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

During a recent conversation, acclaimed performer Fiona Shaw shared insights 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 disclosed that the original script contained more explicit wording. "I actually spoke a distinct term in my speech," she explained, "while the screenwriter hoped that Disney would accept it."

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

Jane Austen Adaptations

Speaking about the forthcoming screen version of Jane Austen's Sense and Sensibility, Shaw expressed excitement about finishing production. "We've just finished shooting it," she mentioned, "though performers rarely witness is the final film."

The actress commended filmmaker Georgia Oakley as "truly wonderful and very assured." The production took place in stunning houses across the UK, including locations in Dorset, Knebworth, and Devonshire.

The actress also recalled on her previous role in the 1995 adaptation of Persuasion, portraying Mrs. Croft. "The director had particular demands: no wigs and just candle illumination," she remembered. "He genuinely wanted to capture the experience of nineteenth-century existence."

Harry Potter Memories

In response to questions regarding her time in the wizarding film series, Shaw spoke fondly about working with the late Richard Griffiths. "Richard was the most refined, artistic and talented man," she revealed. "He possessed the most mellifluous handwriting and on one occasion mailed me a note asking to lunch in elaborate gothic lettering."

The actress portrayed Griffiths as constantly speaking and sharing fascinating anecdotes with both her and the child performers on set. "He possessed remarkable worldly understanding so we would listen captivated to his stories."

Stage Performances

Talking about her Broadway performance in the tragedy Medea, Shaw remembered how psychologically challenging the show was. "I met one of the ensemble actors several years after, who said: 'I'm not over it yet,'" she shared.

This theatrical work had an extensive run, starting in Dublin, then moving to London, followed by the American capital, the Brooklyn Academy of Music, and ultimately Manhattan. "We became quite bonded as a company," she added.

Performance Philosophy

Regarding inquiries concerning her ability to transition between humor and seriousness, Shaw explained that "humor unites people as it's about rupturing the norm." However, she admitted that "prior to a comedy, I always sleep poorly, because you have to catch the wave on the day."

Concerning her method for approaching different characters, Shaw stated: "I find them all challenging. But even if the character you're portraying is rather different from you, there is often something about them that you identify with."

Current Projects

Discussing her recent performance in Hot Milk, Shaw described her character Rose as "a difficult person though you cannot perform anything from that viewpoint." She explained that Rose experiences a nervous system condition that causes mobility issues.

"The character doesn't realize of the impact she has on her daughter," Shaw noted. "Her only concern is that she wants to improve. She's well-intentioned yet unaware. Perhaps that's what most of us are."

Personal Reflections

Upon hearing that audiences perceive her perfect for gang boss roles, Shaw responded with humor: "Goodness me! I'm really not intimidating. But perhaps when filled with purpose, my features can appear threatening."

She added: "I am in life sometimes quite scatty so maybe it's redemptive for me to play highly intellectual, methodical personalities. I try to portray interesting people so I avoid criticizing them. Don't be scared – come and say hello!"

Passion for Words

Talking about her celebrated interpretation of the poetic work The Waste Land, Shaw conveyed her deep connection with language and poetry. "I'm consistently devoted in the language," she stated, "because the clues to everything are contained within the selection of vocabulary."

The actress thinks that "verse constitutes the refined version of language, or the instant that's been preserved." When people boil down to what they genuinely wish to express, it's frequently lyrical."

Audiobook Work

Regarding her acclaimed audiobook performances, specifically the classic Alice in Wonderland, Shaw shared that "I loved reading Alice in Wonderland because I included everybody I knew into it – personal companions 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 privilege to record and perform literature," she concluded, "despite needing extended periods of work."

Working with Terrence Malick

Recalling her experience working with celebrated filmmaker Terrence Malick on Tree of Life, Shaw portrayed him as distinctive. "All that the director says and does is different," she noted.

The actress recounted a particular memory of their first meeting: "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 "Do you want to do this scene inside or outside?" – inquiries seldom made by different directors. "He only employed natural light," she continued, "so you could either perform inside by a window or exterior on location."

Concerning the extensive editing process, Shaw revealed that "He takes approximately three years to edit the film. I had been told by the producer following twenty-four months that I was likely among the main characters, but when the film came out, I was nearly gone."

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