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

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

The Impactful Andor Monologue

When discussing her memorable eulogy scene in the Disney+ show Andor, Shaw disclosed that the initial version contained more explicit wording. "I actually spoke a distinct term in my speech," she explained, "while the screenwriter wanted the studio would accept it."

The performer detailed the unusual shooting circumstances for this specific moment. "When I performed that speech, I was recorded with about 200 cameras to create a hologram. I was completely alone in a huge soundstage, with no director or production team there with me."

Classic Literature Projects

Regarding the upcoming screen version of Jane Austen's Sense and Sensibility, Shaw shared enthusiasm about the completed filming. "We recently completed shooting it," she mentioned, "and what an actor rarely witness is the completed movie."

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

Shaw also reflected on her previous role in the nineties version of Persuasion, playing Mrs. Croft. "The director had specific requirements: no wigs and just candle illumination," she recalled. "He genuinely wanted to capture the experience of nineteenth-century existence."

Wizarding World Reflections

When asked about her experience with the wizarding film series, Shaw talked warmly about collaborating with her departed co-star. "Richard was the most elegant, artistic and talented man," she shared. "He had the most beautiful penmanship and once sent me a note inviting me to lunch in elaborate gothic lettering."

The actress portrayed Griffiths as constantly speaking and telling interesting stories with both her and the child performers on set. "He possessed remarkable worldly understanding so we would sit enthralled by his tales."

Theatrical Work

Discussing her Broadway performance in Medea, Shaw remembered how emotionally demanding 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 the American capital, the Brooklyn Academy of Music, and ultimately Manhattan. "We became quite bonded as a company," she noted.

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." However, she confessed that "the night before 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 difficult. But even if the character you're portraying is quite distant from you, there is often something about them that you recognize."

Current Projects

Discussing her recent performance in Hot Milk, Shaw described her character Rose as "a difficult person but you can't play anything from that viewpoint." She explained that Rose suffers from a nervous system condition that makes walking difficult.

"She is unaware of the effect she creates on her daughter," Shaw noted. "All she knows is that she desires to get better. She's well-intentioned yet unaware. Maybe this represents what most of us are."

Personal Reflections

When told that viewers consider her perfect for authority figure characters, Shaw responded with amusement: "Oh dear! I'm really not intimidating. But perhaps when filled with purpose, my features might seem threatening."

The actress continued: "In reality occasionally rather disorganized so maybe it's redemptive for me to play highly intellectual, methodical personalities. I try to depict fascinating individuals so I never judge them. Don't be scared – come and say hello!"

Love for Language

Talking about her celebrated interpretation of T.S. Eliot's The Waste Land, Shaw conveyed her profound relationship with language and poetry. "I'm consistently devoted 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 often poetic."

Voice Recording

Regarding her praised spoken-word performances, specifically Alice's Adventures in Wonderland, Shaw shared that "I enjoyed recording Alice in Wonderland because I incorporated all my acquaintances into it – my friends and fellow performers."

She described how she voiced the caterpillar as channeling Alan Rickman, and characterized the Red Queen as reminiscent of Geraldine McEwan. "It always seems a honor to sit and speak literature," she concluded, "despite needing days and days 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. "All that the director expresses and undertakes is different," she noted.

She shared a specific recollection of their first meeting: "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 exotic choice in the world."

The actress also described Malick's distinctive method of asking actors "Do you want to do this scene indoors or outdoors?" – questions rarely posed by different directors. "He only employed natural light," she added, "meaning actors could perform inside by a window or exterior on location."

Concerning the lengthy post-production, Shaw disclosed that "He takes approximately three years to complete the movie. I had been told by the producer following twenty-four months that I was probably one of the primary roles, but by the time the film was released, I was mostly removed."

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