Fiona Shaw Talks About Her Professional Journey: From Andor to Harry Potter

During a recent conversation, esteemed actress Fiona Shaw opened up about her varied professional experiences spanning many years and memorable characters.

Andor's Powerful Speech

When discussing her unforgettable funeral speech in the Star Wars series Andor, Shaw revealed that the initial version included more explicit wording. "I did say a different word in my speech," she explained, "and the writer wanted the studio would approve it."

The performer described the unique filming conditions for that particular scene. "While I delivered that speech, I was filmed by about 200 cameras to create a hologram. I was completely alone in a massive studio, with no director or production team present in the room."

Classic Literature Projects

Speaking about the forthcoming adaptation of Jane Austen's Sense and Sensibility, Shaw shared enthusiasm about finishing production. "We've just finished 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 filming took place in stunning houses across the UK, including locations in Dorset, Knebworth, and Devonshire.

Shaw also reflected on her earlier performance in the 1995 adaptation of Persuasion, playing Mrs. Croft. "Our filmmaker had specific requirements: without hairpieces and only candlelight," she remembered. "He truly aimed to capture the experience of nineteenth-century existence."

Harry Potter Memories

In response to questions regarding her experience with the wizarding film series, Shaw talked warmly about working with the late Richard Griffiths. "Richard was the most refined, artistic and gifted man," she revealed. "He had the most beautiful penmanship and on one occasion mailed me a note inviting me to lunch in ornate gothic script."

The actress portrayed 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."

Stage Performances

Discussing her Broadway performance in Medea, Shaw recalled how psychologically challenging the show was. "I encountered one of the chorus members several years after, who said: 'I'm not over it yet,'" she shared.

This theatrical work continued for years, beginning in Ireland, then moving to London, followed by Washington DC, the New York venue, and finally Broadway. "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 "comedy connects us as it's about breaking conventions." However, she admitted that "prior to a comedy, I always sleep poorly, because you have to catch the wave during performance."

Concerning her technique for tackling different characters, Shaw commented: "I find them all difficult. But even if the person you're playing is quite distant from you, there is often something about them that you recognize."

Current Projects

Speaking about her latest role in the production Hot Milk, Shaw described her character Rose as "a terrible woman but you can't play anything from that viewpoint." She explained that Rose experiences a functional neurological disorder 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 well-intentioned yet unaware. Perhaps that's what most of us are."

Self-Perception

When told that audiences perceive her perfect for gang boss roles, Shaw answered with humor: "Goodness me! I'm so not scary. But maybe when infused with purpose, my features can appear threatening."

She added: "In reality sometimes quite scatty so perhaps it's therapeutic for me to play very intelligent, methodical personalities. I try to portray interesting people so I never judge them. Don't be scared – come and say hello!"

Passion for Words

Talking about her renowned performance of the poetic work The Waste Land, Shaw conveyed her profound relationship with language and poetry. "I'm consistently devoted in the language," she stated, "because the clues to everything are there in the choice of words."

She believes that "verse constitutes the refined version of language, or the instant that's been preserved." As individuals reduce to what they truly want to say, it's frequently lyrical."

Audiobook Work

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

She described how she performed the caterpillar as channeling Alan Rickman, and portrayed the Red Queen evoking Geraldine McEwan. "It consistently feels a honor to record and perform literature," she concluded, "though it requires days and days of work."

Collaborating with the Director

Remembering her time working with celebrated filmmaker Terrence Malick on his film Tree of Life, Shaw portrayed him as unconventional. "All that the director expresses and undertakes is different," she observed.

She shared a specific recollection of their initial encounter: "He placed a message on my answering machine 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 exotic choice in the world."

Shaw also mentioned Malick's unusual approach of asking actors "Would you prefer to do this scene inside or outside?" – 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 heard from the producer following twenty-four months that I was probably one of the main characters, but by the time the film came out, I was nearly gone."

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