The Actress Fiona Shaw Talks About Her Professional Journey: From Star Wars to Wizarding World

During a recent conversation, renowned actress Fiona Shaw opened up about her diverse career spanning many years and memorable characters.

Andor's Powerful Speech

While talking about her unforgettable eulogy scene in the Star Wars series Andor, Shaw disclosed that the initial version contained stronger language. "I actually spoke a different word in my speech," she explained, "while the screenwriter wanted the studio would accept it."

The actress described the unusual shooting circumstances for that particular scene. "When I performed that speech, I was filmed by about 200 cameras for making a hologram. I was entirely by myself in a massive studio, with neither director or production team there with me."

Classic Literature Projects

Regarding the upcoming 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 across the UK, including locations in Dorset, Knebworth, and Devonshire.

The actress also recalled on her previous role 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 recreate the feeling of nineteenth-century existence."

Wizarding World Reflections

In response to questions regarding her experience with the Harry Potter franchise, Shaw spoke fondly about collaborating with her departed co-star. "He represented the most elegant, creative and talented man," she shared. "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 constantly speaking and telling interesting stories with herself and the child performers on set. "He possessed fantastic general knowledge so we would sit enthralled by his tales."

Stage Performances

Discussing her New York stage role in Medea, Shaw remembered 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 shared.

This theatrical work had an extensive run, starting in Dublin, then moving to London, followed by Washington DC, the New York venue, and finally Broadway. "We grew very close as a cast," she added.

Approach to Acting

Regarding inquiries concerning her ability to transition between humor and seriousness, Shaw clarified that "comedy connects us as it's about breaking conventions." Nevertheless, she admitted that "the night before a comedy, I always rest badly, because you have to catch the wave on the day."

Regarding her method for approaching various roles, Shaw commented: "I discover each one difficult. 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 the production Hot Milk, Shaw characterized her character Rose as "a terrible woman but you can't play anything from that perspective." The actress elaborated that Rose experiences a functional neurological disorder 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 well-intentioned yet unaware. Perhaps that's what most of us are."

Self-Perception

When told that viewers consider her ideal as authority figure characters, 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 depict fascinating individuals so I avoid criticizing them. Please don't fear – come and say hello!"

Love for Language

Talking about her renowned performance 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 stated, "since the indicators to everything are contained within the choice of words."

The actress thinks that "verse constitutes the polished form of language, or the moment that has been captured." When people reduce to what they truly want to say, it's often poetic."

Audiobook Work

Regarding her acclaimed audiobook performances, specifically Alice's Adventures in Wonderland, Shaw shared that "I enjoyed recording Alice in Wonderland because I included all my acquaintances into it – personal companions and fellow performers."

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

Collaborating with the Director

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

She shared a specific recollection of their initial encounter: "He placed 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 exotic choice in the world."

Shaw also mentioned Malick's distinctive method of asking actors "Would you prefer to do this scene indoors or outdoors?" – questions rarely posed by other filmmakers. "He only employed natural light," she continued, "so you could either perform inside by a window or outside on the street."

Regarding the extensive editing process, Shaw disclosed that "He takes approximately three years to edit the film. I had heard from the producer after two years that I was likely among the main characters, but when the film was released, I was mostly removed."

The actress finished by characterizing Malick's unique process: "He builds this enormous structure, and he takes away many components. He fundamentally dismantles films."