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

During a recent conversation, renowned performer Fiona Shaw opened up about her diverse career spanning multiple decades and memorable characters.

Andor's Powerful Speech

When discussing her unforgettable eulogy scene in the Star Wars series Andor, Shaw disclosed that the original script contained more explicit wording. "I actually spoke a distinct term in my speech," she clarified, "and the writer hoped that Disney would approve it."

The actress described the unusual shooting circumstances for that particular scene. "When I performed that speech, I was filmed by about 200 cameras to create a hologram. I was completely alone in a massive studio, with no director nor crew members there with me."

Jane Austen Adaptations

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

The actress commended director Georgia Oakley as "really lovely and quite confident." The production took place in stunning houses throughout Britain, including locations in Dorset, Knebworth, and Devonshire.

Shaw also reflected on her previous role in the 1995 adaptation of Persuasion, playing Mrs. Croft. "Our filmmaker had particular demands: no wigs and just candle illumination," she remembered. "He genuinely wanted to recreate the feeling of early 19th century life."

Harry Potter Memories

In response to questions regarding her experience with the wizarding film series, Shaw spoke fondly about working with the late Richard Griffiths. "Richard was the most elegant, artistic and talented man," she shared. "He possessed the most mellifluous handwriting and on one occasion mailed me a note asking to lunch in elaborate gothic lettering."

The actress portrayed Griffiths as continuously talking and sharing fascinating anecdotes with herself and the young actors on set. "He had remarkable worldly understanding so we would listen captivated to his stories."

Stage Performances

Talking about her Broadway performance in the tragedy Medea, Shaw remembered how emotionally demanding 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, beginning in Ireland, then traveling to England, followed by the American capital, the New York venue, and ultimately Manhattan. "We grew quite bonded as a company," she added.

Performance Philosophy

When questioned about her capacity to move between comedy and drama, Shaw clarified that "comedy connects us as it's about rupturing the norm." Nevertheless, she confessed that "prior to a comedy, I always rest badly, because you have to catch the wave during performance."

Concerning her technique for tackling different characters, Shaw commented: "I find them all challenging. But even if the character you're portraying is rather different from you, there is often something about them that you identify with."

Recent Work

Discussing her recent performance in the production Hot Milk, Shaw described her character Rose as "a difficult person though you cannot perform anything from that perspective." The actress elaborated that Rose experiences a nervous system condition that causes mobility issues.

"She is unaware of the impact she has on her daughter," Shaw observed. "All she knows is that she desires to get better. She's both benign and blind. Perhaps that's what most of us are."

Self-Perception

Upon hearing that viewers consider her perfect for gang boss roles, Shaw responded with humor: "Goodness me! I'm really not intimidating. But perhaps when filled with intention, my features might seem formidable."

The actress continued: "I am in life 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. Don't be scared – come and say hello!"

Passion for Words

Discussing her celebrated interpretation of T.S. Eliot's The Waste Land, Shaw expressed her deep connection with language and poetry. "I'm consistently devoted in the language," she declared, "because the clues to everything are contained within the choice of words."

She believes that "poetry represents the polished form of language, or the instant that's been preserved." As individuals reduce to what they genuinely wish to express, it's frequently lyrical."

Audiobook Work

Concerning her praised spoken-word performances, particularly Alice's Adventures in Wonderland, Shaw revealed that "I enjoyed recording Alice in Wonderland because I included all my acquaintances into it – my friends and other actors."

She described how she voiced the caterpillar as inspired by Alan Rickman, and characterized the Red Queen evoking Geraldine McEwan. "It always seems a privilege to sit and speak 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 unconventional. "All that the director says and does is different," she noted.

She shared a specific recollection of their first meeting: "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, "meaning actors could perform inside by a window or exterior on location."

Regarding the extensive editing process, Shaw disclosed that "He takes approximately three years to complete the movie. I had heard from the producer after two years that I was likely among the main characters, but when the film was released, I was nearly gone."

She concluded by describing Malick's unique process: "He builds this massive framework, and he removes most elements. He fundamentally dismantles films."