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

In a recent interview, renowned performer Fiona Shaw opened up about her diverse career spanning many years 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 included stronger language. "I actually spoke a different word in my speech," she clarified, "while the screenwriter wanted the studio would accept it."

The actress detailed the unusual shooting circumstances for this specific moment. "While I delivered that speech, I was filmed by about 200 cameras to create a hologram. I was completely alone in a massive studio, with neither director or production team present in the room."

Classic Literature Projects

Speaking about the forthcoming screen version of Jane Austen's classic novel, Shaw shared enthusiasm about the completed filming. "We've just finished shooting it," she stated, "though performers typically doesn't see is the completed movie."

The actress commended filmmaker Georgia Oakley as "truly wonderful and quite confident." 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 nineties version of Persuasion, playing Mrs. Croft. "The director had particular demands: no wigs and only candlelight," she remembered. "He genuinely wanted to capture the experience of early 19th century life."

Wizarding World Reflections

In response to questions regarding her time in the Harry Potter franchise, Shaw talked warmly about collaborating with the late Richard Griffiths. "Richard was the most elegant, creative and talented man," she revealed. "He possessed the most beautiful penmanship and once sent me a note asking to lunch in ornate gothic script."

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 listen captivated by his tales."

Theatrical Work

Discussing her Broadway performance in Medea, Shaw recalled how psychologically challenging the production was. "I encountered one of the chorus members several years after, who said: 'I'm not over it yet,'" she disclosed.

The production had an extensive run, beginning in Ireland, then moving to London, followed by the American capital, the New York venue, and finally Broadway. "We became very close as a company," she added.

Performance Philosophy

When questioned about her capacity to move between humor and seriousness, Shaw explained that "comedy connects us as it's about breaking conventions." Nevertheless, she admitted that "the night before a comedy, I always sleep poorly, because you have to find the rhythm during performance."

Regarding her method for approaching various roles, Shaw stated: "I discover each one difficult. But even if the character you're portraying is rather different from you, there is often something about them that you identify with."

Recent Work

Speaking about 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.

"The character doesn't realize of the impact she has on her daughter," Shaw observed. "Her only concern is that she desires to get better. She's well-intentioned yet unaware. Maybe this represents what many people resemble."

Personal Reflections

When told that audiences perceive her ideal as authority figure characters, Shaw answered with amusement: "Goodness me! I'm really not intimidating. But maybe when infused with intention, my features might seem formidable."

The actress continued: "I am in life sometimes quite scatty so perhaps it's therapeutic for me to play highly intellectual, organized characters. I try to portray interesting people so I never judge them. Don't be scared – come and say hello!"

Love for Language

Discussing her celebrated interpretation of T.S. Eliot's The Waste Land, Shaw expressed her profound relationship with language and poetry. "My heart is always 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." When people reduce to what they truly want to say, it's frequently lyrical."

Voice Recording

Regarding her acclaimed audiobook performances, particularly the classic Alice in Wonderland, Shaw revealed that "I enjoyed recording Alice in Wonderland because I included all my acquaintances into it – my friends and other actors."

She described how she performed the caterpillar as inspired by Alan Rickman, and portrayed the Red Queen as reminiscent of Geraldine McEwan. "It always seems a privilege to sit and speak 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 described him as unconventional. "Everything Terrence Malick expresses and undertakes is unique," she noted.

The actress recounted a particular memory of their initial encounter: "He placed 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 unusual selection in the world."

Shaw also mentioned 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, "meaning actors could perform inside by a window or exterior on location."

Concerning the lengthy post-production, Shaw revealed that "The director requires about three years to edit the film. I had heard from the producer following twenty-four months that I was probably one of the main characters, but when the film was released, I was nearly gone."

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