🔗 Share this article

During a recent conversation, acclaimed actress Fiona Shaw shared insights about her varied professional experiences covering multiple decades and memorable characters.

Andor's Powerful Speech

When discussing her memorable eulogy scene in the Star Wars series Andor, Shaw disclosed that the initial version contained more explicit wording. "I actually spoke a different word 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 massive studio, with neither director or production team present in the room."

Classic Literature Projects

Regarding the upcoming adaptation of Jane Austen's Sense and Sensibility, Shaw expressed excitement about finishing production. "We recently completed shooting it," she mentioned, "and what an actor typically doesn't see is the completed movie."

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

The actress also recalled on her earlier performance in the nineties version of Austen's Persuasion, playing Mrs. Croft. "Our filmmaker had specific requirements: without hairpieces and just candle illumination," she remembered. "He genuinely wanted to recreate the feeling of nineteenth-century existence."

Wizarding World Reflections

When asked about her experience with the wizarding film series, Shaw spoke fondly about collaborating with her departed co-star. "Richard was the most elegant, creative and gifted man," she shared. "He had the most mellifluous handwriting and on one occasion mailed me a note asking to lunch in ornate gothic script."

She described Griffiths as continuously talking and telling interesting stories with herself and the young actors on set. "He had fantastic general knowledge so we would sit enthralled by his tales."

Theatrical Work

Talking about her New York stage role in the tragedy Medea, Shaw recalled how psychologically challenging the production was. "I encountered 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 Washington DC, the New York venue, and ultimately Manhattan. "We became quite bonded as a company," she added.

Approach to Acting

Regarding inquiries concerning her ability to transition between humor and seriousness, Shaw explained that "humor unites people as it's about breaking conventions." However, she confessed that "prior to a comedy, I always sleep poorly, because you have to catch the wave on the day."

Regarding her technique for tackling different characters, Shaw stated: "I discover each one challenging. 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 described her character Rose as "a difficult person though you cannot perform anything from that viewpoint." The actress elaborated that Rose suffers from a nervous system condition that causes mobility issues.

"The character doesn't realize of the effect she creates on her daughter," Shaw noted. "All she knows 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 answered with amusement: "Goodness me! I'm really not intimidating. But perhaps when filled with purpose, my features might seem formidable."

The actress continued: "In reality sometimes quite scatty so maybe it's redemptive for me to play very intelligent, organized characters. I try to portray interesting people so I never judge them. Don't be scared – approach and greet me!"

Love for Language

Talking about her renowned performance of T.S. Eliot's The Waste Land, Shaw expressed her deep connection with words and verse. "I'm consistently devoted in the language," she declared, "since the indicators to everything are there in the choice of words."

She believes that "poetry represents the polished form of language, or the instant that's been preserved." When people reduce 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 revealed that "I loved reading Alice in Wonderland because I incorporated everybody I knew into it – personal companions and other actors."

The actress explained how she performed the caterpillar as inspired by Alan Rickman, and characterized the Red Queen evoking Geraldine McEwan. "It always seems a honor to record and perform literature," she finished, "though it requires extended periods of work."

Collaborating with the Director

Remembering her time working with renowned director Terrence Malick on his film Tree of Life, Shaw described him as distinctive. "All that the director expresses and undertakes is unique," she noted.

The actress recounted a specific recollection of their initial encounter: "He placed 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 "Do you want to do this scene inside or outside?" – questions rarely posed by other filmmakers. "He exclusively used natural light," she added, "meaning actors could perform interior near glass or outside on the street."

Regarding the lengthy post-production, Shaw revealed that "The director requires about three years to complete the movie. I had heard from the producer after two years that I was probably one of the main characters, but by the time the film was released, I was mostly removed."

The actress finished by characterizing Malick's unique process: "He constructs this enormous structure, and he takes away many components. He essentially deconstructs films."