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

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

Andor's Powerful Speech

While talking about her memorable funeral speech in the Star Wars series Andor, Shaw disclosed that the initial version included stronger language. "I did say a different word in my speech," she clarified, "while the screenwriter hoped that Disney would approve it."

The performer detailed the unique filming conditions for that particular scene. "When I performed that speech, I was recorded with about 200 cameras for making a hologram. I was completely alone in a huge soundstage, with no director nor crew members present in the room."

Jane Austen Adaptations

Regarding the upcoming adaptation of Jane Austen's Sense and Sensibility, Shaw expressed excitement about finishing production. "We've just finished shooting it," she stated, "and what an actor rarely witness is the final film."

The actress commended director Georgia Oakley as "really lovely and quite confident." The production took place in beautiful estates throughout Britain, including locations in Dorset, Knebworth, and Devonshire.

Shaw also reflected on her earlier performance in the 1995 adaptation of Persuasion, playing Mrs. Croft. "Our filmmaker 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

In response to questions regarding her time in the wizarding film series, Shaw spoke fondly about working with her departed co-star. "Richard was the most refined, artistic and talented man," she shared. "He had the most beautiful penmanship and on one occasion mailed me a note asking to lunch in ornate gothic script."

She described Griffiths as constantly speaking and sharing fascinating anecdotes with herself and the child performers on set. "He possessed fantastic general knowledge so we would sit enthralled to his stories."

Stage Performances

Discussing her Broadway performance in Medea, Shaw recalled how psychologically challenging the show was. "I met one of the chorus members three years later, who said: 'I'm not over it yet,'" she shared.

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

Approach to Acting

Regarding inquiries concerning her capacity to move between comedy and drama, Shaw clarified that "comedy connects us as it's about rupturing the norm." Nevertheless, she confessed that "the night before a comedy, I always rest badly, because you have to catch the wave during performance."

Regarding her technique for tackling different characters, Shaw commented: "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."

Recent Work

Discussing her recent performance in Hot Milk, Shaw described her character Rose as "a difficult person though you cannot perform anything from that perspective." She explained that Rose experiences a nervous system condition that causes mobility issues.

"She is unaware of the effect she creates on her daughter," Shaw observed. "All she knows is that she desires to get better. She's both benign and blind. Perhaps that's what most of us are."

Personal Reflections

When told that audiences perceive her ideal as authority figure characters, Shaw answered with amusement: "Goodness me! I'm so not scary. But maybe when infused with intention, my features might seem formidable."

She added: "I am in life sometimes quite scatty so perhaps it's therapeutic for me to play very intelligent, organized characters. I try to depict fascinating individuals so I never judge them. Don't be scared – approach and greet me!"

Love for Language

Talking about her celebrated interpretation of the poetic work The Waste Land, Shaw expressed her deep connection with words and verse. "I'm consistently devoted in the language," she declared, "since the indicators to everything are there in the selection of vocabulary."

She believes that "verse constitutes the polished form of language, or the moment that has been captured." When people reduce to what they truly want to say, it's frequently lyrical."

Audiobook Work

Concerning her acclaimed audiobook performances, specifically the classic Alice in Wonderland, Shaw shared that "I enjoyed recording Alice in Wonderland because I incorporated everybody I knew into it – personal companions and other actors."

She described how she performed the caterpillar as channeling Alan Rickman, and characterized the Red Queen as reminiscent of Geraldine McEwan. "It consistently feels a privilege to record and perform literature," she finished, "despite needing days and days of work."

Collaborating with the Director

Recalling her experience working with celebrated filmmaker Terrence Malick on his film Tree of Life, Shaw described him as distinctive. "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 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 "Would you prefer to do this scene indoors or outdoors?" – questions rarely posed by different directors. "He exclusively used natural light," she continued, "so you could either perform interior near glass or outside on the street."

Regarding the extensive editing process, Shaw disclosed that "He takes approximately three years to edit the film. I had heard from the producer following twenty-four months that I was likely among the main characters, but when the film came out, I was mostly removed."

The actress finished by characterizing Malick's distinctive approach: "He builds this massive framework, and he removes most elements. He fundamentally dismantles films."