Fiona Shaw Discusses Her Career: From Star Wars to Wizarding World

In a recent interview, acclaimed performer Fiona Shaw shared insights about her diverse career spanning multiple decades and iconic roles.

Andor's Powerful Speech

While talking about her unforgettable eulogy scene in the Disney+ show Andor, Shaw revealed that the initial version contained stronger language. "I did say a different word in my speech," she clarified, "and the writer hoped that Disney would approve it."

The actress detailed the unusual shooting circumstances for this specific moment. "While I delivered that speech, I was recorded with about 200 cameras to create a hologram. I was completely alone in a huge soundstage, with no director nor crew members there with me."

Classic Literature Projects

Speaking about the forthcoming screen version of Jane Austen's classic novel, Shaw shared enthusiasm about the completed filming. "We recently completed shooting it," she mentioned, "and what an actor rarely witness is the completed movie."

She praised 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 previous role in the 1995 adaptation of Persuasion, playing Mrs. Croft. "Our filmmaker had specific requirements: without hairpieces and just candle illumination," she remembered. "He truly aimed to capture the experience of nineteenth-century existence."

Wizarding World Reflections

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

She described Griffiths as constantly speaking and sharing fascinating anecdotes with both her and the young actors on set. "He had remarkable worldly understanding so we would sit enthralled by his tales."

Theatrical Work

Talking about her New York stage role in the tragedy Medea, Shaw recalled how emotionally demanding the production was. "I met one of the ensemble actors three years later, who said: 'I'm not over it yet,'" she disclosed.

The production had an extensive run, starting in Dublin, then traveling to England, followed by the American capital, the Brooklyn Academy of Music, and ultimately Manhattan. "We became quite bonded as a cast," she added.

Performance Philosophy

When questioned about her capacity to move between humor and seriousness, Shaw clarified that "humor unites people as it's about rupturing the norm." However, she confessed that "the night before a comedy, I always sleep poorly, because you have to find the rhythm during performance."

Regarding her technique for tackling different characters, Shaw commented: "I discover each one difficult. But even if the character you're portraying is quite distant from you, there is frequently some aspect about them that you identify with."

Recent Work

Discussing her latest role in the production 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 functional neurological disorder that causes mobility issues.

"She is unaware of the impact she has on her daughter," Shaw noted. "Her only concern is that she wants to improve. She's both benign and blind. Perhaps that's what many people resemble."

Self-Perception

When told that audiences perceive her ideal as authority figure characters, Shaw responded with amusement: "Oh dear! I'm so not scary. But perhaps when filled with intention, my features can appear formidable."

She added: "In reality sometimes quite scatty so perhaps it's therapeutic for me to play highly intellectual, methodical personalities. I try to portray interesting people so I never judge them. Please don't fear – come and say hello!"

Passion for Words

Discussing her renowned performance of T.S. Eliot's The Waste Land, Shaw expressed her profound relationship with words and verse. "My heart is always in the language," she declared, "because the clues to everything are contained within the selection of vocabulary."

She believes that "poetry represents the polished form of language, or the instant that's been preserved." As individuals boil down to what they genuinely wish to express, it's frequently lyrical."

Audiobook Work

Concerning her acclaimed audiobook performances, specifically Alice's Adventures in Wonderland, Shaw shared that "I loved reading Alice in Wonderland because I incorporated all my acquaintances into it – my friends and other actors."

She described how she performed the caterpillar as inspired by Alan Rickman, and characterized the Red Queen as reminiscent of Geraldine McEwan. "It consistently feels a honor to record and perform literature," she finished, "though it requires days and days of work."

Collaborating with the Director

Remembering her time working with celebrated filmmaker Terrence Malick on Tree of Life, Shaw portrayed him as distinctive. "Everything Terrence Malick says and does is different," she noted.

The actress recounted a specific recollection of their initial encounter: "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?" – inquiries seldom made by other filmmakers. "He only employed natural light," she added, "so you could either perform inside by a window or outside on the street."

Concerning the extensive editing process, Shaw disclosed that "The director requires about three years to complete the movie. 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 mostly removed."

The actress finished by describing Malick's unique process: "He constructs this massive framework, and he takes away many components. He fundamentally dismantles films."