🔗 Share this article

During a recent conversation, esteemed performer Fiona Shaw opened up about her varied professional experiences covering multiple decades and iconic roles.

Andor's Powerful Speech

While talking about her unforgettable eulogy scene in the Star Wars series Andor, Shaw revealed that the initial version contained stronger language. "I actually spoke a different word in my speech," she clarified, "while the screenwriter hoped that Disney would accept it."

The actress described the unique filming conditions for this specific moment. "While I delivered that speech, I was filmed by about 200 cameras to create a hologram. I was entirely by myself in a massive studio, with no director nor crew members there with me."

Classic Literature Projects

Speaking about the forthcoming screen version of Jane Austen's classic novel, Shaw shared enthusiasm about the completed filming. "We recently completed shooting it," she mentioned, "and what an actor rarely witness is the completed movie."

The actress commended director Georgia Oakley as "truly wonderful and quite confident." The production took place in stunning houses across the UK, including sites within Dorset, Knebworth, and Devonshire.

Shaw also reflected on her previous role in the nineties version of Austen's Persuasion, playing Mrs. Croft. "The director had particular demands: without hairpieces and only candlelight," she recalled. "He genuinely wanted to capture the experience of nineteenth-century existence."

Wizarding World Reflections

When asked about her time in the wizarding film series, Shaw spoke fondly about collaborating with her departed co-star. "He represented the most elegant, creative and gifted man," she shared. "He possessed the most beautiful penmanship and on one occasion mailed me a note inviting me to lunch in ornate gothic script."

She described Griffiths as continuously talking and sharing fascinating anecdotes with herself and the young actors on set. "He had fantastic general knowledge so we would sit enthralled 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 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 Washington DC, the Brooklyn Academy of Music, and ultimately Manhattan. "We became very close as a cast," she noted.

Approach to Acting

When questioned about her ability to transition between humor and seriousness, Shaw explained that "humor unites people as it's about breaking conventions." However, she admitted that "the night before a comedy, I always sleep poorly, because you have to catch the wave during performance."

Concerning her technique for tackling various roles, Shaw commented: "I find them all difficult. But even if the character you're portraying is rather different from you, there is frequently some aspect about them that you identify with."

Recent Work

Speaking about her latest role in Hot Milk, Shaw described her character Rose as "a terrible woman though you cannot perform anything from that viewpoint." She explained that Rose experiences a functional neurological disorder that causes mobility issues.

"She is unaware of the effect she creates on her daughter," Shaw observed. "All she knows is that she desires to get better. She's well-intentioned yet unaware. Maybe this represents what most of us are."

Personal Reflections

Upon hearing that viewers consider her ideal as authority figure characters, Shaw responded with humor: "Goodness me! I'm really not intimidating. But perhaps when filled with intention, my features can appear threatening."

The actress continued: "I am in life occasionally rather disorganized so maybe it's redemptive for me to play highly intellectual, organized characters. I try to portray interesting people so I never judge them. Don't be scared – come and say hello!"

Love for Language

Discussing her celebrated interpretation of T.S. Eliot's The Waste Land, Shaw conveyed her deep connection with words and verse. "My heart is always in the language," she stated, "because the clues 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." As individuals reduce to what they genuinely wish to express, it's often poetic."

Audiobook Work

Regarding her praised spoken-word performances, particularly the classic Alice in Wonderland, Shaw shared that "I enjoyed recording Alice in Wonderland because I incorporated all my acquaintances into it – personal companions and fellow performers."

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

Collaborating with the Director

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

The actress recounted a particular memory 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."

The actress also described Malick's distinctive method 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, "so you could either perform interior near glass or exterior on location."

Concerning the lengthy post-production, Shaw revealed that "The director requires about three years to complete the movie. I had been told by the producer following twenty-four months that I was probably one of the main characters, but by the time the film was released, I was nearly gone."

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