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

During a recent conversation, acclaimed actress Fiona Shaw shared insights about her diverse career spanning many years and memorable characters.

Andor's Powerful Speech

When discussing her memorable funeral speech in the Disney+ show Andor, Shaw revealed that the original script contained more explicit wording. "I did say a distinct term in my speech," she explained, "and the writer wanted the studio would accept it."

The actress detailed the unusual shooting circumstances for this specific moment. "While I delivered that speech, I was recorded with about 200 cameras to create a hologram. I was completely alone in a massive studio, with no director nor crew members present in the room."

Jane Austen Adaptations

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

The actress commended filmmaker Georgia Oakley as "really lovely and very assured." The production took place in beautiful estates across the UK, including sites within Dorset, Knebworth, and Devonshire.

Shaw also reflected on her earlier performance in the 1995 adaptation of Persuasion, portraying Mrs. Croft. "The director had specific requirements: without hairpieces and just candle illumination," she remembered. "He truly aimed to capture the experience of nineteenth-century existence."

Wizarding World Reflections

In response to questions regarding 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 possessed the most mellifluous handwriting and once sent 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 child performers on set. "He had fantastic general knowledge so we would sit enthralled to his stories."

Stage Performances

Talking about her New York stage role in the tragedy Medea, Shaw remembered 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.

The production had an extensive run, starting in Dublin, then moving to London, followed by Washington DC, the New York venue, and ultimately Manhattan. "We grew very close as a company," she noted.

Approach to Acting

When questioned about her ability to transition between humor and seriousness, Shaw clarified that "comedy connects us as it's about rupturing the norm." However, she admitted that "the night before a comedy, I always rest badly, because you have to find the rhythm during performance."

Concerning her technique for tackling different characters, Shaw commented: "I discover each one challenging. But even if the person you're playing is quite distant from you, there is frequently some aspect about them that you recognize."

Recent Work

Discussing her latest role in the production Hot Milk, Shaw characterized her character Rose as "a terrible woman though you cannot perform anything from that perspective." She explained that Rose suffers from a functional neurological disorder that causes mobility issues.

"She is unaware of the impact she has on her daughter," Shaw noted. "Her only concern is that she desires to get better. She's well-intentioned yet unaware. Maybe this represents what many people resemble."

Self-Perception

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

She added: "In reality sometimes quite scatty so perhaps it's therapeutic for me to play highly intellectual, organized characters. I try to depict fascinating individuals so I avoid criticizing them. Please don't fear – come and say hello!"

Love for Language

Talking about her celebrated interpretation of the poetic work The Waste Land, Shaw conveyed her profound relationship with language and poetry. "My heart is always in the language," she declared, "since the indicators to everything are there in the choice of words."

She believes that "poetry represents the polished form of language, or the instant that's been preserved." When people 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 loved reading Alice in Wonderland because I included all my acquaintances into it – my friends and fellow performers."

The actress explained how she voiced the caterpillar as channeling Alan Rickman, and portrayed the Red Queen evoking Geraldine McEwan. "It consistently feels a privilege to sit and speak literature," she concluded, "despite needing days and days of work."

Collaborating with the Director

Remembering her time working with celebrated filmmaker Terrence Malick on Tree of Life, Shaw described him as unconventional. "All that the director says and does is different," she noted.

The actress recounted a specific recollection of their initial encounter: "He left 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 unusual selection in the world."

Shaw also mentioned Malick's distinctive method of asking actors "Do you want to do this scene inside or outside?" – questions rarely posed by other filmmakers. "He exclusively used natural light," she continued, "so you could either perform interior near glass or exterior on location."

Concerning the extensive editing process, Shaw revealed that "The director requires about three years to complete the movie. I had been told by the producer after two years that I was likely among the primary roles, but when the film was released, I was mostly removed."

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