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

In a recent interview, renowned performer Fiona Shaw shared insights about her diverse career spanning many years and iconic roles.

Andor's Powerful Speech

When discussing her unforgettable funeral speech in the Star Wars series Andor, Shaw revealed that the original script included more explicit wording. "I did say a distinct term in my speech," she explained, "while the screenwriter wanted the studio would approve it."

The actress described the unusual shooting circumstances for that particular scene. "When I performed that speech, I was filmed by about 200 cameras for making a hologram. I was completely alone in a huge soundstage, with no director nor crew members present in the room."

Classic Literature Projects

Speaking about the forthcoming screen version of Jane Austen's classic novel, Shaw expressed excitement about the completed filming. "We've just finished shooting it," she stated, "and what an actor typically doesn't see is the final film."

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

The actress also recalled on her previous role in the 1995 adaptation of Austen's Persuasion, portraying Mrs. Croft. "The director had particular demands: no wigs and just candle illumination," she remembered. "He truly aimed to recreate the feeling of nineteenth-century existence."

Wizarding World Reflections

When asked about her time in the Harry Potter franchise, Shaw talked warmly about working with her departed co-star. "He represented the most refined, artistic and talented man," she shared. "He had 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 both her and the young actors on set. "He had 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 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 had an extensive run, beginning in Ireland, then traveling to England, followed by the American capital, the Brooklyn Academy of Music, and ultimately Manhattan. "We grew quite bonded as a cast," she noted.

Performance Philosophy

Regarding inquiries concerning her capacity to move between humor and seriousness, Shaw explained that "humor unites people as it's about rupturing the norm." Nevertheless, she confessed that "the night before a comedy, I always sleep poorly, because you have to find the rhythm during performance."

Concerning her technique for tackling different characters, Shaw commented: "I discover each one challenging. But even if the character you're portraying is quite distant from you, there is often something about them that you identify with."

Current Projects

Discussing her latest role in Hot Milk, Shaw described her character Rose as "a difficult person but you can't play anything from that perspective." The actress elaborated that Rose experiences a functional neurological disorder that makes walking difficult.

"The character doesn't realize of the impact she has on her daughter," Shaw observed. "All she knows is that she wants to improve. She's both benign and blind. Perhaps that's what most of us are."

Self-Perception

Upon hearing that audiences perceive her ideal as authority figure characters, Shaw answered with amusement: "Goodness me! I'm really not intimidating. But perhaps when filled with intention, my features can appear formidable."

She added: "I am in life occasionally rather disorganized so perhaps it's therapeutic for me to play highly intellectual, organized characters. I try to depict fascinating individuals so I avoid criticizing them. Don't be scared – come and say hello!"

Passion for Words

Talking about her celebrated interpretation of T.S. Eliot's The Waste Land, Shaw expressed her deep connection with language and poetry. "My heart is always in the language," she declared, "because the clues to everything are there in the choice of words."

The actress thinks that "poetry represents the refined version of language, or the moment that has been captured." As individuals boil down to what they truly want to say, it's often poetic."

Audiobook Work

Concerning her acclaimed audiobook performances, particularly Alice's Adventures in Wonderland, Shaw revealed that "I enjoyed recording Alice in Wonderland because I included everybody I knew into it – my friends and fellow performers."

She described how she voiced the caterpillar as inspired by Alan Rickman, and portrayed the Red Queen evoking Geraldine McEwan. "It consistently feels a privilege to record and perform literature," she finished, "despite needing extended periods of work."

Collaborating with the Director

Remembering her time working with celebrated filmmaker Terrence Malick on Tree of Life, Shaw portrayed him as unconventional. "Everything Terrence Malick says and does is unique," she observed.

The actress recounted a particular memory of their first meeting: "He left 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 indoors or outdoors?" – inquiries seldom made by different directors. "He only employed natural light," she continued, "so you could either perform interior near glass or outside on the street."

Regarding the extensive editing process, Shaw revealed that "He takes approximately three years to edit the film. I had heard from the producer after two years that I was probably one of the main characters, but by the time the film came out, I was mostly removed."

She concluded by describing Malick's distinctive approach: "He builds this enormous structure, and he takes away many components. He essentially deconstructs films."