Fiona Shaw Talks About Her Career: From Andor to Harry Potter

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 memorable eulogy scene in the Star Wars series Andor, Shaw disclosed that the original script contained stronger language. "I did say a different word in my speech," she explained, "and the writer wanted the studio would approve it."

The performer detailed the unique filming conditions for that particular scene. "While I delivered that speech, I was recorded with about 200 cameras for making a hologram. I was entirely by myself in a massive studio, with neither director nor crew members present in the room."

Classic Literature Projects

Regarding the upcoming screen version of Jane Austen's classic novel, Shaw expressed excitement about finishing production. "We recently completed shooting it," she mentioned, "though performers typically doesn't see is the final film."

The actress commended filmmaker Georgia Oakley as "truly wonderful and very assured." The filming took place in stunning houses throughout Britain, including locations in Dorset, Knebworth, and Devonshire.

The actress also recalled on her previous role in the nineties version of Persuasion, playing Mrs. Croft. "The director had particular demands: no wigs and just candle illumination," she remembered. "He genuinely wanted to recreate the feeling of nineteenth-century existence."

Harry Potter Memories

When asked about her experience with the wizarding film series, Shaw talked warmly about collaborating with her departed co-star. "Richard was the most refined, artistic and gifted man," she shared. "He possessed the most beautiful penmanship and once sent me a note inviting me to lunch in elaborate gothic lettering."

The actress portrayed Griffiths as constantly speaking and sharing fascinating anecdotes with herself and the young actors on set. "He possessed fantastic general knowledge so we would listen captivated by his tales."

Stage Performances

Discussing her Broadway performance in the tragedy Medea, Shaw recalled how psychologically challenging the production was. "I met one of the chorus members three years later, who said: 'I'm not over it yet,'" she shared.

This theatrical work had an extensive run, beginning in Ireland, then traveling to England, followed by Washington DC, the Brooklyn Academy of Music, and finally Broadway. "We grew quite bonded as a cast," she noted.

Performance Philosophy

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 admitted that "the night before a comedy, I always rest badly, because you have to catch the wave on the day."

Concerning her method for approaching different characters, Shaw stated: "I discover each one difficult. But even if the person you're playing is quite distant from you, there is frequently some aspect about them that you identify with."

Current Projects

Discussing her latest role in the production Hot Milk, Shaw described her character Rose as "a difficult person but you can't play anything from that viewpoint." She explained that Rose suffers from a functional neurological disorder 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 both benign and blind. Maybe this represents what many people resemble."

Personal Reflections

When told that audiences perceive her perfect for authority figure characters, Shaw answered with amusement: "Goodness me! I'm really not intimidating. But perhaps when filled with purpose, my features might seem formidable."

The actress continued: "In reality occasionally rather disorganized so maybe it's redemptive for me to play highly intellectual, methodical personalities. I try to portray interesting people so I avoid criticizing them. Please don't fear – approach and greet me!"

Love for Language

Talking about her renowned performance of T.S. Eliot's The Waste Land, Shaw expressed her deep connection with words and verse. "I'm consistently devoted in the language," she stated, "since the indicators to everything are there in the choice of words."

The actress thinks that "verse constitutes the polished form of language, or the instant that's been preserved." When people reduce to what they truly want to say, it's often poetic."

Voice Recording

Regarding her acclaimed audiobook performances, specifically the classic Alice in Wonderland, Shaw revealed that "I loved reading Alice in Wonderland because I included all my acquaintances into it – personal companions and other actors."

The actress explained how she performed the caterpillar as inspired by Alan Rickman, and portrayed the Red Queen as reminiscent of Geraldine McEwan. "It always seems a privilege to sit and speak literature," she concluded, "though it requires days and days of work."

Working with Terrence Malick

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

She shared a specific recollection 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 distinctive method of asking actors "Would you prefer to do this scene inside or outside?" – inquiries seldom made by different directors. "He exclusively used natural light," she continued, "so you could either perform inside by a window or outside on the street."

Regarding the extensive editing process, Shaw revealed that "He takes approximately three years to edit the film. I had heard from the producer following twenty-four months that I was likely among the main characters, but when the film came out, I was mostly removed."

The actress finished by describing Malick's unique process: "He builds this massive framework, and he removes most elements. He essentially deconstructs films."