The Actress Fiona Shaw Discusses Her Professional Journey: From Star Wars to Wizarding World

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

Andor's Powerful Speech

While talking about her unforgettable eulogy scene 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 clarified, "and the writer hoped that Disney would accept it."

The actress described the unique filming conditions for this specific moment. "When I performed 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 or production team there with me."

Classic Literature Projects

Regarding the upcoming adaptation of Jane Austen's classic novel, Shaw expressed excitement about the completed filming. "We've just finished shooting it," she stated, "though performers typically doesn't see is the final film."

The actress commended filmmaker Georgia Oakley as "truly wonderful and quite confident." The filming took place in beautiful estates throughout Britain, including sites within Dorset, Knebworth, and Devonshire.

The actress also recalled on her earlier performance in the 1995 adaptation of Austen's Persuasion, playing Mrs. Croft. "The director had specific requirements: no wigs and only candlelight," she remembered. "He truly aimed to capture the experience 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. "He represented the most refined, creative and talented man," she shared. "He possessed the most mellifluous handwriting and once sent me a note inviting me to lunch in elaborate gothic lettering."

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

Stage Performances

Discussing her New York stage role in Medea, Shaw recalled how emotionally demanding the production was. "I met one of the chorus members three years later, who said: 'I'm not over it yet,'" she disclosed.

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

Approach to Acting

When questioned about her ability to transition between humor and seriousness, Shaw clarified that "comedy connects us as it's about breaking conventions." However, she admitted 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 various roles, Shaw commented: "I discover each one difficult. But even if the character you're portraying is rather different from you, there is frequently some aspect about them that you identify with."

Recent Work

Discussing her latest role in Hot Milk, Shaw described her character Rose as "a terrible woman though you cannot perform anything from that perspective." She explained that Rose experiences a functional neurological disorder that causes mobility issues.

"She is unaware of the effect she creates on her daughter," Shaw observed. "Her only concern is that she wants to improve. She's both benign and blind. Maybe this represents what most of us are."

Personal Reflections

When told that audiences perceive her ideal as authority figure characters, Shaw responded with amusement: "Goodness me! I'm really not intimidating. But perhaps when filled with purpose, my features can appear threatening."

She added: "I am in life occasionally rather disorganized so perhaps it's therapeutic for me to play very intelligent, organized characters. I try to depict fascinating individuals so I avoid criticizing them. Please don't fear – come and say hello!"

Passion for Words

Discussing her celebrated interpretation of T.S. Eliot's The Waste Land, Shaw expressed her deep connection with language and poetry. "I'm consistently devoted in the language," she declared, "since the indicators to everything are contained within the selection of vocabulary."

The actress thinks that "verse constitutes the refined version of language, or the moment that has been captured." When people boil down to what they truly want to say, it's frequently lyrical."

Audiobook Work

Regarding her acclaimed audiobook performances, particularly Alice's Adventures 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 always seems a honor to record and perform literature," she finished, "despite needing extended periods of work."

Collaborating with the Director

Remembering her time working with renowned director Terrence Malick on his film Tree of Life, Shaw described him as unconventional. "All that the director expresses and undertakes is unique," she noted.

She shared a particular memory of their first meeting: "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 unusual selection in the world."

The actress also described Malick's unusual approach of asking actors "Do you want to do this scene inside or outside?" – questions rarely posed by different directors. "He exclusively used natural light," she continued, "meaning actors could perform inside by a window or outside on the street."

Regarding the extensive editing process, Shaw disclosed 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 primary roles, but by the time the film came out, I was mostly removed."

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