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

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

The Impactful Andor Monologue

While talking about her memorable funeral speech in the Disney+ show Andor, Shaw revealed that the initial version included more explicit wording. "I did say a different word in my speech," she clarified, "while the screenwriter wanted the studio would accept 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 entirely by myself in a massive studio, with neither director or production team present in the room."

Jane Austen Adaptations

Speaking about the forthcoming adaptation of Jane Austen's classic novel, Shaw shared enthusiasm about the completed filming. "We've just finished shooting it," she stated, "and what an actor rarely witness is the final film."

The actress commended filmmaker Georgia Oakley as "really lovely and very assured." The filming took place in beautiful estates across the UK, including locations in Dorset, Knebworth, and Devonshire.

The actress also recalled on her earlier performance in the nineties version of Austen's Persuasion, playing Mrs. Croft. "Our filmmaker had specific requirements: no wigs and only candlelight," she remembered. "He truly aimed to capture the experience of early 19th century life."

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, creative and talented man," she shared. "He possessed the most beautiful penmanship and on one occasion mailed me a note asking to lunch in ornate gothic script."

She described Griffiths as continuously talking and telling interesting stories with herself and the child performers on set. "He possessed remarkable worldly understanding so we would listen captivated by his tales."

Stage Performances

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

The production had an extensive run, starting in Dublin, then traveling to England, followed by the American capital, the New York venue, and finally Broadway. "We became quite bonded as a company," she added.

Approach to Acting

Regarding inquiries concerning her ability to transition between comedy and drama, Shaw explained that "comedy connects us as it's about breaking conventions." However, she admitted that "prior to a comedy, I always rest badly, because you have to find the rhythm on the day."

Regarding her technique for tackling different characters, Shaw commented: "I discover each one challenging. But even if the character you're portraying is quite distant from you, there is often something about them that you identify with."

Current Projects

Discussing her latest role in Hot Milk, Shaw characterized her character Rose as "a difficult person though you cannot perform anything from that viewpoint." The actress elaborated that Rose suffers from a nervous system condition that makes walking difficult.

"The character doesn't realize of the effect she creates on her daughter," Shaw observed. "Her only concern is that she wants to improve. She's both benign and blind. Maybe this represents what many people resemble."

Personal Reflections

Upon hearing that viewers consider her perfect for gang boss roles, Shaw answered with amusement: "Oh dear! I'm so not scary. But perhaps when filled with purpose, my features might seem 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 avoid criticizing them. Don't be scared – approach and greet me!"

Passion for Words

Talking about her renowned performance of the poetic work 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 there in the choice of words."

She believes that "poetry represents the refined version of language, or the moment that has been captured." As individuals boil down to what they genuinely wish to express, it's frequently lyrical."

Voice Recording

Regarding her acclaimed audiobook performances, specifically the classic Alice in Wonderland, Shaw shared that "I loved reading Alice in Wonderland because I incorporated everybody I knew 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 consistently feels a privilege to record and perform literature," she concluded, "despite needing 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. "All that the director expresses and undertakes is unique," she noted.

The actress recounted a particular memory of their initial encounter: "He left 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 unusual selection 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 different directors. "He exclusively used natural light," she added, "so you could either perform inside by a window or outside on the street."

Concerning the lengthy post-production, 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 by the time the film was released, I was mostly removed."

She concluded by describing Malick's unique process: "He constructs this enormous structure, and he takes away many components. He fundamentally dismantles films."