Fiona Shaw Talks About Her Professional Journey: From Star Wars to Wizarding World

In a recent interview, esteemed actress Fiona Shaw opened up about her diverse career covering many years and memorable characters.

Andor's Powerful Speech

While talking about her unforgettable funeral speech in the Star Wars series Andor, Shaw revealed that the original script included more explicit wording. "I actually spoke a different word in my speech," she clarified, "and the writer hoped that Disney would approve it."

The performer described the unique filming conditions for this specific moment. "While I delivered that speech, I was recorded with about 200 cameras for making a hologram. I was completely alone in a huge soundstage, with neither director nor crew members there with me."

Classic Literature Projects

Speaking about the forthcoming adaptation of Jane Austen's classic novel, Shaw expressed excitement about finishing production. "We've just finished shooting it," she stated, "though performers rarely witness is the completed movie."

The actress commended director Georgia Oakley as "truly wonderful and quite confident." The production took place in stunning houses across the UK, including sites within Dorset, Knebworth, and Devonshire.

Shaw also reflected on her previous role in the nineties version of Austen's Persuasion, playing Mrs. Croft. "Our filmmaker had particular demands: no wigs and just candle illumination," she remembered. "He genuinely wanted to capture the experience of nineteenth-century existence."

Wizarding World Reflections

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, artistic and talented man," she revealed. "He possessed the most beautiful penmanship and once sent me a note inviting me to lunch in ornate gothic script."

She described Griffiths as constantly speaking and sharing fascinating anecdotes with both her and the young actors on set. "He had fantastic general knowledge so we would sit enthralled by his tales."

Theatrical Work

Discussing her New York stage role in the tragedy Medea, Shaw remembered how emotionally demanding the production 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 New York venue, and ultimately Manhattan. "We became quite bonded as a company," she noted.

Approach to Acting

Regarding inquiries concerning her ability to transition between comedy and drama, Shaw explained that "comedy connects us as it's about rupturing the norm." Nevertheless, she confessed 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 various roles, Shaw stated: "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 identify with."

Current Projects

Discussing her recent performance in the production Hot Milk, Shaw described her character Rose as "a terrible woman though you cannot perform anything from that viewpoint." The actress elaborated that Rose experiences a nervous system condition that makes walking difficult.

"The character doesn't realize of the effect she creates on her daughter," Shaw observed. "All she knows is that she wants to improve. She's well-intentioned yet unaware. Perhaps that's what many people resemble."

Self-Perception

Upon hearing that viewers consider her ideal as authority figure characters, Shaw responded with amusement: "Goodness me! I'm really not intimidating. But maybe when infused with purpose, my features might seem threatening."

She added: "I am in life sometimes quite scatty so maybe it's redemptive for me to play highly intellectual, organized characters. I try to portray interesting people so I never judge them. Don't be scared – approach and greet me!"

Passion for Words

Discussing her celebrated interpretation of the poetic work The Waste Land, Shaw conveyed her profound relationship with words and verse. "I'm consistently devoted in the language," she declared, "because the clues to everything are contained within the choice of words."

The actress thinks that "verse constitutes the refined version of language, or the moment that has been captured." When people boil down to what they genuinely wish to express, it's often poetic."

Audiobook Work

Regarding her praised spoken-word performances, specifically the classic Alice in Wonderland, Shaw shared that "I enjoyed recording Alice in Wonderland because I included 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 evoking Geraldine McEwan. "It always seems a honor to record and perform literature," she concluded, "though it requires days and days of work."

Collaborating with the Director

Recalling her experience working with celebrated filmmaker Terrence Malick on his film Tree of Life, Shaw described him as unconventional. "Everything Terrence Malick says and does is different," she observed.

She shared a particular memory of their first meeting: "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."

Shaw also mentioned Malick's unusual approach of asking actors "Would you prefer to do this scene indoors or outdoors?" – questions rarely posed by different directors. "He only employed natural light," she added, "meaning actors could perform interior near glass or exterior on location."

Regarding the extensive editing process, Shaw disclosed that "The director requires about three years to complete the movie. I had been told by the producer following twenty-four months that I was probably one of the primary roles, but when the film came out, I was mostly removed."

She concluded by characterizing Malick's distinctive approach: "He builds this enormous structure, and he removes most elements. He essentially deconstructs films."