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

In a recent interview, renowned performer Fiona Shaw shared insights about her diverse career spanning multiple decades and iconic roles.

The Impactful Andor Monologue

While talking about her memorable funeral speech in the Star Wars series Andor, Shaw revealed that the original script contained stronger language. "I actually spoke a distinct term in my speech," she clarified, "while the screenwriter hoped that Disney would approve it."

The actress detailed the unique filming conditions for this specific moment. "While I delivered that speech, I was filmed by about 200 cameras for making a hologram. I was entirely by myself in a massive studio, with neither director nor crew members there with me."

Jane Austen Adaptations

Regarding the upcoming screen version of Jane Austen's Sense and Sensibility, Shaw expressed excitement about finishing production. "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 filming took place in beautiful estates across the UK, including sites within Dorset, Knebworth, and Devonshire.

Shaw also reflected on her earlier performance in the nineties version of Persuasion, playing Mrs. Croft. "The director had specific requirements: no wigs and only candlelight," she recalled. "He truly aimed to capture the experience of nineteenth-century existence."

Wizarding World Reflections

In response to questions regarding her experience with the Harry Potter franchise, Shaw talked warmly about working with the late Richard Griffiths. "He represented the most elegant, artistic and talented man," she revealed. "He had the most mellifluous handwriting and on one occasion mailed me a note asking to lunch in elaborate gothic lettering."

She described Griffiths as constantly speaking and telling interesting stories with herself and the young actors on set. "He possessed fantastic general knowledge so we would sit enthralled by his tales."

Stage Performances

Talking about her New York stage role in the tragedy Medea, Shaw recalled how emotionally demanding the show was. "I encountered one of the chorus members three years later, who said: 'I'm not over it yet,'" she shared.

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

Performance Philosophy

Regarding inquiries concerning her capacity to move between comedy and drama, Shaw clarified that "humor unites people as it's about breaking conventions." However, she confessed that "prior to a comedy, I always sleep poorly, because you have to find the rhythm during performance."

Concerning her technique for tackling different characters, Shaw stated: "I find them all difficult. But even if the person you're playing is quite distant from you, there is often something about them that you recognize."

Recent Work

Discussing her latest role in the production Hot Milk, Shaw characterized her character Rose as "a terrible woman but you can't play anything from that perspective." She explained that Rose experiences a functional neurological disorder that makes walking difficult.

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

Self-Perception

When told that viewers consider her ideal as gang boss roles, Shaw answered with amusement: "Oh dear! I'm so not scary. But maybe when infused with intention, my features can appear threatening."

The actress continued: "I am in life occasionally rather disorganized so perhaps it's therapeutic for me to play highly intellectual, organized characters. I try to portray interesting people so I never judge them. Don't be scared – come and say hello!"

Passion for Words

Discussing her celebrated interpretation of the poetic work The Waste Land, Shaw conveyed her deep connection with language and poetry. "I'm consistently devoted in the language," she stated, "since the indicators to everything are there in the choice of words."

The actress thinks that "poetry represents the polished form of language, or the moment that has been captured." When people reduce to what they truly want to say, it's often poetic."

Voice Recording

Regarding her praised spoken-word performances, specifically the classic Alice in Wonderland, Shaw revealed that "I enjoyed recording Alice in Wonderland because I included everybody I knew into it – my friends and other actors."

The actress explained how she voiced the caterpillar as inspired by Alan Rickman, and portrayed the Red Queen as reminiscent of Geraldine McEwan. "It always seems a honor to sit and speak literature," she concluded, "despite needing extended periods of work."

Collaborating with the Director

Remembering her time working with renowned director Terrence Malick on Tree of Life, Shaw portrayed him as unconventional. "Everything Terrence Malick expresses and undertakes is unique," she observed.

She shared a specific recollection of their initial encounter: "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 exotic choice in the world."

Shaw also mentioned Malick's unusual approach of asking actors "Would you prefer to do this scene indoors or outdoors?" – inquiries seldom made by other filmmakers. "He exclusively used natural light," she continued, "meaning actors could perform inside by a window or exterior on location."

Concerning the lengthy post-production, Shaw revealed that "He takes approximately three years to complete the movie. I had been told by the producer after two years that I was likely among the main characters, but by the time the film was released, I was nearly gone."

She concluded by characterizing Malick's unique process: "He constructs this enormous structure, and he removes most elements. He essentially deconstructs films."