🔗 Share this article

During a recent conversation, esteemed actress Fiona Shaw opened up about her varied professional experiences covering many years and memorable characters.

Andor's Powerful Speech

When discussing her unforgettable eulogy scene in the Star Wars series Andor, Shaw revealed that the original script included stronger language. "I actually spoke a different word 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 recorded with about 200 cameras for making 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 adaptation of Jane Austen's Sense and Sensibility, Shaw shared enthusiasm about the completed filming. "We've just finished shooting it," she stated, "though performers rarely witness is the completed movie."

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

Shaw also reflected on her earlier performance in the 1995 adaptation of Persuasion, portraying Mrs. Croft. "The director had specific requirements: without hairpieces and just candle illumination," she remembered. "He truly aimed to capture the experience of early 19th century life."

Harry Potter Memories

When asked about her time in the Harry Potter franchise, Shaw spoke fondly about collaborating with her departed co-star. "He represented the most refined, artistic and talented man," she shared. "He possessed the most mellifluous handwriting 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 child performers on set. "He possessed remarkable worldly understanding so we would listen captivated by his tales."

Stage Performances

Discussing her Broadway performance in the tragedy Medea, Shaw recalled how emotionally demanding the show was. "I met one of the chorus members three years later, who said: 'I'm not over it yet,'" she disclosed.

This theatrical work continued for years, starting in Dublin, then traveling to England, followed by the American capital, the New York venue, and ultimately Manhattan. "We grew very close as a company," she noted.

Approach to Acting

Regarding inquiries concerning her capacity to move between humor and seriousness, Shaw clarified that "humor unites people as it's about rupturing the norm." Nevertheless, she confessed that "prior to a comedy, I always sleep poorly, because you have to catch the wave on the day."

Regarding her technique for tackling various roles, Shaw commented: "I discover each one challenging. But even if the character you're portraying is rather different from you, there is frequently some aspect 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 perspective." She explained that Rose suffers from a functional neurological disorder that makes walking difficult.

"The character doesn't realize of the impact she has on her daughter," Shaw noted. "All she knows is that she desires to get better. 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 responded with humor: "Goodness me! I'm really not intimidating. But perhaps when filled with purpose, my features might seem threatening."

The actress continued: "In reality sometimes quite scatty so perhaps it's therapeutic for me to play very intelligent, methodical personalities. I try to depict fascinating individuals so I never judge them. Don't be scared – come and say hello!"

Passion for Words

Discussing her renowned performance of the poetic work The Waste Land, Shaw expressed her deep connection with words and verse. "My heart is always in the language," she declared, "because the clues to everything are there in the choice of words."

The actress thinks that "poetry represents the polished form of language, or the instant that's been preserved." When people boil down to what they truly want to say, it's often poetic."

Audiobook Work

Regarding her praised spoken-word performances, specifically the classic Alice in Wonderland, Shaw shared that "I enjoyed recording Alice in Wonderland because I incorporated everybody I knew into it – my friends and other actors."

The actress explained how she performed the caterpillar as inspired by 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 portrayed him as unconventional. "Everything Terrence Malick expresses and undertakes is unique," she observed.

She shared a particular memory 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 unusual selection in the world."

Shaw also mentioned Malick's distinctive method of asking actors "Do you want to do this scene inside or outside?" – inquiries seldom made by other filmmakers. "He only employed natural light," she added, "meaning actors could perform interior near glass or exterior on location."

Concerning the lengthy post-production, Shaw revealed that "The director requires about three years to complete the movie. 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."

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