🔗 Share this article

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

Andor's Powerful Speech

When discussing her memorable eulogy scene in the Star Wars series Andor, Shaw disclosed that the original script included more explicit wording. "I did say a different word in my speech," she explained, "while the screenwriter wanted the studio would approve it."

The performer described the unique filming conditions for that particular scene. "When I performed that speech, I was recorded with about 200 cameras to create a hologram. I was completely alone in a huge soundstage, with neither director nor crew members present in the room."

Jane Austen Adaptations

Regarding the upcoming 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 final film."

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

The actress also recalled on her previous role in the nineties version of Austen's 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 early 19th century life."

Harry Potter Memories

In response to questions regarding her experience with the Harry Potter franchise, Shaw spoke fondly about working with her departed co-star. "Richard was the most refined, creative and talented man," she shared. "He had the most beautiful penmanship and once sent me a note inviting me to lunch in ornate gothic script."

The actress portrayed Griffiths as continuously talking and sharing fascinating anecdotes with both her and the young actors on set. "He possessed remarkable worldly understanding so we would listen captivated to his stories."

Theatrical Work

Talking about her New York stage role in Medea, Shaw remembered how psychologically challenging the show was. "I met one of the chorus members several years after, who said: 'I'm not over it yet,'" she disclosed.

The production continued for years, beginning in Ireland, then moving to London, followed by the American capital, the Brooklyn Academy of Music, and finally Broadway. "We grew very close as a company," she noted.

Performance Philosophy

Regarding inquiries concerning her ability to transition between humor and seriousness, Shaw clarified that "humor unites people as it's about rupturing the norm." However, she admitted that "prior to a comedy, I always sleep poorly, because you have to catch the wave during performance."

Regarding her technique for tackling various roles, Shaw commented: "I discover each one challenging. But even if the person you're playing is rather different from you, there is frequently some aspect about them that you recognize."

Current Projects

Discussing her latest role in the production Hot Milk, Shaw described her character Rose as "a terrible woman but you can't play anything from that perspective." She explained that Rose experiences a nervous system condition that causes mobility issues.

"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 well-intentioned yet unaware. Maybe this represents what most of us are."

Self-Perception

Upon hearing that viewers consider her ideal as gang boss roles, Shaw responded with amusement: "Oh dear! I'm really not intimidating. 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 highly intellectual, methodical personalities. I try to portray interesting people so I avoid criticizing them. Please don't fear – approach and greet me!"

Love for Language

Talking about her celebrated interpretation of T.S. Eliot's The Waste Land, Shaw conveyed her profound relationship with language and poetry. "I'm consistently devoted in the language," she stated, "because the clues to everything are contained within the choice of words."

She believes that "verse constitutes the polished form of language, or the moment that has been captured." As individuals reduce to what they genuinely wish to express, it's often poetic."

Audiobook Work

Regarding her praised spoken-word performances, particularly Alice's Adventures in Wonderland, Shaw shared that "I enjoyed recording Alice in Wonderland because I included everybody I knew into it – personal companions and fellow performers."

The actress explained how she performed the caterpillar as inspired by Alan Rickman, and characterized the Red Queen as reminiscent of Geraldine McEwan. "It always seems a privilege to record and perform literature," she concluded, "though it requires days and days of work."

Working with Terrence Malick

Remembering her time working with celebrated filmmaker Terrence Malick on Tree of Life, Shaw described him as distinctive. "Everything Terrence Malick says and does is different," she observed.

The actress recounted a specific recollection of their initial encounter: "He placed a message on my voicemail 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."

Shaw also mentioned Malick's unusual approach of asking actors "Would you prefer to do this scene indoors or outdoors?" – inquiries seldom made by other filmmakers. "He only employed natural light," she added, "so you could either perform interior near glass or exterior on location."

Concerning the lengthy post-production, Shaw revealed that "He takes approximately 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 was released, I was nearly gone."

She concluded by characterizing Malick's unique process: "He constructs this massive framework, and he removes most elements. He essentially deconstructs films."