Fiona Shaw Discusses Her Professional Journey: From Star Wars to Wizarding World

During a recent conversation, renowned actress Fiona Shaw opened up about her diverse career covering multiple decades and iconic roles.

The Impactful Andor Monologue

While talking about her unforgettable funeral speech in the Star Wars series Andor, Shaw disclosed that the initial version contained stronger language. "I actually spoke a different word in my speech," she explained, "and the writer wanted the studio would approve it."

The actress detailed the unusual shooting circumstances for that particular scene. "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 neither director or production team there with me."

Jane Austen Adaptations

Speaking about the forthcoming screen version of Jane Austen's classic novel, Shaw expressed excitement about the completed filming. "We recently completed shooting it," she stated, "and what an actor rarely witness is the final film."

The actress commended filmmaker Georgia Oakley as "really lovely and very assured." The filming took place in stunning houses throughout Britain, including sites within Dorset, Knebworth, and Devonshire.

Shaw also reflected on her earlier performance in the 1995 adaptation of Austen's Persuasion, playing Mrs. Croft. "The director had specific requirements: no wigs and just candle illumination," she remembered. "He genuinely wanted to recreate the feeling of early 19th century life."

Wizarding World Reflections

When asked about her experience with the Harry Potter franchise, Shaw spoke fondly about collaborating with her departed co-star. "He represented the most refined, creative and gifted man," she revealed. "He possessed the most mellifluous handwriting and once sent me a note asking to lunch in elaborate gothic lettering."

The actress portrayed Griffiths as continuously talking and telling interesting stories with herself and the young actors on set. "He had remarkable worldly understanding so we would sit enthralled to his stories."

Stage Performances

Talking about her Broadway performance in Medea, Shaw remembered how psychologically challenging the show was. "I encountered one of the ensemble actors three years later, who said: 'I'm not over it yet,'" she shared.

This theatrical work continued for years, starting in Dublin, then traveling to England, followed by the American capital, the New York venue, and finally Broadway. "We became quite bonded as a company," she noted.

Approach to Acting

When questioned about her capacity to move between comedy and drama, Shaw explained that "humor unites people as it's about rupturing the norm." Nevertheless, she confessed that "the night before a comedy, I always rest badly, because you have to find the rhythm on the day."

Concerning her method for approaching different characters, Shaw commented: "I discover each one challenging. 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 recent performance in the production Hot Milk, Shaw characterized her character Rose as "a difficult person but you can't play anything from that viewpoint." She explained that Rose suffers from a nervous system condition that makes walking difficult.

"She is unaware of the impact she has on her daughter," Shaw observed. "All she knows is that she wants to improve. She's well-intentioned yet unaware. Maybe this represents what many people resemble."

Personal Reflections

When told that audiences perceive her ideal as authority figure characters, Shaw responded with amusement: "Oh dear! I'm really not intimidating. But perhaps when filled with intention, my features can appear formidable."

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. Please don't fear – approach and greet me!"

Love for Language

Talking about her celebrated interpretation of T.S. Eliot's 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 contained within the selection of vocabulary."

The actress thinks that "poetry represents the refined version of language, or the instant that's been preserved." As individuals boil down to what they genuinely wish to express, it's often poetic."

Voice Recording

Concerning her acclaimed audiobook performances, specifically the classic Alice in Wonderland, Shaw shared that "I loved reading Alice in Wonderland because I included everybody I knew into it – my friends and other actors."

She described how she performed the caterpillar as channeling Alan Rickman, and characterized the Red Queen evoking Geraldine McEwan. "It consistently feels a honor to sit and speak literature," she concluded, "despite needing days and days of work."

Collaborating with the Director

Recalling her experience working with celebrated filmmaker Terrence Malick on his film Tree of Life, Shaw described him as distinctive. "All that the director says and does is different," she observed.

The actress recounted a specific recollection of their first meeting: "He placed 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."

The actress also described Malick's unusual approach of asking actors "Do you want to do this scene indoors or outdoors?" – questions rarely posed by other filmmakers. "He only employed natural light," she continued, "so you could either perform interior near glass or exterior on location."

Concerning the extensive editing process, Shaw disclosed that "The director requires about three years to edit the film. I had heard from the producer following twenty-four months that I was probably one of the main characters, but when the film was released, I was mostly removed."

The actress finished by characterizing Malick's unique process: "He constructs this enormous structure, and he removes most elements. He fundamentally dismantles films."