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

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

The Impactful Andor Monologue

While talking about her unforgettable funeral speech in the Star Wars series Andor, Shaw revealed that the original script contained more explicit wording. "I actually spoke a distinct term in my speech," she explained, "while the screenwriter wanted the studio would accept it."

The actress 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 neither director or production team there with me."

Jane Austen Adaptations

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 rarely witness is the completed movie."

The actress commended director Georgia Oakley as "truly wonderful and very assured." The filming took place in stunning houses across the UK, including locations in Dorset, Knebworth, and Devonshire.

Shaw also reflected on her earlier performance in the nineties version of Austen's Persuasion, portraying Mrs. Croft. "The director had particular demands: no wigs and just candle illumination," she remembered. "He genuinely wanted to capture the experience of nineteenth-century existence."

Wizarding World Reflections

In response to questions regarding her time in the Harry Potter franchise, Shaw spoke fondly about working with the late Richard Griffiths. "Richard was the most refined, creative and talented man," she shared. "He possessed the most mellifluous handwriting and on one occasion mailed me a note inviting me to lunch in ornate gothic script."

She described Griffiths as constantly speaking and telling interesting stories with herself 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 Medea, Shaw recalled how psychologically challenging the show was. "I encountered one of the chorus members several years after, who said: 'I'm not over it yet,'" she shared.

The production continued for years, beginning in Ireland, then moving to London, followed by Washington DC, the Brooklyn Academy of Music, and ultimately Manhattan. "We grew quite bonded as a cast," she added.

Approach to Acting

Regarding inquiries concerning her ability to transition between comedy and drama, Shaw explained that "humor unites people as it's about rupturing the norm." However, she admitted that "prior to a comedy, I always rest badly, because you have to catch the wave on the day."

Regarding 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 recognize."

Current Projects

Discussing her recent performance in Hot Milk, Shaw described her character Rose as "a difficult person but you can't play anything from that perspective." The actress elaborated that Rose suffers from a functional neurological disorder that causes mobility issues.

"She is unaware of the effect she creates on her daughter," Shaw noted. "All she knows is that she desires to get better. She's well-intentioned yet unaware. Perhaps that's what most of us are."

Self-Perception

Upon hearing that audiences perceive her perfect for gang boss roles, Shaw responded with humor: "Goodness me! I'm really not intimidating. But perhaps when filled with intention, my features can appear threatening."

She added: "In reality sometimes quite scatty so maybe it's redemptive for me to play highly intellectual, methodical personalities. I try to depict fascinating individuals so I never judge them. Please don't fear – come and say hello!"

Love for Language

Talking about her celebrated interpretation of T.S. Eliot's The Waste Land, Shaw conveyed her deep connection with words and verse. "My heart is always in the language," she stated, "because the clues to everything are contained within the choice of words."

She believes that "poetry represents the refined version of language, or the moment that has been captured." As individuals boil down to what they truly want to say, it's frequently lyrical."

Voice Recording

Regarding her praised spoken-word performances, particularly the classic Alice in Wonderland, Shaw shared that "I enjoyed recording Alice in Wonderland because I included all my acquaintances into it – personal companions 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 record and perform literature," she concluded, "despite needing extended periods of work."

Working with Terrence Malick

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

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."

The actress also described Malick's distinctive method of asking actors "Do you want to do this scene indoors or outdoors?" – inquiries seldom made by different directors. "He exclusively used natural light," she continued, "so you could either perform inside by a window or exterior on location."

Concerning the lengthy post-production, Shaw revealed that "The director requires about three years to edit the film. I had heard from the producer following twenty-four months that I was probably one of the main characters, but when the film came out, I was mostly removed."

The actress finished by describing Malick's unique process: "He constructs this massive framework, and he takes away many components. He fundamentally dismantles films."