Fiona Shaw Talks About Her Career: From Andor to Harry Potter

In a recent interview, esteemed actress Fiona Shaw shared insights about her varied professional experiences spanning multiple decades and memorable characters.

Andor's Powerful Speech

While talking about her unforgettable funeral speech in the Star Wars series Andor, Shaw disclosed that the initial version included more explicit wording. "I did say a distinct term in my speech," she clarified, "and the writer hoped that Disney would approve it."

The performer described the unusual shooting circumstances for this specific moment. "While I delivered that speech, I was recorded with about 200 cameras for making a hologram. I was entirely by myself in a huge soundstage, with neither 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, "though performers rarely witness is the final film."

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

Shaw also reflected on her earlier performance in the 1995 adaptation of Austen's Persuasion, playing Mrs. Croft. "Our filmmaker had specific requirements: without hairpieces and only candlelight," she recalled. "He genuinely wanted to recreate the feeling of early 19th century life."

Wizarding World Reflections

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, creative and talented man," she revealed. "He had the most beautiful penmanship and on one occasion mailed me a note asking 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 had fantastic general knowledge so we would sit enthralled to his stories."

Theatrical Work

Discussing her New York stage role in Medea, Shaw recalled 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 disclosed.

The production continued for years, starting in Dublin, then traveling to England, followed by Washington DC, the New York venue, and finally Broadway. "We grew quite bonded as a company," she noted.

Performance Philosophy

Regarding inquiries concerning her capacity to move between comedy and drama, Shaw explained that "humor unites people as it's about rupturing the norm." However, she admitted that "prior to a comedy, I always sleep poorly, because you have to catch the wave during performance."

Regarding her method for approaching various roles, Shaw commented: "I discover each one difficult. But even if the person you're playing is quite distant from you, there is frequently some aspect about them that you identify with."

Recent Work

Speaking about her recent performance in Hot Milk, Shaw described her character Rose as "a terrible woman but you can't play 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 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

When told that audiences perceive her perfect for authority figure characters, Shaw answered with amusement: "Oh dear! I'm so not scary. But maybe when infused with purpose, my features might seem formidable."

She added: "I am in life occasionally rather disorganized so maybe it's redemptive for me to play highly intellectual, methodical personalities. I try to portray interesting people so I never judge them. Please don't fear – approach and greet me!"

Passion for Words

Talking about her renowned performance of T.S. Eliot's The Waste Land, Shaw conveyed her deep connection with language and poetry. "I'm consistently devoted in the language," she declared, "because the clues to everything are contained within the choice of words."

The actress thinks that "poetry represents the polished form 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 acclaimed audiobook performances, particularly the classic Alice in Wonderland, Shaw shared that "I loved reading Alice in Wonderland because I included everybody I knew into it – personal companions and other actors."

She described how she performed the caterpillar as channeling Alan Rickman, and characterized the Red Queen as reminiscent of Geraldine McEwan. "It consistently feels a privilege to sit and speak literature," she finished, "despite needing days and days of work."

Working with Terrence Malick

Remembering her time working with renowned director Terrence Malick on his film Tree of Life, Shaw described him as distinctive. "All that the director says and does is unique," she noted.

The actress recounted a particular memory of their first meeting: "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 exotic choice in the world."

Shaw also mentioned Malick's unusual approach of asking actors "Do you want to do this scene inside or outside?" – 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."

Concerning the extensive editing process, Shaw revealed that "He takes approximately three years to edit the film. I had heard from the producer following twenty-four months that I was likely among the main characters, but by the time the film came out, I was mostly removed."

The actress finished by describing Malick's unique process: "He builds this massive framework, and he removes most elements. He essentially deconstructs films."