🔗 Share this article

During a recent conversation, acclaimed actress Fiona Shaw opened up about her varied professional experiences spanning multiple decades and iconic roles.

Andor's Powerful Speech

While talking about her memorable funeral speech in the Star Wars series Andor, Shaw revealed that the original script contained more explicit wording. "I did say a different word in my speech," she clarified, "and the writer wanted the studio would accept it."

The performer described the unique filming conditions for that particular scene. "When I performed that speech, I was filmed by about 200 cameras for making a hologram. I was completely alone in a huge soundstage, with neither director nor crew members there with me."

Classic Literature Projects

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

She praised director Georgia Oakley as "really lovely and quite confident." The filming took place in stunning houses across the UK, 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 just candle illumination," she remembered. "He truly aimed to capture the experience of nineteenth-century existence."

Harry Potter Memories

In response to questions regarding her time in the Harry Potter franchise, Shaw spoke fondly about collaborating with her departed co-star. "Richard was the most elegant, creative and talented man," she revealed. "He possessed the most mellifluous handwriting and once sent me a note asking to lunch in ornate gothic script."

The actress portrayed Griffiths as continuously talking and telling interesting stories with herself and the child performers on set. "He had remarkable worldly understanding so we would sit enthralled to his stories."

Theatrical Work

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

This theatrical work continued for years, starting in Dublin, then moving to London, followed by the American capital, the Brooklyn Academy of Music, and finally Broadway. "We grew very close as a cast," she added.

Approach to Acting

When questioned about her capacity to move between comedy and drama, Shaw clarified that "comedy connects us as it's about rupturing the norm." Nevertheless, she confessed that "the night before a comedy, I always rest badly, because you have to catch the wave during performance."

Regarding her method for approaching various roles, Shaw stated: "I find them all challenging. But even if the character you're portraying is quite distant from you, there is frequently some aspect about them that you identify with."

Current Projects

Discussing her latest role in Hot Milk, Shaw characterized her character Rose as "a terrible woman though you cannot perform anything from that perspective." The actress elaborated that Rose suffers from a functional neurological disorder that causes mobility issues.

"She is unaware of the impact she has on her daughter," Shaw noted. "All she knows is that she desires to get better. She's both benign and blind. Perhaps that's what most of us are."

Self-Perception

When told that viewers consider her perfect for gang boss roles, Shaw answered with humor: "Oh dear! I'm really not intimidating. But maybe when infused with intention, my features can appear formidable."

She added: "In reality sometimes quite scatty so maybe it's redemptive for me to play highly intellectual, organized characters. I try to depict fascinating individuals so I avoid criticizing them. Please don't fear – come and say hello!"

Love for Language

Discussing her celebrated interpretation of the poetic work The Waste Land, Shaw conveyed her deep connection with words and verse. "My heart is always in the language," she stated, "since the indicators to everything are contained within the choice of words."

The actress thinks that "verse constitutes the refined version of language, or the moment that has been captured." When people reduce to what they genuinely wish to express, it's frequently lyrical."

Audiobook Work

Concerning her praised spoken-word 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."

She described how she voiced the caterpillar as channeling Alan Rickman, and portrayed the Red Queen evoking Geraldine McEwan. "It always seems a privilege to record and perform literature," she finished, "despite needing extended periods of work."

Working with Terrence Malick

Recalling her experience working with renowned director Terrence Malick on Tree of Life, Shaw portrayed him as unconventional. "All that the director expresses and undertakes is different," she noted.

She shared a specific recollection of their initial encounter: "He left 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 unusual approach of asking actors "Would you prefer to do this scene indoors or outdoors?" – inquiries seldom made by other filmmakers. "He exclusively used natural light," she added, "meaning actors could perform inside by a window or exterior on location."

Regarding the extensive editing process, 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 came out, I was nearly gone."

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