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

During a recent conversation, acclaimed performer Fiona Shaw shared insights about her varied professional experiences covering multiple decades and iconic roles.

Andor's Powerful Speech

When discussing her unforgettable funeral speech in the Star Wars series Andor, Shaw revealed that the initial version contained stronger language. "I actually spoke a different word in my speech," she clarified, "while the screenwriter wanted the studio would accept it."

The performer detailed the unusual shooting circumstances 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 neither director nor crew members there with me."

Jane Austen Adaptations

Speaking about the forthcoming screen version of Jane Austen's classic novel, Shaw expressed excitement about finishing production. "We've just finished shooting it," she stated, "and what an actor rarely witness is the completed movie."

She praised director Georgia Oakley as "really lovely and quite confident." The production took place in beautiful estates throughout Britain, including sites within Dorset, Knebworth, and Devonshire.

Shaw also reflected on her previous role in the nineties version of Austen's Persuasion, portraying Mrs. Croft. "Our filmmaker had particular demands: without hairpieces and only candlelight," she remembered. "He genuinely wanted to capture the experience of nineteenth-century existence."

Harry Potter Memories

When asked about her time in the Harry Potter franchise, Shaw spoke fondly about collaborating with her departed co-star. "He represented the most elegant, creative and gifted man," she shared. "He had the most beautiful penmanship and once sent me a note inviting me to lunch in elaborate gothic lettering."

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

Stage Performances

Discussing her New York stage role in the tragedy Medea, Shaw remembered how emotionally demanding the show was. "I met one of the chorus members several years after, who said: 'I'm not over it yet,'" she shared.

This theatrical work had an extensive run, starting in Dublin, then traveling to England, followed by the American capital, the Brooklyn Academy of Music, and ultimately Manhattan. "We became very close as a cast," she added.

Approach to Acting

When questioned about her capacity to move between humor and seriousness, Shaw clarified that "humor unites people as it's about breaking conventions." Nevertheless, she admitted that "the night before a comedy, I always sleep poorly, because you have to find the rhythm during performance."

Regarding her method for approaching various roles, Shaw commented: "I discover each one 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 Hot Milk, Shaw characterized her character Rose as "a terrible woman but you can't play anything from that perspective." The actress elaborated that Rose experiences a nervous system condition that causes mobility issues.

"The character doesn't realize of the effect she creates on her daughter," Shaw observed. "Her only concern is that she wants to improve. She's well-intentioned yet unaware. Perhaps that's what many people resemble."

Self-Perception

Upon hearing that audiences perceive her ideal as gang boss roles, Shaw responded with humor: "Goodness me! I'm really not intimidating. But maybe when infused with purpose, my features can appear formidable."

The actress continued: "In reality sometimes quite scatty so perhaps it's therapeutic for me to play very intelligent, organized characters. I try to portray interesting people so I avoid criticizing them. Don't be scared – approach and greet me!"

Passion for Words

Talking about her celebrated interpretation of the poetic work 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 selection of vocabulary."

The actress thinks that "poetry represents the refined version of language, or the instant that's been preserved." As individuals boil down to what they genuinely wish to express, it's frequently lyrical."

Voice Recording

Regarding her acclaimed audiobook performances, specifically the classic Alice 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 voiced the caterpillar as inspired by Alan Rickman, and characterized the Red Queen evoking Geraldine McEwan. "It consistently feels a privilege to sit and speak literature," she finished, "though it requires extended periods of work."

Working with Terrence Malick

Remembering her time 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 specific recollection of their first meeting: "He left a message on my answering machine 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."

The actress also described Malick's unusual approach of asking actors "Would you prefer to do this scene indoors or outdoors?" – questions rarely posed by other filmmakers. "He only employed natural light," she continued, "meaning actors could perform interior near glass or outside on the street."

Regarding the lengthy post-production, Shaw revealed that "The director requires about three years to edit the film. I had been told by the producer following twenty-four months that I was probably one of the primary roles, but by the time the film came out, I was mostly removed."

The actress finished by characterizing Malick's distinctive approach: "He builds this massive framework, and he takes away many components. He essentially deconstructs films."