Fiona Shaw Talks About Her Career: From Star Wars to Wizarding World

During a recent conversation, esteemed performer Fiona Shaw opened up about her diverse career spanning many years and iconic roles.

Andor's Powerful Speech

While talking about her memorable funeral speech in the Disney+ show Andor, Shaw revealed that the initial version contained stronger language. "I actually spoke a different word in my speech," she clarified, "and the writer hoped that Disney would accept it."

The actress detailed the unusual shooting circumstances for that particular scene. "When I performed that speech, I was filmed by about 200 cameras to create a hologram. I was completely alone in a huge soundstage, with no director nor crew members there with me."

Classic Literature Projects

Regarding the upcoming screen version of Jane Austen's Sense and Sensibility, Shaw shared enthusiasm about finishing production. "We recently completed shooting it," she mentioned, "and what an actor typically doesn't see is the completed movie."

The actress commended filmmaker Georgia Oakley as "truly wonderful and very assured." The production took place in beautiful estates throughout Britain, including locations in Dorset, Knebworth, and Devonshire.

Shaw also reflected on her previous role in the nineties version of Austen's Persuasion, portraying Mrs. Croft. "The director had specific requirements: no wigs and only candlelight," she recalled. "He genuinely wanted to recreate the feeling of early 19th century life."

Wizarding World Reflections

In response to questions regarding 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 shared. "He had the most beautiful penmanship and once sent me a note inviting me to lunch in elaborate gothic lettering."

She described Griffiths as continuously talking and telling interesting stories with both her and the child performers on set. "He possessed fantastic general knowledge so we would sit enthralled by his tales."

Theatrical Work

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 disclosed.

This theatrical work continued for years, starting in Dublin, then moving to London, followed by the American capital, the New York venue, and finally Broadway. "We grew very close as a company," she added.

Approach to Acting

When questioned about her capacity to move between comedy and drama, Shaw clarified that "comedy connects us 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."

Regarding her technique for tackling various roles, 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 recent performance in the production Hot Milk, Shaw described her character Rose as "a terrible woman but you can't play anything from that viewpoint." The actress elaborated that Rose suffers from a functional neurological disorder that makes walking difficult.

"The character doesn't realize of the effect she creates on her daughter," Shaw noted. "All she knows is that she wants to improve. She's well-intentioned yet unaware. Maybe this represents what most of us are."

Self-Perception

When told that viewers consider her ideal as authority figure characters, Shaw answered with humor: "Goodness me! I'm so not scary. But perhaps when filled with purpose, my features can appear formidable."

The actress continued: "In reality occasionally rather disorganized so perhaps it's therapeutic for me to play very intelligent, methodical personalities. 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 T.S. Eliot's The Waste Land, Shaw expressed her deep connection with language and poetry. "My heart is always in the language," she stated, "because the clues to everything are there in the choice of words."

She believes that "poetry represents the polished form of language, or the moment that has been captured." As individuals reduce to what they truly want to say, it's often poetic."

Audiobook Work

Regarding her praised spoken-word performances, particularly the classic Alice in Wonderland, Shaw revealed 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 as reminiscent of Geraldine McEwan. "It consistently feels a honor to record and perform literature," she finished, "despite needing days and days 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. "Everything Terrence Malick says and does is unique," she noted.

She shared a particular memory 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."

Shaw also mentioned Malick's distinctive method of asking actors "Do you want to do this scene inside or outside?" – inquiries seldom made by different directors. "He exclusively used natural light," she continued, "meaning actors could perform inside by a window or outside on the street."

Concerning the extensive editing process, 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 main characters, but by the time the film came out, I was mostly removed."

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