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

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

Andor's Powerful Speech

While talking about her memorable funeral speech in the Disney+ show Andor, Shaw revealed that the initial version included stronger language. "I did say a different word in my speech," she explained, "and the writer hoped that Disney 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 for making a hologram. I was completely alone in a massive studio, with neither director nor crew members 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 recently completed shooting it," she stated, "though performers rarely witness is the final film."

The actress commended director Georgia Oakley as "truly wonderful and very assured." The filming took place in stunning houses throughout Britain, including locations in Dorset, Knebworth, and Devonshire.

The actress also recalled on her previous role in the nineties version of Persuasion, portraying Mrs. Croft. "The director had specific requirements: no wigs and only candlelight," she recalled. "He genuinely wanted to capture the experience of early 19th century life."

Harry Potter Memories

In response to questions regarding her experience with the Harry Potter franchise, Shaw spoke fondly about working with her departed co-star. "Richard was the most refined, creative and gifted man," she revealed. "He possessed the most beautiful penmanship and once sent me a note inviting me 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 possessed fantastic general knowledge so we would listen captivated by his tales."

Theatrical Work

Talking about her New York stage role in Medea, Shaw remembered how psychologically challenging the production was. "I encountered one of the chorus members three years later, who said: 'I'm not over it yet,'" she shared.

This theatrical work had an extensive run, beginning in Ireland, then traveling to England, followed by Washington DC, the Brooklyn Academy of Music, and finally Broadway. "We grew quite bonded as a company," she noted.

Approach to Acting

When questioned about her capacity to move between humor and seriousness, Shaw explained that "humor unites people 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."

Concerning her method for approaching various roles, Shaw commented: "I discover each one difficult. But even if the person you're playing is rather different from you, there is often something about them that you identify with."

Recent Work

Speaking about her recent performance in Hot Milk, Shaw characterized her character Rose as "a terrible woman but you can't play anything from that viewpoint." She explained that Rose experiences a functional neurological disorder that causes mobility issues.

"The character doesn't realize of the impact she has on her daughter," Shaw noted. "Her only concern is that she wants to improve. She's well-intentioned yet unaware. Perhaps that's what most of us are."

Personal Reflections

Upon hearing that viewers consider her perfect for authority figure characters, Shaw answered with humor: "Goodness me! I'm so not scary. But perhaps when filled with intention, my features can appear formidable."

The actress continued: "I am in life sometimes quite scatty so perhaps it's therapeutic for me to play highly intellectual, methodical personalities. I try to depict fascinating individuals so I never judge them. Don't be scared – approach and greet me!"

Passion for Words

Talking about her renowned performance of T.S. Eliot's The Waste Land, Shaw expressed her profound relationship with words and verse. "My heart is always in the language," she stated, "since the indicators to everything are there in the choice of words."

She believes that "poetry represents the polished form of language, or the moment that has been captured." As individuals reduce to what they genuinely wish to express, it's often poetic."

Voice Recording

Concerning her praised spoken-word performances, particularly Alice's Adventures in Wonderland, Shaw revealed that "I enjoyed recording Alice in Wonderland because I incorporated everybody I knew into it – personal companions and fellow performers."

The actress explained how she performed the caterpillar as channeling Alan Rickman, and characterized the Red Queen evoking Geraldine McEwan. "It consistently feels a honor to record and perform literature," she concluded, "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 described him as distinctive. "Everything Terrence Malick says and does is different," she noted.

The actress recounted a specific recollection of their first meeting: "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 unusual approach of asking actors "Would you prefer to do this scene indoors or outdoors?" – questions rarely posed by other filmmakers. "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 "The director requires about three years to edit the film. I had heard from the producer after two years that I was probably one of the main characters, but by the time the film was released, I was nearly gone."

The actress finished by describing Malick's distinctive approach: "He builds this massive framework, and he takes away many components. He essentially deconstructs films."