🔗 Share this article

During a recent conversation, esteemed actress Fiona Shaw opened up about her varied professional experiences covering multiple decades and iconic roles.

Andor's Powerful Speech

When discussing her unforgettable funeral speech in the Star Wars series Andor, Shaw disclosed that the original script contained more explicit wording. "I did say a distinct term in my speech," she clarified, "while the screenwriter hoped that Disney would accept it."

The actress described the unique filming conditions for this specific moment. "While I delivered that speech, I was filmed by about 200 cameras to create a hologram. I was entirely by myself in a massive studio, with no director nor crew members present in the room."

Jane Austen Adaptations

Speaking about the forthcoming screen version of Jane Austen's classic novel, Shaw expressed excitement about finishing production. "We've just finished shooting it," she mentioned, "though performers rarely witness is the completed movie."

She praised director Georgia Oakley as "truly wonderful and quite confident." The filming took place in beautiful estates across the UK, including locations in Dorset, Knebworth, and Devonshire.

The actress also recalled on her previous role in the 1995 adaptation of Austen's Persuasion, portraying Mrs. Croft. "Our filmmaker had specific requirements: no wigs and only candlelight," she remembered. "He truly aimed 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 working with her departed co-star. "He represented the most elegant, creative and talented man," she revealed. "He had the most mellifluous handwriting and on one occasion mailed me a note inviting me to lunch in elaborate gothic lettering."

She described Griffiths as continuously talking and telling interesting stories with both her and the young actors on set. "He possessed fantastic general knowledge so we would listen captivated to his stories."

Theatrical Work

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

The production continued for years, 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.

Performance Philosophy

When questioned about her ability to transition between humor and seriousness, Shaw clarified that "humor unites people as it's about rupturing the norm." Nevertheless, she confessed that "the night before a comedy, I always sleep poorly, because you have to catch the wave during performance."

Regarding her technique for tackling different characters, Shaw stated: "I find them all difficult. But even if the character you're portraying is quite distant from you, there is often something about them that you recognize."

Recent Work

Discussing her recent performance in Hot Milk, Shaw characterized her character Rose as "a difficult person but you can't play anything from that viewpoint." The actress elaborated that Rose experiences a nervous system condition that makes walking difficult.

"She is unaware of the impact she has on her daughter," Shaw observed. "All she knows is that she wants to improve. She's both benign and blind. Perhaps that's what most of us are."

Personal Reflections

Upon hearing that viewers consider her perfect for gang boss roles, Shaw responded with humor: "Goodness me! I'm so not scary. But maybe when infused with intention, my features might seem formidable."

The actress continued: "In reality sometimes quite scatty so maybe it's redemptive for me to play highly intellectual, organized characters. I try to portray interesting people so I never judge them. Please don't fear – approach and greet me!"

Love for Language

Talking about her celebrated interpretation of the poetic work The Waste Land, Shaw conveyed her deep connection with language and poetry. "I'm consistently devoted in the language," she stated, "since the indicators to everything are contained within the selection of vocabulary."

The actress thinks that "poetry represents the refined version of language, or the moment that has been captured." As individuals boil down to what they truly want to say, it's often poetic."

Voice Recording

Regarding her acclaimed audiobook performances, particularly Alice's Adventures in Wonderland, Shaw shared that "I enjoyed recording Alice in Wonderland because I incorporated everybody I knew into it – my friends and other actors."

She described how she voiced the caterpillar as channeling Alan Rickman, and characterized the Red Queen evoking Geraldine McEwan. "It always seems a privilege to record and perform literature," she concluded, "though it requires extended periods 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. "Everything Terrence Malick says and does is unique," she observed.

She shared a specific recollection of their initial encounter: "He placed a message on my voicemail 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 unusual selection in the world."

The actress also described Malick's distinctive method 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 interior near glass or outside on the street."

Concerning the extensive editing process, Shaw disclosed that "The director requires about three years to edit the film. I had been told by the producer following twenty-four months that I was likely among the main characters, but when the film came out, I was mostly removed."

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