The Actress Fiona Shaw Discusses Her Professional Journey: From Andor to Harry Potter

In a recent interview, acclaimed performer Fiona Shaw shared insights about her varied professional experiences covering multiple decades and memorable characters.

Andor's Powerful Speech

When discussing her memorable funeral speech in the Star Wars series Andor, Shaw revealed that the original script included more explicit wording. "I did say a distinct term in my speech," she explained, "while the screenwriter wanted the studio would accept it."

The performer described 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 entirely by myself in a massive studio, with no director nor crew members present in the room."

Classic Literature Projects

Speaking about the forthcoming adaptation of Jane Austen's classic novel, Shaw expressed excitement about finishing production. "We recently completed shooting it," she mentioned, "though performers typically doesn't see is the completed movie."

She praised director 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 previous role in the 1995 adaptation of Austen's Persuasion, portraying Mrs. Croft. "The director had particular demands: without hairpieces and just candle illumination," she recalled. "He genuinely wanted to recreate the feeling of nineteenth-century existence."

Harry Potter Memories

When asked about her experience with the wizarding film series, Shaw talked warmly about collaborating with the late Richard Griffiths. "He represented the most elegant, creative and gifted man," she revealed. "He possessed the most mellifluous handwriting and on one occasion mailed me a note asking to lunch in ornate gothic script."

She described Griffiths as constantly speaking and telling interesting stories with herself and the child performers on set. "He possessed remarkable worldly understanding so we would sit enthralled by his tales."

Theatrical Work

Talking about her New York stage role in Medea, Shaw remembered how psychologically challenging the production was. "I met one of the ensemble actors several years after, who said: 'I'm not over it yet,'" she disclosed.

This theatrical work continued for years, beginning in Ireland, then traveling to England, followed by the American capital, the Brooklyn Academy of Music, and ultimately Manhattan. "We became quite bonded as a company," she added.

Performance Philosophy

Regarding inquiries concerning her ability to transition between comedy and drama, Shaw clarified that "comedy connects us as it's about breaking conventions." Nevertheless, she confessed that "the night before a comedy, I always rest badly, because you have to catch the wave on the day."

Concerning her technique for tackling different characters, Shaw stated: "I discover each one challenging. But even if the character you're portraying is rather different from you, there is often something about them that you recognize."

Current Projects

Speaking about her recent performance in the production Hot Milk, Shaw described her character Rose as "a difficult person though you cannot perform anything from that viewpoint." The actress elaborated that Rose experiences a functional neurological disorder that causes mobility issues.

"The character doesn't realize of the impact she has on her daughter," Shaw observed. "Her only concern 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 authority figure characters, Shaw responded with amusement: "Goodness me! I'm so not scary. But maybe when infused with intention, my features might seem threatening."

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

Passion for Words

Talking about her celebrated interpretation of the poetic work The Waste Land, Shaw expressed her profound relationship with language and poetry. "My heart is always in the language," she stated, "since the indicators to everything are contained within the choice of words."

She believes that "verse constitutes the refined version of language, or the moment that has been captured." As individuals boil down to what they truly want to say, it's often poetic."

Voice Recording

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

She described how she performed the caterpillar as channeling Alan Rickman, and portrayed the Red Queen as reminiscent of Geraldine McEwan. "It consistently feels a privilege to sit and speak 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 Tree of Life, Shaw described him as distinctive. "Everything Terrence Malick says and does is unique," she observed.

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

Shaw also mentioned Malick's distinctive method of asking actors "Would you prefer to do this scene indoors or outdoors?" – questions rarely posed by different directors. "He only employed natural light," she added, "meaning actors could perform inside by a window or outside on the street."

Concerning the lengthy post-production, Shaw disclosed that "The director requires about three years to complete the movie. I had been told by the producer after two years that I was likely among the primary roles, but by the time the film came out, I was nearly gone."

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