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

In a recent interview, renowned actress Fiona Shaw opened up about her diverse career covering multiple decades and memorable characters.

The Impactful Andor Monologue

While talking about her memorable eulogy scene in the Star Wars series Andor, Shaw revealed that the initial version included more explicit wording. "I actually spoke a distinct term in my speech," she clarified, "and the writer wanted the studio would accept it."

The actress described the unusual shooting circumstances for that particular scene. "When I performed that speech, I was recorded with about 200 cameras for making a hologram. I was entirely by myself in a huge soundstage, with no director or production team present in the room."

Jane Austen Adaptations

Speaking about the forthcoming adaptation of Jane Austen's Sense and Sensibility, Shaw shared enthusiasm about finishing production. "We recently completed shooting it," she stated, "and what an actor typically doesn't see is the completed movie."

She praised director Georgia Oakley as "really lovely 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 previous role in the 1995 adaptation of Austen's Persuasion, portraying Mrs. Croft. "The director had specific requirements: no wigs and just candle illumination," she recalled. "He truly aimed to capture the experience of early 19th century life."

Wizarding World Reflections

When asked about her experience with the Harry Potter franchise, Shaw spoke fondly about working with the late Richard Griffiths. "He represented the most elegant, creative and gifted man," she revealed. "He had the most mellifluous handwriting and once sent me a note inviting me to lunch in elaborate gothic lettering."

The actress portrayed Griffiths as constantly speaking and sharing fascinating anecdotes with herself and the child performers on set. "He had fantastic general knowledge so we would listen captivated to his stories."

Theatrical Work

Discussing her New York stage role in Medea, Shaw recalled how emotionally demanding the show was. "I met one of the ensemble actors several years after, 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 Washington DC, the Brooklyn Academy of Music, and ultimately Manhattan. "We grew quite bonded as a company," she added.

Performance Philosophy

When questioned about her capacity to move between humor and seriousness, Shaw clarified that "humor unites people as it's about rupturing the norm." However, 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 various roles, Shaw stated: "I find them all challenging. 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

Discussing her recent performance in Hot Milk, Shaw characterized 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 causes mobility issues.

"She is unaware of the effect she creates on her daughter," Shaw noted. "Her only concern is that she desires to get better. She's both benign and blind. Perhaps that's what many people resemble."

Self-Perception

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

The actress continued: "In reality occasionally rather disorganized so maybe it's redemptive for me to play highly intellectual, 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 the poetic work The Waste Land, Shaw expressed her deep connection with language and poetry. "I'm consistently devoted in the language," she stated, "because the clues to everything are contained within the selection of vocabulary."

The actress thinks that "poetry represents the refined version of language, or the moment that has been captured." As individuals boil down to what they genuinely wish to express, it's often poetic."

Audiobook Work

Concerning her acclaimed audiobook performances, specifically 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 voiced the caterpillar as channeling Alan Rickman, and characterized the Red Queen evoking Geraldine McEwan. "It consistently feels a honor to record and perform literature," she concluded, "despite needing extended periods of work."

Collaborating with the Director

Remembering her time working with celebrated filmmaker Terrence Malick on his film Tree of Life, Shaw described him as unconventional. "All that the director says and does is unique," she observed.

The actress recounted a specific recollection 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 unusual approach of asking actors "Would you prefer to do this scene inside or outside?" – questions rarely posed by other filmmakers. "He only employed natural light," she continued, "so you could either perform inside by a window or outside on the street."

Regarding the extensive editing process, Shaw disclosed that "The director requires about three years to complete the movie. I had been told by the producer after two years that I was probably one of the main characters, but by the time the film came out, I was mostly removed."

She concluded by describing Malick's distinctive approach: "He builds this enormous structure, and he removes most elements. He fundamentally dismantles films."