Fiona Shaw Discusses 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 memorable characters.

The Impactful Andor Monologue

While talking about her unforgettable funeral speech in the Disney+ show Andor, Shaw disclosed that the initial version included stronger language. "I actually spoke a distinct term in my speech," she explained, "while the screenwriter hoped that Disney would approve it."

The actress described the unique filming conditions for this specific moment. "While I delivered that speech, I was recorded with about 200 cameras to create a hologram. I was entirely by myself in a massive studio, with neither director or production team present in the room."

Jane Austen Adaptations

Speaking about the forthcoming adaptation of Jane Austen's classic novel, Shaw expressed excitement about finishing production. "We recently completed shooting it," she stated, "though performers typically doesn't see is the final film."

The actress commended director Georgia Oakley as "truly wonderful and very assured." The production took place in beautiful estates throughout Britain, including sites within Dorset, Knebworth, and Devonshire.

The actress also recalled on her earlier performance in the 1995 adaptation of Austen's Persuasion, portraying 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

In response to questions regarding her experience with the wizarding film series, Shaw talked warmly about collaborating with the late Richard Griffiths. "Richard was the most elegant, artistic and gifted man," she shared. "He had the most mellifluous handwriting and once sent me a note inviting me to lunch in elaborate gothic lettering."

The actress portrayed Griffiths as continuously talking and telling interesting stories with both her and the young actors on set. "He had fantastic general knowledge so we would sit enthralled by his tales."

Theatrical Work

Talking about her New York stage role in Medea, Shaw remembered how psychologically challenging the show was. "I met one of the ensemble actors 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 Brooklyn Academy of Music, and finally Broadway. "We grew very close as a cast," she added.

Performance Philosophy

When questioned about her ability to transition between comedy and drama, Shaw explained that "comedy connects us as it's about breaking conventions." However, she confessed that "the night before a comedy, I always sleep poorly, because you have to find the rhythm on the day."

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

Recent Work

Speaking about her recent performance in the production Hot Milk, Shaw described her character Rose as "a terrible woman though you cannot perform anything from that viewpoint." The actress elaborated that Rose suffers from a nervous system condition that makes walking difficult.

"She is unaware of the effect she creates on her daughter," Shaw observed. "Her only concern is that she wants to improve. She's both benign and blind. Maybe this represents what most of us are."

Personal Reflections

When told that viewers consider her ideal as authority figure characters, Shaw answered with humor: "Oh dear! I'm really not intimidating. But perhaps when filled with intention, my features can appear formidable."

She added: "I am in life 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. Don't be scared – approach and greet me!"

Love for Language

Discussing her renowned performance of T.S. Eliot's The Waste Land, Shaw expressed her deep connection with language and poetry. "My heart is always in the language," she declared, "since the indicators to everything are contained within the choice of words."

She believes that "verse constitutes 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 frequently lyrical."

Voice Recording

Regarding her acclaimed audiobook performances, particularly Alice's Adventures in Wonderland, Shaw revealed that "I loved reading Alice in Wonderland because I incorporated everybody I knew into it – personal companions and other actors."

The actress explained how she voiced the caterpillar as channeling Alan Rickman, and characterized the Red Queen as reminiscent of Geraldine McEwan. "It consistently feels a honor to sit and speak literature," she finished, "despite needing extended periods of work."

Working with Terrence Malick

Recalling her experience working with celebrated filmmaker Terrence Malick on his film Tree of Life, Shaw described him as distinctive. "Everything Terrence Malick says and does is different," she observed.

She shared a specific recollection of their initial encounter: "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 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?" – questions rarely posed by different directors. "He only employed natural light," she continued, "meaning actors could perform interior near glass or outside on the street."

Regarding the extensive editing process, Shaw disclosed that "The director requires about three years to edit the film. I had heard from the producer after two years that I was probably one of the primary roles, but when the film came out, I was mostly removed."

She concluded by describing Malick's unique process: "He constructs this massive framework, and he takes away many components. He essentially deconstructs films."