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

In a recent interview, renowned performer Fiona Shaw shared insights about her varied professional experiences covering many years and iconic roles.

Andor's Powerful Speech

While talking about her unforgettable funeral speech in the Star Wars series Andor, Shaw disclosed that the initial version included more explicit wording. "I did say a different word in my speech," she clarified, "and the writer hoped that Disney would accept it."

The performer detailed the unusual shooting circumstances for this specific moment. "When I performed that speech, I was recorded with about 200 cameras to create a hologram. I was entirely by myself in a massive studio, with no director or production team present in the room."

Jane Austen Adaptations

Speaking about the forthcoming adaptation of Jane Austen's classic novel, Shaw shared enthusiasm about finishing production. "We recently completed shooting it," she stated, "though performers rarely witness is the completed movie."

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

Shaw also reflected on her earlier performance in the 1995 adaptation of Austen's Persuasion, portraying Mrs. Croft. "The director had particular demands: no wigs and only candlelight," she recalled. "He truly aimed to capture the experience of early 19th century life."

Harry Potter Memories

When asked about her experience with the Harry Potter franchise, Shaw spoke fondly about collaborating with her departed co-star. "He represented the most refined, artistic and gifted man," she revealed. "He had the most mellifluous handwriting and once sent me a note asking to lunch in ornate gothic script."

She described Griffiths as continuously talking and sharing fascinating anecdotes with herself and the young actors on set. "He had remarkable worldly understanding so we would listen captivated by his tales."

Theatrical Work

Talking about her Broadway performance in Medea, Shaw recalled how psychologically challenging the show was. "I encountered one of the chorus members three years later, who said: 'I'm not over it yet,'" she disclosed.

This theatrical work continued for years, starting in Dublin, then moving to London, followed by the American capital, the New York venue, and ultimately Manhattan. "We became quite bonded as a cast," she noted.

Performance Philosophy

When questioned about her capacity to move between comedy and drama, Shaw explained that "humor unites people as it's about rupturing the norm." However, she admitted that "the night before a comedy, I always sleep poorly, because you have to find the rhythm during performance."

Regarding her technique for tackling various roles, Shaw stated: "I discover each one challenging. But even if the person you're playing is rather different from you, there is frequently some aspect about them that you identify with."

Current Projects

Discussing her recent performance in Hot Milk, Shaw described her character Rose as "a terrible woman but you can't play anything from that viewpoint." She explained that Rose suffers from a nervous system condition that makes walking difficult.

"She is unaware of the effect she creates on her daughter," Shaw observed. "Her only concern is that she wants to improve. She's both benign and blind. Maybe this represents what most of us are."

Personal Reflections

When told that viewers consider her ideal as authority figure characters, Shaw answered with humor: "Goodness me! I'm so not scary. But perhaps when filled with intention, my features can appear threatening."

She added: "In reality sometimes quite scatty so perhaps it's therapeutic 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!"

Love for Language

Discussing her celebrated interpretation of T.S. Eliot's The Waste Land, Shaw expressed her deep connection with language and poetry. "I'm consistently devoted in the language," she declared, "since the indicators to everything are contained within the selection of vocabulary."

She believes that "poetry represents the polished form of language, or the moment that has been captured." As individuals boil down to what they truly want to say, it's frequently lyrical."

Voice Recording

Regarding her praised spoken-word performances, particularly the classic Alice in Wonderland, Shaw revealed that "I enjoyed recording Alice in Wonderland because I incorporated everybody I knew into it – personal companions and other actors."

She described how she performed the caterpillar as inspired by Alan Rickman, and portrayed the Red Queen as reminiscent of Geraldine McEwan. "It consistently feels a privilege to sit and speak literature," she concluded, "despite needing days and days of work."

Collaborating with the Director

Recalling her experience working with renowned director Terrence Malick on his film Tree of Life, Shaw described him as unconventional. "All that the director expresses and undertakes is unique," she observed.

She shared a specific recollection of their initial encounter: "He placed a message on my answering machine 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 unusual selection in the world."

The actress also described Malick's unusual approach of asking actors "Do you want to do this scene inside or outside?" – inquiries seldom made by different directors. "He exclusively used natural light," she continued, "so you could either perform interior near glass or exterior on location."

Regarding the extensive editing process, Shaw disclosed that "He takes approximately 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 when the film was released, I was mostly removed."

The actress finished by describing Malick's distinctive approach: "He builds this enormous structure, and he removes most elements. He fundamentally dismantles films."