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

During a recent conversation, esteemed actress Fiona Shaw opened up about her diverse career spanning multiple decades and iconic roles.

The Impactful Andor Monologue

While talking about her memorable eulogy scene in the Star Wars series Andor, Shaw disclosed that the original script contained more explicit wording. "I did say a different word in my speech," she clarified, "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 for making a hologram. I was entirely by myself in a huge soundstage, with neither director or production team present in the room."

Jane Austen Adaptations

Regarding the upcoming screen version of Jane Austen's Sense and Sensibility, Shaw shared enthusiasm about the completed filming. "We've just finished shooting it," she stated, "and what an actor typically doesn't see is the completed movie."

The actress commended filmmaker Georgia Oakley as "truly wonderful and very assured." The production 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 Persuasion, playing Mrs. Croft. "Our filmmaker had specific requirements: without hairpieces and just candle illumination," she remembered. "He genuinely wanted to capture the experience of early 19th century life."

Wizarding World Reflections

When asked about her time in the Harry Potter franchise, Shaw spoke fondly about working with her departed co-star. "He represented the most refined, creative and gifted man," she shared. "He possessed the most beautiful penmanship and on one occasion mailed me a note asking to lunch in elaborate gothic lettering."

She described Griffiths as constantly speaking and sharing fascinating anecdotes with herself and the child performers on set. "He possessed remarkable worldly understanding so we would sit enthralled to his stories."

Stage Performances

Discussing her New York stage role in the tragedy Medea, Shaw remembered how psychologically challenging the production was. "I met one of the ensemble actors three years later, 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 the American capital, the New York venue, and ultimately Manhattan. "We became very close as a cast," she noted.

Performance Philosophy

Regarding inquiries concerning her ability to transition between humor and seriousness, 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 on the day."

Concerning her method for approaching different characters, Shaw commented: "I find them all difficult. But even if the character you're portraying is rather different from you, there is often something about them that you recognize."

Recent Work

Speaking about her recent performance in 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 causes mobility issues.

"The character doesn't realize of the effect she creates on her daughter," Shaw noted. "Her only concern is that she wants to improve. She's well-intentioned yet unaware. Maybe this represents what many people resemble."

Personal Reflections

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

She added: "I am in life occasionally rather disorganized so maybe it's redemptive for me to play very intelligent, organized characters. I try to depict fascinating individuals so I never judge them. Please don't fear – approach and greet me!"

Passion for Words

Discussing her celebrated interpretation of T.S. Eliot's The Waste Land, Shaw expressed her profound relationship with words and verse. "I'm consistently devoted in the language," she stated, "because the clues to everything are there in the choice of words."

She believes that "poetry represents the refined version of language, or the instant that's been preserved." As individuals reduce to what they genuinely wish to express, it's often poetic."

Audiobook Work

Concerning her praised spoken-word performances, particularly the classic Alice 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 inspired by Alan Rickman, and characterized the Red Queen as reminiscent of Geraldine McEwan. "It always seems a honor to record and perform literature," she finished, "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 described him as distinctive. "Everything Terrence Malick expresses and undertakes is different," she noted.

She shared a specific recollection of their first meeting: "He placed a message on my voicemail 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?" – inquiries seldom made by different directors. "He exclusively used natural light," she continued, "meaning actors could perform interior near glass or outside on the street."

Concerning the extensive editing process, Shaw revealed that "The director requires about three years to edit the film. I had heard from the producer after two years that I was probably one of the primary roles, but when the film came out, I was nearly gone."

The actress finished by characterizing Malick's unique process: "He builds this massive framework, and he removes most elements. He essentially deconstructs films."