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

During a recent conversation, acclaimed actress Fiona Shaw opened up about her diverse career covering multiple decades and iconic roles.

Andor's Powerful Speech

When discussing her unforgettable eulogy scene in the Disney+ show Andor, Shaw revealed that the original script included more explicit wording. "I actually spoke a different word in my speech," she clarified, "and the writer wanted the studio would approve it."

The performer described the unusual shooting circumstances for that particular scene. "When I performed that speech, I was recorded with about 200 cameras to create a hologram. I was completely alone in a huge soundstage, 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 the completed filming. "We've just finished shooting it," she mentioned, "though performers typically doesn't see is the final film."

She praised director Georgia Oakley as "truly wonderful and quite confident." The filming took place in stunning houses across the UK, including sites within Dorset, Knebworth, and Devonshire.

Shaw also reflected on her previous role in the 1995 adaptation of Persuasion, playing Mrs. Croft. "The director had specific requirements: without hairpieces and just candle illumination," she remembered. "He truly aimed 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. "Richard was the most refined, artistic and gifted man," she shared. "He had the most mellifluous handwriting and on one occasion mailed me a note inviting me to lunch in elaborate gothic lettering."

The actress portrayed Griffiths as constantly speaking and telling interesting stories with herself and the young actors on set. "He possessed fantastic general knowledge so we would listen captivated by his tales."

Theatrical Work

Discussing her New York stage role in the tragedy Medea, Shaw recalled how psychologically challenging the show was. "I met one of the chorus members several years after, who said: 'I'm not over it yet,'" she disclosed.

The production continued for years, beginning in Ireland, then traveling to England, followed by the American capital, the Brooklyn Academy of Music, and ultimately Manhattan. "We became quite bonded as a cast," she added.

Approach to Acting

When questioned about her capacity to move between humor and seriousness, Shaw clarified that "humor unites people as it's about rupturing the norm." Nevertheless, she admitted that "prior to a comedy, I always sleep poorly, because you have to find the rhythm during performance."

Concerning her method for approaching various roles, Shaw stated: "I discover each one challenging. But even if the person you're playing is quite distant from you, there is frequently some aspect about them that you identify with."

Current Projects

Discussing her recent performance in Hot Milk, Shaw characterized her character Rose as "a difficult person though you cannot perform 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. "All she knows is that she desires to get better. She's well-intentioned yet unaware. Perhaps that's what many people resemble."

Self-Perception

Upon hearing that viewers consider her ideal as authority figure characters, Shaw answered with humor: "Goodness me! I'm so not scary. But maybe when infused with purpose, my features might seem threatening."

The actress continued: "I am in life sometimes quite scatty so maybe it's redemptive for me to play highly intellectual, methodical personalities. I try to portray interesting people so I never judge them. Please don't fear – approach and greet me!"

Passion for Words

Discussing 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, "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 moment that has been captured." When people boil down to what they genuinely wish to express, it's frequently lyrical."

Voice Recording

Regarding her acclaimed audiobook performances, specifically Alice's Adventures in Wonderland, Shaw shared that "I loved reading Alice in Wonderland because I incorporated all my acquaintances into it – my friends and other actors."

The actress explained how she voiced the caterpillar as inspired by Alan Rickman, and characterized the Red Queen evoking Geraldine McEwan. "It always seems a privilege to sit and speak literature," she finished, "though it requires days and days of work."

Collaborating with the Director

Remembering her time working with renowned director 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 specific recollection of their first meeting: "He left 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."

Shaw also mentioned Malick's distinctive method of asking actors "Do you want to do this scene inside or outside?" – questions rarely posed by different directors. "He only employed natural light," she continued, "so you could either perform interior near glass or exterior on location."

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

She concluded by describing Malick's unique process: "He constructs this massive framework, and he removes most elements. He essentially deconstructs films."