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

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

Andor's Powerful Speech

When discussing her unforgettable funeral speech in the Star Wars series Andor, Shaw disclosed that the original script contained more explicit wording. "I actually spoke a different word in my speech," she explained, "while the screenwriter hoped that Disney would accept it."

The actress detailed the unique filming conditions for this specific moment. "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 nor crew members present in the room."

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 mentioned, "though performers rarely witness is the final film."

She praised director Georgia Oakley as "truly wonderful and very assured." The production took place in beautiful estates across the UK, including locations in Dorset, Knebworth, and Devonshire.

Shaw also reflected on her earlier performance in the nineties version of Austen's Persuasion, playing Mrs. Croft. "The director had specific requirements: no wigs and just candle illumination," she recalled. "He truly aimed to capture the experience of early 19th century life."

Wizarding World Reflections

In response to questions regarding her experience with the Harry Potter franchise, Shaw spoke fondly about collaborating with her departed co-star. "Richard was the most elegant, creative and talented man," she revealed. "He possessed the most mellifluous handwriting and on one occasion mailed me a note asking to lunch in ornate gothic script."

The actress portrayed Griffiths as continuously talking and sharing fascinating anecdotes with herself and the child performers on set. "He possessed fantastic general knowledge so we would listen captivated to his stories."

Theatrical Work

Talking about her Broadway performance in the tragedy Medea, Shaw recalled 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 disclosed.

The production continued for years, starting in Dublin, then traveling to England, followed by Washington DC, the New York venue, and ultimately Manhattan. "We became quite bonded as a cast," she added.

Approach to Acting

When questioned about her capacity to move between comedy and drama, Shaw explained that "comedy connects us as it's about breaking conventions." However, she confessed that "prior to a comedy, I always rest badly, because you have to find the rhythm during performance."

Regarding her method for approaching various roles, Shaw stated: "I find them all challenging. But even if the character you're portraying is quite distant from you, there is frequently some aspect about them that you identify with."

Current Projects

Speaking about 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." The actress elaborated that Rose experiences a nervous system condition that makes walking difficult.

"She is unaware of the effect she creates on her daughter," Shaw noted. "All she knows is that she wants to improve. She's both benign and blind. Maybe this represents what many people resemble."

Self-Perception

When told that viewers consider her perfect for gang boss roles, Shaw answered with humor: "Goodness me! I'm so not scary. But perhaps when filled with intention, my features can appear threatening."

The actress continued: "I am in life sometimes quite scatty so perhaps it's therapeutic for me to play highly intellectual, methodical personalities. I try to depict fascinating individuals so I avoid criticizing them. Please don't fear – approach and greet me!"

Passion for Words

Discussing her renowned performance of T.S. Eliot's The Waste Land, Shaw conveyed her deep connection with language and poetry. "My heart is always in the language," she declared, "since the indicators to everything are contained within the choice of words."

The actress thinks that "verse constitutes the polished form of language, or the moment that has been captured." When people boil down to what they genuinely wish to express, it's frequently lyrical."

Voice Recording

Regarding her acclaimed audiobook performances, particularly Alice's Adventures in Wonderland, Shaw shared that "I enjoyed recording Alice in Wonderland because I incorporated all my acquaintances into it – personal companions and other actors."

The actress explained how she performed the caterpillar as inspired by Alan Rickman, and characterized the Red Queen as reminiscent of Geraldine McEwan. "It always seems a privilege to record and perform literature," she finished, "though it requires 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. "Everything Terrence Malick expresses and undertakes is different," she observed.

She shared a particular memory 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 distinctive method of asking actors "Do you want to do this scene indoors or outdoors?" – 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."

Concerning the extensive editing process, Shaw revealed that "He takes approximately three years to edit the film. I had heard from the producer after two years that I was likely among the primary roles, but when the film was released, I was nearly gone."

She concluded by describing Malick's distinctive approach: "He builds this massive framework, and he removes most elements. He essentially deconstructs films."