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

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

Andor's Powerful Speech

When discussing her memorable funeral speech in the Star Wars series Andor, Shaw revealed that the initial version contained stronger language. "I did say a different word in my speech," she explained, "and the writer hoped that Disney would approve it."

The performer detailed the unique filming conditions for that particular scene. "While I delivered that speech, I was filmed by about 200 cameras for making a hologram. I was entirely by myself in a huge soundstage, with neither director nor crew members present in the room."

Jane Austen Adaptations

Regarding the upcoming screen version of Jane Austen's classic novel, Shaw expressed excitement about finishing production. "We recently completed shooting it," she stated, "though performers typically doesn't see is the final film."

The actress commended director Georgia Oakley as "really lovely and very assured." The filming took place in stunning houses throughout Britain, including locations in Dorset, Knebworth, and Devonshire.

Shaw also reflected on her earlier performance in the nineties version of Persuasion, portraying Mrs. Croft. "The director had particular demands: no wigs and only candlelight," she remembered. "He genuinely wanted to recreate the feeling of nineteenth-century existence."

Harry Potter Memories

When asked about her experience with the Harry Potter franchise, Shaw talked warmly about working with her departed co-star. "He represented the most elegant, creative and talented man," she revealed. "He possessed the most beautiful penmanship and on one occasion mailed me a note asking to lunch in ornate gothic script."

The actress portrayed Griffiths as continuously talking and sharing fascinating anecdotes with herself and the child performers on set. "He had remarkable worldly understanding so we would sit enthralled by his tales."

Stage Performances

Talking about her New York stage role in the tragedy Medea, Shaw remembered how psychologically challenging the production was. "I encountered one of the ensemble actors several years after, who said: 'I'm not over it yet,'" she shared.

This theatrical work continued for years, beginning in Ireland, then traveling to England, followed by Washington DC, the Brooklyn Academy of Music, and finally Broadway. "We became very close as a cast," she added.

Performance Philosophy

Regarding inquiries concerning her ability to transition between comedy and drama, Shaw explained that "comedy connects us as it's about breaking conventions." Nevertheless, she admitted that "prior to a comedy, I always rest badly, because you have to find the rhythm on the day."

Regarding her method for approaching different characters, Shaw stated: "I discover each one difficult. But even if the person you're playing is quite distant from you, there is frequently some aspect about them that you recognize."

Current Projects

Speaking about her recent performance in Hot Milk, Shaw described her character Rose as "a terrible woman but you can't play anything from that perspective." She explained that Rose suffers from a nervous system condition that makes walking difficult.

"The character doesn't realize of the impact she has on her daughter," Shaw observed. "Her only concern is that she desires to get better. She's both benign and blind. Perhaps that's what most of us are."

Self-Perception

When told that viewers consider her ideal as authority figure characters, Shaw responded with humor: "Goodness me! I'm really not intimidating. But maybe when infused with intention, my features can appear threatening."

The actress continued: "I am in life sometimes quite scatty so maybe it's redemptive for me to play highly intellectual, organized characters. I try to portray interesting people so I avoid criticizing them. Please don't fear – come and say hello!"

Love for Language

Talking about her renowned performance 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 contained within the selection of vocabulary."

She believes that "poetry represents the refined version of language, or the instant that's been preserved." As individuals reduce to what they genuinely wish to express, it's frequently lyrical."

Audiobook Work

Regarding her praised spoken-word performances, specifically the classic Alice in Wonderland, Shaw revealed that "I loved reading Alice in Wonderland because I incorporated all my acquaintances into it – my friends and fellow performers."

She described how she voiced the caterpillar as channeling Alan Rickman, and portrayed the Red Queen evoking Geraldine McEwan. "It always seems a honor to sit and speak literature," she finished, "despite needing extended periods of work."

Working with Terrence Malick

Recalling her experience working with celebrated filmmaker Terrence Malick on his film Tree of Life, Shaw described him as unconventional. "Everything Terrence Malick says and does is unique," she noted.

The actress recounted a specific recollection of their initial encounter: "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 unusual approach of asking actors "Would you prefer to do this scene inside or outside?" – questions rarely posed by different directors. "He only employed natural light," she continued, "meaning actors could perform inside by a window or outside on the street."

Concerning the extensive editing process, Shaw disclosed that "The director requires about three years to complete the movie. I had been told by the producer following twenty-four months 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 constructs this enormous structure, and he removes most elements. He fundamentally dismantles films."