🔗 Share this article

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

The Impactful Andor Monologue

When discussing her memorable funeral speech in the Star Wars series Andor, Shaw revealed that the initial version included more explicit wording. "I did say a distinct term in my speech," she clarified, "and the writer hoped that Disney would accept it."

The actress detailed the unusual shooting circumstances for this specific moment. "When I performed that speech, I was filmed by about 200 cameras for making a hologram. I was entirely by myself in a huge soundstage, with no director or production team there with me."

Jane Austen Adaptations

Speaking about the forthcoming screen version of Jane Austen's Sense and Sensibility, Shaw expressed excitement about the completed filming. "We've just finished shooting it," she mentioned, "and what an actor rarely witness is the completed movie."

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

Shaw also reflected on her previous role in the 1995 adaptation of Persuasion, playing Mrs. Croft. "The director had specific requirements: without hairpieces and only candlelight," she recalled. "He genuinely wanted to recreate the feeling of early 19th century life."

Harry Potter Memories

When asked about her time in the Harry Potter franchise, Shaw talked warmly about collaborating with the late Richard Griffiths. "He represented the most refined, artistic and gifted man," she revealed. "He possessed the most mellifluous handwriting and once sent me a note inviting me to lunch in ornate gothic script."

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

Stage Performances

Talking about her Broadway performance in Medea, Shaw recalled how emotionally demanding the production was. "I encountered one of the chorus members three years later, who said: 'I'm not over it yet,'" she shared.

This theatrical work had an extensive run, starting in Dublin, then traveling to England, followed by the American capital, the New York venue, and finally Broadway. "We grew quite bonded as a cast," she noted.

Approach to Acting

When questioned about her ability to transition between humor and seriousness, Shaw clarified that "humor unites people as it's about breaking conventions." However, she admitted that "prior to a comedy, I always rest badly, because you have to catch the wave during performance."

Concerning her method for approaching different characters, Shaw commented: "I discover each one difficult. But even if the person you're playing is quite distant from you, there is often something about them that you identify with."

Current Projects

Discussing her latest role in the production 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 makes walking difficult.

"She is unaware of the effect she creates on her daughter," Shaw observed. "Her only concern is that she wants to improve. She's well-intentioned yet unaware. Maybe this represents what most of us are."

Personal Reflections

When told that viewers consider her perfect for authority figure characters, Shaw responded with humor: "Oh dear! I'm really not intimidating. But maybe when infused with intention, my features can appear formidable."

The actress continued: "I am in life occasionally rather disorganized so perhaps it's therapeutic for me to play highly intellectual, organized characters. I try to portray interesting people so I never judge them. Please don't fear – come and say hello!"

Passion for Words

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

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

Audiobook Work

Regarding her acclaimed audiobook performances, particularly the classic Alice in Wonderland, Shaw revealed that "I enjoyed recording Alice in Wonderland because I included all my acquaintances into it – personal companions and other actors."

She described how she performed the caterpillar as channeling Alan Rickman, and characterized the Red Queen evoking Geraldine McEwan. "It always seems a privilege to sit and speak literature," she concluded, "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 portrayed him as distinctive. "All that the director says and does is unique," she noted.

She shared a particular memory of their initial encounter: "He left a message on my answering machine 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 inside or outside?" – inquiries seldom made by other filmmakers. "He exclusively used natural light," she continued, "so you could either perform interior near glass or outside on the street."

Regarding the lengthy post-production, Shaw revealed that "The director requires about three years to edit the film. 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 characterizing Malick's distinctive approach: "He constructs this massive framework, and he removes most elements. He fundamentally dismantles films."