🔗 Share this article

In a recent interview, renowned actress Fiona Shaw shared insights 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 revealed that the initial version included stronger language. "I did say a distinct term in my speech," she explained, "and the writer hoped that Disney would accept it."

The performer detailed the unique filming conditions 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 huge soundstage, with neither director nor crew members present in the room."

Jane Austen Adaptations

Regarding the upcoming screen version of Jane Austen's classic novel, Shaw shared enthusiasm about the completed filming. "We recently completed shooting it," she mentioned, "though performers rarely witness is the final film."

She praised director Georgia Oakley as "really lovely and quite confident." The production took place in beautiful estates across the UK, including locations in Dorset, Knebworth, and Devonshire.

Shaw also reflected on her previous role in the nineties version of Persuasion, portraying Mrs. Croft. "Our filmmaker had specific requirements: no wigs and only candlelight," she remembered. "He genuinely wanted to capture the experience of nineteenth-century existence."

Harry Potter Memories

When asked about her time in the wizarding film series, Shaw spoke fondly about working with the late Richard Griffiths. "Richard was the most elegant, artistic and gifted man," she shared. "He possessed the most beautiful penmanship and on one occasion mailed me a note asking to lunch in ornate gothic script."

She described Griffiths as continuously talking and telling interesting stories with herself and the young actors on set. "He had remarkable worldly understanding so we would listen captivated to his stories."

Stage Performances

Discussing her New York stage role in Medea, Shaw remembered how psychologically challenging the show was. "I met one of the chorus members 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 Washington DC, the Brooklyn Academy of Music, and finally Broadway. "We became very close as a company," she noted.

Performance Philosophy

When questioned about her ability to transition between humor and seriousness, Shaw clarified 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 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 often something about them that you identify with."

Current Projects

Speaking about her latest role in Hot Milk, Shaw described her character Rose as "a terrible woman but you can't play anything from that perspective." She explained 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 noted. "All she knows is that she wants to improve. She's both benign and blind. Perhaps that's what most of us are."

Personal Reflections

Upon hearing that audiences perceive her perfect for authority figure characters, Shaw responded with humor: "Goodness me! I'm so not scary. But maybe when infused with intention, my features might seem 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 avoid criticizing them. Don't be scared – approach and greet me!"

Love for Language

Discussing her renowned performance of the poetic work The Waste Land, Shaw expressed her profound relationship with words and verse. "My heart is always in the language," she stated, "because the clues to everything are there in the selection of vocabulary."

The actress thinks that "poetry represents the polished form of language, or the moment that has been captured." As individuals reduce 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."

The actress explained how she voiced the caterpillar as inspired by Alan Rickman, and characterized the Red Queen as reminiscent of Geraldine McEwan. "It consistently feels a privilege to sit and speak literature," she finished, "though it requires extended periods of work."

Working with Terrence Malick

Recalling her experience working with celebrated filmmaker Terrence Malick on Tree of Life, Shaw described him as unconventional. "Everything Terrence Malick expresses and undertakes is unique," she observed.

She shared a specific recollection of their first meeting: "He placed a message on my voicemail 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 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?" – questions rarely posed by other filmmakers. "He only employed natural light," she added, "so you could either perform interior near glass or exterior on location."

Concerning the lengthy post-production, Shaw disclosed that "The director requires about three years to complete the movie. I had heard from the producer following twenty-four months that I was probably one of the primary roles, but when the film was released, I was mostly removed."

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