Fiona Shaw Talks About Her Career: From Star Wars to Wizarding World

During a recent conversation, acclaimed performer Fiona Shaw shared insights about her diverse career spanning multiple decades and iconic roles.

The Impactful Andor Monologue

When discussing her unforgettable eulogy scene in the Disney+ show Andor, Shaw disclosed that the original script included stronger language. "I actually spoke a different word in my speech," she explained, "while the screenwriter wanted the studio would approve it."

The actress described the unusual shooting circumstances 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 massive studio, with neither director or production team there with me."

Classic Literature Projects

Regarding the upcoming screen version of Jane Austen's Sense and Sensibility, Shaw expressed excitement about the completed filming. "We recently completed shooting it," she stated, "though performers typically doesn't see is the final film."

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

The actress also recalled on her earlier performance in the 1995 adaptation of Persuasion, playing Mrs. Croft. "The director had specific requirements: no wigs and just candle illumination," she remembered. "He truly aimed to recreate the feeling of early 19th century life."

Harry Potter Memories

When asked about her time in the Harry Potter franchise, Shaw talked warmly 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."

She described Griffiths as continuously talking and telling interesting stories with both her and the young actors on set. "He had remarkable worldly understanding so we would sit enthralled to his stories."

Theatrical Work

Discussing her New York stage role in Medea, Shaw recalled how emotionally demanding the show was. "I encountered 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 moving to London, followed by the American capital, the New York venue, and ultimately Manhattan. "We grew quite bonded as a company," she noted.

Performance Philosophy

When questioned about her ability to transition between comedy and drama, Shaw clarified that "humor unites people as it's about rupturing the norm." Nevertheless, she admitted that "prior to a comedy, I always sleep poorly, because you have to catch the wave on the day."

Concerning her method for approaching different characters, Shaw stated: "I find them all challenging. But even if the person you're playing is rather different from you, there is frequently some aspect about them that you recognize."

Current Projects

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

"The character doesn't realize 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 most of us are."

Self-Perception

Upon hearing that audiences perceive her perfect for authority figure characters, Shaw responded with humor: "Oh dear! I'm so not scary. But maybe when infused with intention, my features can appear threatening."

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 – approach and greet me!"

Love for Language

Discussing her renowned performance of the poetic work The Waste Land, Shaw expressed her deep connection with words and verse. "My heart is always in the language," she declared, "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." When people boil down to what they truly want to say, it's often poetic."

Audiobook Work

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

The actress explained how she performed the caterpillar as inspired by Alan Rickman, and portrayed the Red Queen as reminiscent of Geraldine McEwan. "It consistently feels a honor to record and perform literature," she concluded, "despite needing extended periods of work."

Working with Terrence Malick

Recalling her experience working with renowned director Terrence Malick on his film Tree of Life, Shaw portrayed him as unconventional. "All that the director expresses and undertakes is unique," she observed.

The actress recounted a particular memory of their initial encounter: "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 exotic choice in the world."

Shaw also mentioned Malick's unusual approach of asking actors "Do you want to do this scene inside or outside?" – inquiries seldom made by other filmmakers. "He only employed natural light," she added, "meaning actors could perform inside by a window or exterior on location."

Regarding the lengthy post-production, Shaw disclosed that "The director requires about three years to complete the movie. I had heard from the producer following twenty-four months that I was likely among the primary roles, but by the time the film was released, I was nearly gone."

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