🔗 Share this article

In a recent interview, acclaimed actress Fiona Shaw shared insights about her diverse career covering multiple decades and memorable characters.

Andor's Powerful Speech

When discussing her unforgettable funeral speech in the Star Wars series Andor, Shaw disclosed that the initial version contained stronger language. "I did say a different word in my speech," she clarified, "and the writer wanted the studio would approve it."

The actress described the unique filming conditions 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."

Classic Literature Projects

Regarding the upcoming screen version of Jane Austen's classic novel, Shaw shared enthusiasm about the completed filming. "We recently completed shooting it," she stated, "and what an actor typically doesn't see is the final film."

She praised director 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.

Shaw also reflected on her earlier performance in the nineties version of Austen's Persuasion, playing Mrs. Croft. "Our filmmaker had particular demands: no wigs and just candle illumination," she recalled. "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 spoke fondly about collaborating with the late Richard Griffiths. "Richard was the most refined, creative and gifted man," she revealed. "He possessed the most beautiful penmanship and once sent me a note asking to lunch in elaborate gothic lettering."

She described Griffiths as constantly speaking and telling interesting stories with herself and the young actors on set. "He had fantastic general knowledge so we would sit enthralled to his stories."

Theatrical Work

Talking about her Broadway performance in the tragedy Medea, Shaw remembered how emotionally demanding the production 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 traveling to England, followed by the American capital, the New York venue, and ultimately Manhattan. "We grew very close 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 confessed that "prior to a comedy, I always rest badly, because you have to find the rhythm on the day."

Regarding her method for approaching various roles, Shaw commented: "I discover each one challenging. But even if the character you're portraying is rather different from you, there is frequently some aspect about them that you identify with."

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." 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 observed. "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 audiences perceive her ideal as gang boss roles, Shaw answered with amusement: "Oh dear! I'm really not intimidating. But perhaps when filled with intention, my features can appear formidable."

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. Don't be scared – come and say hello!"

Love for Language

Talking about her renowned performance of the poetic work The Waste Land, Shaw expressed her profound relationship with language and poetry. "My heart is always in the language," she stated, "since the indicators to everything are contained within 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 truly want to say, it's frequently lyrical."

Audiobook Work

Regarding her acclaimed audiobook performances, specifically Alice's Adventures in Wonderland, Shaw revealed that "I enjoyed recording 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 channeling Alan Rickman, and characterized the Red Queen as reminiscent of Geraldine McEwan. "It always seems a honor to sit and speak literature," she concluded, "despite needing days and days of work."

Working with Terrence Malick

Remembering her time working with renowned director Terrence Malick on his film Tree of Life, Shaw portrayed him as unconventional. "All that the director expresses and undertakes is unique," 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."

The actress also described Malick's unusual approach 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 continued, "so you could either perform interior near glass or exterior on location."

Regarding the extensive editing process, Shaw revealed that "The director requires about three years to complete the movie. I had heard from the producer following twenty-four months that I was probably one of the primary roles, but when the film was released, I was mostly removed."

She concluded by characterizing Malick's distinctive approach: "He builds this enormous structure, and he removes most elements. He essentially deconstructs films."