and Devonshire.

The actress also recalled on her previous role in the nineties version of Persuasion, portraying Mrs. Croft. "The director had particular demands: no wigs and only candlelight," she remembered. "He genuinely wanted to capture the experience of nineteenth-century existence."

Wizarding World Reflections

When asked about her time in the Harry Potter franchise, Shaw talked warmly about collaborating with the late Richard Griffiths. "He represented the most elegant, artistic and gifted man," she shared. "He possessed the most beautiful penmanship and once sent me a note inviting me to lunch in ornate gothic script."

The actress portrayed Griffiths as continuously talking and telling interesting stories with both her and the child performers on set. "He possessed fantastic general knowledge so we would sit enthralled by his tales."

Theatrical Work

Talking about her New York stage role in the tragedy Medea, Shaw remembered how emotionally demanding the production was. "I met one of the ensemble actors several years after, who said: 'I'm not over it yet,'" she disclosed.

This theatrical work had an extensive run, starting in Dublin, then moving to London, followed by the American capital, the Brooklyn Academy of Music, and finally Broadway. "We became quite bonded as a cast," she noted.

Approach to Acting

Regarding inquiries concerning her ability to transition between comedy and drama, Shaw explained that "comedy connects us as it's about rupturing the norm." Nevertheless, she admitted that "the night before a comedy, I always sleep poorly, because you have to catch the wave during performance."

Concerning her technique for tackling various roles, Shaw stated: "I discover each one challenging. But even if the character you're portraying is quite distant from you, there is often something about them that you identify with."

Current Projects

Speaking about 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 perspective." She explained that Rose experiences a nervous system condition that causes mobility issues.

"She is unaware 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. Maybe this represents what most of us are."

Self-Perception

Upon hearing that viewers consider her perfect for authority figure characters, Shaw responded with humor: "Goodness me! I'm really not intimidating. But maybe when infused with purpose, my features can appear threatening."

The actress continued: "I am in life sometimes quite scatty so maybe it's redemptive for me to play highly intellectual, organized characters. I try to depict fascinating individuals so I never judge them. Don't be scared – come and say hello!"

Love for Language

Discussing her celebrated interpretation 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 declared, "because the clues to everything are contained within the choice of words."

She believes that "poetry represents the refined version of language, or the instant that's been preserved." When people reduce to what they truly want to say, it's frequently lyrical."

Voice Recording

Concerning her praised spoken-word performances, specifically Alice's Adventures in Wonderland, Shaw shared that "I enjoyed recording Alice in Wonderland because I included all my acquaintances 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 days and days of work."

Collaborating with the Director

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

She shared a specific recollection of their initial encounter: "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 unusual selection in the world."

Shaw also mentioned Malick's distinctive method of asking actors "Do you want to do this scene indoors or outdoors?" – inquiries seldom made by different directors. "He only employed natural light," she added, "meaning actors could perform inside by a window or exterior on location."

Concerning the extensive editing process, Shaw revealed that "He takes approximately three years to complete the movie. I had heard from the producer after two years that I was probably one of the primary roles, but when the film was released, I was mostly removed."

The actress finished by describing Malick's distinctive approach: "He constructs this massive framework, and he takes away many components. He fundamentally dismantles films."