Fiona Shaw Talks About Her Professional Journey: From Andor to Harry Potter

In a recent interview, acclaimed performer Fiona Shaw shared insights about her varied professional experiences covering many years and iconic roles.

Andor's Powerful Speech

While talking about her unforgettable eulogy scene in the Star Wars series Andor, Shaw revealed that the original script included stronger language. "I did say a different word in my speech," she explained, "while the screenwriter hoped that Disney would accept it."

The performer detailed the unique filming conditions for that particular scene. "While I delivered that speech, I was recorded with about 200 cameras for making a hologram. I was entirely by myself in a massive studio, with neither director nor crew members there with me."

Classic Literature Projects

Regarding the upcoming screen version of Jane Austen's Sense and Sensibility, Shaw expressed excitement about finishing production. "We recently completed shooting it," she mentioned, "and what an actor rarely witness is the final film."

The actress commended director Georgia Oakley as "truly wonderful and very assured." The filming took place in beautiful estates throughout Britain, including sites within Dorset, Knebworth, and Devonshire.

The actress also recalled on her earlier performance in the 1995 adaptation of Austen's Persuasion, playing Mrs. Croft. "The director had particular demands: without hairpieces and just candle illumination," she remembered. "He truly aimed to capture the experience of nineteenth-century existence."

Harry Potter Memories

When asked about her time in the wizarding film series, Shaw spoke fondly about working with the late Richard Griffiths. "He represented the most refined, artistic and gifted man," she shared. "He possessed the most beautiful penmanship and once sent me a note asking to lunch in ornate gothic script."

She described Griffiths as continuously talking and telling interesting stories with both her and the child performers on set. "He had fantastic general knowledge so we would sit enthralled to his stories."

Stage Performances

Talking about her New York stage role in the tragedy Medea, Shaw recalled how emotionally demanding the production was. "I encountered 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, beginning in Ireland, then moving to London, followed by Washington DC, the New York venue, and finally Broadway. "We became quite bonded as a company," she added.

Approach to Acting

When questioned about her ability to transition between humor and seriousness, Shaw clarified that "humor unites people as it's about breaking conventions." However, 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 find them all challenging. But even if the person you're playing is rather different from you, there is frequently some aspect about them that you recognize."

Recent Work

Speaking about her latest role in Hot Milk, Shaw characterized her character Rose as "a difficult person though you cannot perform anything from that perspective." The actress elaborated that Rose suffers from 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 wants to improve. She's well-intentioned yet unaware. Perhaps that's what most of us are."

Self-Perception

Upon hearing that viewers consider her ideal as authority figure characters, Shaw answered with humor: "Oh dear! I'm really not intimidating. But perhaps when filled with purpose, my features can appear threatening."

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. Don't be scared – approach and greet me!"

Passion for Words

Talking about her celebrated interpretation of the poetic work The Waste Land, Shaw conveyed her deep connection with words and verse. "My heart is always in the language," she stated, "because the clues to everything are there in the choice of words."

The actress thinks that "verse constitutes the polished form of language, or the instant that's been preserved." As individuals reduce to what they truly want to say, it's frequently lyrical."

Voice Recording

Concerning her praised spoken-word performances, specifically the classic Alice in Wonderland, Shaw revealed that "I loved reading Alice in Wonderland because I included all my acquaintances into it – my friends and fellow performers."

She described how she performed the caterpillar as channeling Alan Rickman, and portrayed the Red Queen as reminiscent of Geraldine McEwan. "It always seems a honor to sit and speak literature," she finished, "though it requires extended periods of work."

Working with Terrence Malick

Remembering her time working with renowned director Terrence Malick on Tree of Life, Shaw described him as unconventional. "Everything Terrence Malick says and does is different," she observed.

She shared a particular memory of their first meeting: "He placed a message on my answering machine 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 exotic choice in the world."

The actress also described Malick's distinctive method 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 continued, "meaning actors could perform interior near glass or outside on the street."

Regarding the extensive editing process, Shaw revealed that "The director requires about three years to edit the film. I had been told by 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 characterizing Malick's unique process: "He constructs this enormous structure, and he takes away many components. He essentially deconstructs films."