🔗 Share this article

In a recent interview, esteemed performer Fiona Shaw shared insights about her varied professional experiences covering many years and memorable characters.

The Impactful Andor Monologue

When discussing her unforgettable eulogy scene in the Star Wars series Andor, Shaw disclosed that the original script included stronger language. "I actually spoke a distinct term in my speech," she explained, "and the writer hoped that Disney 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 no director nor crew members present in the room."

Classic Literature Projects

Regarding the upcoming screen version of Jane Austen's Sense and Sensibility, Shaw shared enthusiasm about finishing production. "We recently completed shooting it," she mentioned, "and what an actor rarely witness is the final film."

She praised director Georgia Oakley as "truly wonderful and very assured." The filming took place in stunning houses throughout Britain, including sites within Dorset, Knebworth, and Devonshire.

Shaw also reflected on her previous role in the 1995 adaptation of Persuasion, portraying Mrs. Croft. "The director had particular demands: without hairpieces and only candlelight," she remembered. "He truly aimed to recreate the feeling of early 19th century life."

Harry Potter Memories

When asked about her experience with the Harry Potter franchise, Shaw spoke fondly about working with her departed co-star. "He represented the most elegant, creative and talented man," she revealed. "He had the most beautiful penmanship and once sent me a note asking to lunch in elaborate gothic lettering."

She described Griffiths as constantly speaking and sharing fascinating anecdotes with herself and the young actors on set. "He possessed remarkable worldly understanding so we would sit enthralled by his tales."

Theatrical Work

Discussing her New York stage role in the tragedy Medea, Shaw recalled how emotionally demanding the show was. "I encountered one of the ensemble actors several years after, who said: 'I'm not over it yet,'" she shared.

The production had an extensive run, starting in Dublin, then traveling to England, followed by Washington DC, the Brooklyn Academy of Music, and ultimately Manhattan. "We grew very close as a cast," she noted.

Performance Philosophy

When questioned about her ability to transition between comedy and drama, Shaw clarified that "comedy connects us as it's about breaking conventions." However, she confessed that "prior to a comedy, I always sleep poorly, because you have to find the rhythm on the day."

Concerning her technique for tackling various roles, 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."

Current Projects

Discussing her latest role in Hot Milk, Shaw described her character Rose as "a difficult person though you cannot perform anything from that perspective." She explained that Rose experiences a functional neurological disorder 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 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 so not scary. But maybe when infused with intention, my features can appear formidable."

She added: "In reality occasionally rather disorganized so maybe it's redemptive for me to play highly intellectual, methodical personalities. I try to depict fascinating individuals so I never judge them. Don't be scared – come and say hello!"

Love for Language

Discussing her renowned performance of the poetic work The Waste Land, Shaw conveyed her profound relationship with language and poetry. "I'm consistently devoted in the language," she declared, "since the indicators to everything are there in the choice of words."

The actress thinks that "poetry represents the polished form of language, or the moment that has been captured." When people boil down to what they truly want to say, it's frequently lyrical."

Audiobook Work

Regarding her acclaimed audiobook performances, specifically the classic Alice in Wonderland, Shaw shared that "I loved reading Alice in Wonderland because I incorporated everybody I knew into it – my friends and other actors."

She described how she voiced 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 finished, "despite needing extended periods of work."

Working with Terrence Malick

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 particular memory 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."

The actress also described Malick's unusual approach of asking actors "Do you want to do this scene indoors or outdoors?" – questions rarely posed by different directors. "He only employed natural light," she continued, "so you could either perform interior near glass or exterior on location."

Concerning the lengthy post-production, Shaw disclosed that "The director requires about three years to edit the film. I had heard from 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 nearly gone."

The actress finished by characterizing Malick's distinctive approach: "He constructs this massive framework, and he takes away many components. He fundamentally dismantles films."