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

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

The Impactful Andor Monologue

When discussing her unforgettable funeral speech 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 clarified, "and the writer hoped that Disney would approve it."

The performer described the unusual shooting circumstances for this specific moment. "When I performed that speech, I was filmed by about 200 cameras to create a hologram. I was completely alone in a huge soundstage, with no director nor crew members present in the room."

Jane Austen Adaptations

Speaking about the forthcoming adaptation of Jane Austen's Sense and Sensibility, Shaw shared enthusiasm about the completed filming. "We've just finished shooting it," she mentioned, "though performers typically doesn't see is the final film."

She praised filmmaker Georgia Oakley as "really lovely and quite confident." The production took place in stunning houses throughout Britain, including sites within Dorset, Knebworth, and Devonshire.

Shaw also reflected on her earlier performance in the 1995 adaptation of Austen's Persuasion, playing Mrs. Croft. "Our filmmaker had specific requirements: no wigs and just candle illumination," she recalled. "He truly aimed to recreate the feeling of early 19th century life."

Harry Potter Memories

When asked about her time in the Harry Potter franchise, Shaw spoke fondly about collaborating with the late Richard Griffiths. "He represented the most elegant, creative and talented man," she revealed. "He possessed the most beautiful penmanship and once sent me a note inviting me to lunch in elaborate gothic lettering."

The actress portrayed Griffiths as continuously talking and sharing fascinating anecdotes with both her and the child performers on set. "He possessed remarkable worldly understanding so we would listen captivated to his stories."

Stage Performances

Discussing her Broadway performance in the tragedy Medea, Shaw recalled how emotionally demanding the show was. "I encountered one of the ensemble actors 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 Washington DC, the Brooklyn Academy of Music, and ultimately Manhattan. "We grew very close as a cast," she added.

Approach to Acting

Regarding inquiries concerning her capacity to move between humor and seriousness, Shaw clarified that "humor unites people as it's about breaking conventions." However, she admitted that "prior to a comedy, I always rest badly, because you have to find the rhythm during performance."

Concerning her technique for tackling different characters, Shaw stated: "I discover each one difficult. But even if the character you're portraying is quite distant from you, there is frequently some aspect about them that you recognize."

Current Projects

Discussing her latest role in the production Hot Milk, Shaw described her character Rose as "a terrible woman though you cannot perform anything from that perspective." The actress elaborated that Rose suffers from a nervous system condition that causes mobility issues.

"She is unaware of the impact she has on her daughter," Shaw noted. "All she knows is that she wants to improve. She's well-intentioned yet unaware. Perhaps that's what most of us are."

Personal Reflections

Upon hearing that viewers consider her ideal as gang boss roles, Shaw responded with humor: "Oh dear! I'm so not scary. But maybe when infused with intention, my features can appear formidable."

She added: "In reality occasionally rather disorganized so maybe it's redemptive for me to play highly intellectual, organized characters. I try to portray interesting people so I avoid criticizing them. Please don't fear – approach and greet me!"

Passion for Words

Talking about her celebrated interpretation of T.S. Eliot's The Waste Land, Shaw expressed her profound relationship with words and verse. "My heart is always in the language," she stated, "because the clues to everything are there in the selection of vocabulary."

The actress thinks that "verse constitutes the refined version of language, or the moment that has been captured." When people reduce to what they genuinely wish to express, it's frequently lyrical."

Voice Recording

Regarding her acclaimed audiobook performances, particularly Alice's Adventures in Wonderland, Shaw revealed that "I enjoyed recording Alice in Wonderland because I included everybody I knew 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 honor to record and perform literature," she concluded, "though it requires days and days of work."

Collaborating with the Director

Remembering her time working with celebrated filmmaker Terrence Malick on Tree of Life, Shaw portrayed him as unconventional. "Everything Terrence Malick expresses and undertakes is different," she observed.

She shared a specific recollection of their first meeting: "He left a message on my answering machine 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."

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 outside on the street."

Regarding the lengthy post-production, Shaw disclosed 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 came out, I was nearly gone."

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