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

In a recent interview, esteemed performer Fiona Shaw shared insights about her varied professional experiences spanning multiple decades and iconic roles.

The Impactful Andor Monologue

While talking about her unforgettable funeral speech in the Star Wars series Andor, Shaw disclosed that the initial version included more explicit wording. "I actually spoke a distinct term in my speech," she explained, "and the writer wanted the studio would accept it."

The performer described the unique filming conditions for this specific moment. "While I delivered that speech, I was filmed by about 200 cameras for making a hologram. I was completely alone in a massive studio, with no director nor crew members there with me."

Classic Literature Projects

Speaking about the forthcoming adaptation of Jane Austen's Sense and Sensibility, Shaw shared enthusiasm about finishing production. "We recently completed shooting it," she mentioned, "and what an actor typically doesn't see is the completed movie."

The actress commended director 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 nineties version of Austen's Persuasion, playing Mrs. Croft. "The director had specific requirements: no wigs and just candle illumination," she remembered. "He genuinely wanted 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 working with the late Richard Griffiths. "Richard was the most elegant, artistic and gifted man," she revealed. "He had the most beautiful penmanship and on one occasion mailed me a note asking to lunch in ornate gothic script."

The actress portrayed Griffiths as continuously talking and sharing fascinating anecdotes with both her and the child performers on set. "He had fantastic general knowledge so we would listen captivated to his stories."

Stage Performances

Discussing her New York stage role 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 shared.

This theatrical work continued for years, beginning in Ireland, then moving to London, followed by the American capital, the Brooklyn Academy of Music, and finally Broadway. "We grew very close as a company," she added.

Approach to Acting

When questioned about her ability to transition between humor and seriousness, Shaw clarified that "comedy connects us as it's about breaking conventions." However, she admitted that "the night before a comedy, I always sleep poorly, because you have to find the rhythm on the day."

Concerning her method for approaching various roles, Shaw stated: "I discover each one difficult. But even if the person you're playing is rather different from you, there is frequently some aspect about them that you recognize."

Current Projects

Discussing her latest role in Hot Milk, Shaw characterized her character Rose as "a difficult person but you can't play anything from that perspective." She explained 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 noted. "Her only concern is that she wants to improve. 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 really not intimidating. But perhaps when filled with intention, my features can appear threatening."

She added: "I am in life sometimes quite scatty so maybe it's redemptive for me to play very intelligent, methodical personalities. I try to depict fascinating individuals so I avoid criticizing them. Please don't fear – approach and greet me!"

Passion for Words

Discussing her celebrated interpretation of T.S. Eliot's The Waste Land, Shaw conveyed her deep connection with words and verse. "My heart is always in the language," she declared, "since the indicators to everything are contained within the selection of vocabulary."

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

Audiobook Work

Regarding her acclaimed audiobook performances, particularly the classic Alice in Wonderland, Shaw revealed that "I enjoyed recording Alice in Wonderland because I incorporated all my acquaintances into it – my friends and other actors."

She described how she performed the caterpillar as channeling Alan Rickman, and portrayed the Red Queen as reminiscent of Geraldine McEwan. "It consistently feels a privilege to record and perform literature," she finished, "though it requires days and days of work."

Working with Terrence Malick

Recalling her experience working with celebrated filmmaker Terrence Malick on his film Tree of Life, Shaw described him as distinctive. "Everything Terrence Malick expresses and undertakes is unique," she observed.

She shared a specific recollection of their initial encounter: "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."

The actress also described Malick's unusual approach of asking actors "Would you prefer to do this scene indoors or outdoors?" – inquiries seldom made by other filmmakers. "He only employed natural light," she continued, "so you could either perform inside by a window or exterior on location."

Regarding the extensive editing process, Shaw revealed that "He takes approximately three years to complete the movie. I had heard from the producer following twenty-four months that I was likely among the primary roles, but by the time the film came out, I was nearly gone."

The actress finished by characterizing Malick's unique process: "He builds this enormous structure, and he removes most elements. He fundamentally dismantles films."