🔗 Share this article

During a recent conversation, acclaimed actress Fiona Shaw shared insights about her varied professional experiences spanning many years and iconic roles.

Andor's Powerful Speech

While talking about her unforgettable eulogy scene 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 clarified, "and the writer wanted the studio would approve it."

The performer detailed the unusual shooting circumstances 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 or production team present in the room."

Classic Literature Projects

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

The actress commended director Georgia Oakley as "really lovely and quite confident." The production took place in beautiful estates throughout Britain, including sites within Dorset, Knebworth, and Devonshire.

Shaw also reflected on her previous role in the 1995 adaptation of Austen's Persuasion, playing Mrs. Croft. "Our filmmaker had particular demands: no wigs and just candle illumination," she recalled. "He truly aimed to capture the experience of early 19th century life."

Wizarding World Reflections

In response to questions regarding her time in the wizarding film series, Shaw spoke fondly about working with her departed co-star. "Richard was the most elegant, artistic 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."

The actress portrayed Griffiths as constantly speaking and telling interesting stories with herself and the child performers on set. "He had fantastic general knowledge so we would listen captivated by his tales."

Stage Performances

Talking about her Broadway performance in Medea, Shaw remembered how psychologically challenging the show was. "I met one of the chorus members three years later, 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 New York venue, and finally Broadway. "We became quite bonded as a company," she added.

Approach to Acting

Regarding inquiries concerning her ability to transition between comedy and drama, Shaw clarified that "comedy connects us as it's about rupturing the norm." However, she admitted that "the night before a comedy, I always sleep poorly, because you have to catch the wave during performance."

Regarding her technique for tackling different characters, Shaw commented: "I find them all difficult. But even if the person you're playing is rather different from you, there is frequently some aspect about them that you recognize."

Recent Work

Discussing her recent performance in the production Hot Milk, Shaw characterized her character Rose as "a terrible woman but you can't play anything from that viewpoint." She explained that Rose experiences a nervous system condition that makes walking difficult.

"She is unaware of the impact she has on her daughter," Shaw observed. "Her only concern is that she wants to improve. She's both benign and blind. Perhaps that's what many people resemble."

Self-Perception

Upon hearing that viewers consider her perfect for authority figure characters, Shaw responded with humor: "Oh dear! I'm so not scary. But maybe when infused with intention, my features might seem threatening."

The actress continued: "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 – come and say hello!"

Love for Language

Discussing 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 stated, "because the clues to everything are there in the selection of vocabulary."

She believes 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."

Voice Recording

Regarding her praised spoken-word performances, particularly Alice's Adventures in Wonderland, Shaw shared that "I loved reading 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 characterized the Red Queen evoking Geraldine McEwan. "It always seems a privilege to record and perform literature," she concluded, "though it requires days and days of work."

Collaborating with the Director

Remembering her time working with renowned director Terrence Malick on Tree of Life, Shaw portrayed him as distinctive. "All that the director says and does is different," she noted.

She shared a specific recollection of their first meeting: "He left 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."

The actress also described Malick's unusual approach of asking actors "Would you prefer to do this scene indoors or outdoors?" – questions rarely posed by other filmmakers. "He only employed natural light," she added, "so you could either perform interior near glass or outside on the street."

Concerning the extensive editing process, Shaw revealed that "He takes approximately three years to edit the film. I had been told by the producer following twenty-four months that I was probably one of the primary roles, 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."