Fiona Shaw Discusses Her Professional Journey: From Star Wars to Wizarding World

During a recent conversation, renowned actress Fiona Shaw shared insights about her varied professional experiences spanning multiple decades and memorable characters.

The Impactful Andor Monologue

When discussing her unforgettable eulogy scene in the Star Wars series Andor, Shaw revealed that the original script contained more explicit wording. "I actually spoke a different word in my speech," she clarified, "while the screenwriter hoped that Disney would approve it."

The actress described the unusual shooting circumstances for that particular scene. "While I delivered that speech, I was recorded with about 200 cameras to create a hologram. I was entirely by myself in a massive studio, with neither director or production team present in the room."

Classic Literature Projects

Regarding the upcoming adaptation of Jane Austen's Sense and Sensibility, Shaw expressed excitement about finishing production. "We've just finished shooting it," she mentioned, "though performers typically doesn't see is the final film."

She praised director Georgia Oakley as "really lovely and quite confident." The filming took place in stunning houses across the UK, including locations in Dorset, Knebworth, and Devonshire.

Shaw also reflected on her previous role in the 1995 adaptation of Persuasion, playing Mrs. Croft. "Our filmmaker had particular demands: without hairpieces and just candle illumination," she remembered. "He genuinely wanted to recreate the feeling of nineteenth-century existence."

Wizarding World Reflections

When asked about her time in the wizarding film series, Shaw talked warmly about collaborating with the late Richard Griffiths. "Richard was the most refined, artistic and talented man," she revealed. "He had the most beautiful penmanship and once sent me a note inviting me to lunch in ornate gothic script."

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

Theatrical Work

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

The production had an extensive run, beginning in Ireland, then moving to London, followed by Washington DC, the New York venue, and ultimately Manhattan. "We grew very close as a cast," she noted.

Approach to Acting

When questioned about 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 during performance."

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

Recent Work

Discussing her recent performance in Hot Milk, Shaw described her character Rose as "a difficult person 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 effect she creates on her daughter," Shaw noted. "Her only concern is that she desires to get better. She's both benign and blind. Maybe this represents what most of us are."

Self-Perception

Upon hearing that viewers consider her perfect for gang boss roles, Shaw answered with amusement: "Goodness me! I'm really not intimidating. But maybe when infused with purpose, 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 avoid criticizing them. Don't be scared – come and say hello!"

Love for Language

Discussing her renowned performance of T.S. Eliot's The Waste Land, Shaw expressed her deep connection with language and poetry. "My heart is always in the language," she stated, "since the indicators to everything are there in the selection of vocabulary."

The actress thinks that "verse constitutes the polished form of language, or the instant that's been preserved." As individuals boil down to what they truly want to say, it's often poetic."

Voice Recording

Regarding her acclaimed audiobook performances, specifically the classic Alice in Wonderland, Shaw revealed that "I loved reading Alice in Wonderland because I included everybody I knew into it – my friends and other actors."

She described 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 sit and speak literature," she concluded, "though it requires extended periods of work."

Working with Terrence Malick

Remembering her time working with celebrated filmmaker Terrence Malick on Tree of Life, Shaw portrayed him as unconventional. "All that the director expresses and undertakes is different," she noted.

She shared a specific recollection of their initial encounter: "He placed a message on my answering machine 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 unusual approach 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 "The director requires about three years to edit the film. I had been told by the producer following twenty-four months that I was probably one of the main characters, but when the film was released, I was mostly removed."

She concluded by characterizing Malick's distinctive approach: "He constructs this enormous structure, and he removes most elements. He fundamentally dismantles films."