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

In a recent interview, renowned performer Fiona Shaw shared insights about her diverse career spanning many years and iconic roles.

The Impactful Andor Monologue

When discussing her memorable eulogy scene in the Star Wars series Andor, Shaw disclosed that the original script included more explicit wording. "I did say a distinct term in my speech," she explained, "and the writer hoped that Disney would approve 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 or production team present in the room."

Jane Austen Adaptations

Speaking about the forthcoming screen version of Jane Austen's Sense and Sensibility, Shaw shared enthusiasm about the completed filming. "We recently completed shooting it," she stated, "though performers typically doesn't see is the completed movie."

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

The actress also recalled on her previous role in the nineties version of Persuasion, portraying Mrs. Croft. "The director had particular demands: without hairpieces and just candle illumination," she recalled. "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 elegant, creative and gifted man," she shared. "He had the most mellifluous handwriting and on one occasion mailed me a note inviting me to lunch in elaborate gothic lettering."

She described Griffiths as continuously talking and telling interesting stories with herself and the child performers on set. "He had fantastic general knowledge so we would sit enthralled to his stories."

Theatrical Work

Talking about her Broadway performance in Medea, Shaw recalled 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, beginning in Ireland, then traveling to England, followed by the American capital, the New York venue, and finally Broadway. "We grew very close as a cast," she added.

Approach to Acting

Regarding inquiries concerning her capacity to move between humor and seriousness, Shaw clarified that "humor unites people as it's about rupturing the norm." However, she confessed that "the night before a comedy, I always rest badly, because you have to catch the wave during performance."

Concerning her method for approaching various roles, Shaw commented: "I find them all challenging. But even if the person you're playing is rather different from you, there is often something about them that you identify with."

Recent Work

Speaking about her recent performance in Hot Milk, Shaw characterized her character Rose as "a terrible woman though you cannot perform anything from that viewpoint." The actress elaborated that Rose experiences a nervous system condition that makes walking difficult.

"She is unaware of the effect she creates on her daughter," Shaw observed. "All she knows is that she wants to improve. She's both benign and blind. Perhaps that's what many people resemble."

Personal Reflections

Upon hearing that audiences perceive her perfect for authority figure characters, Shaw responded with amusement: "Oh dear! I'm really not intimidating. But perhaps when filled with purpose, my features might seem formidable."

She added: "In reality sometimes quite scatty so maybe it's redemptive for me to play very intelligent, organized characters. I try to depict fascinating individuals so I never judge them. Please don't fear – come and say hello!"

Passion for Words

Discussing 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 polished form of language, or the moment that has been captured." As individuals reduce to what they truly want to say, it's often poetic."

Audiobook Work

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

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

Working with Terrence Malick

Remembering her time 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 unique," she observed.

She shared a specific recollection of their first meeting: "He placed 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 "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 interior near glass or outside on the street."

Concerning the extensive editing process, Shaw revealed that "He takes approximately three years to complete the movie. 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."

She concluded by characterizing Malick's distinctive approach: "He builds this massive framework, and he removes most elements. He essentially deconstructs films."