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

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

The Impactful Andor Monologue

While talking about her unforgettable eulogy scene in the Star Wars series Andor, Shaw revealed that the initial version included more explicit wording. "I did say a different word in my speech," she clarified, "and the writer wanted the studio would approve it."

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

Jane Austen Adaptations

Regarding the upcoming screen version of Jane Austen's Sense and Sensibility, Shaw shared enthusiasm about finishing production. "We recently completed shooting it," she stated, "and what an actor rarely witness is the final film."

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

The actress also recalled on her earlier performance in the 1995 adaptation of Austen's Persuasion, portraying Mrs. Croft. "The director had particular demands: without hairpieces and just candle illumination," she recalled. "He truly aimed to capture the experience of nineteenth-century existence."

Wizarding World Reflections

When asked about her experience with the wizarding film series, Shaw spoke fondly about working with the late Richard Griffiths. "He represented the most elegant, artistic and gifted man," she shared. "He possessed the most mellifluous handwriting and on one occasion mailed me a note asking to lunch in elaborate gothic lettering."

The actress portrayed Griffiths as constantly speaking and sharing fascinating anecdotes with both her and the young actors on set. "He possessed remarkable worldly understanding so we would sit enthralled to his stories."

Theatrical Work

Discussing her New York stage role in Medea, Shaw remembered how emotionally demanding the show was. "I met one of the ensemble actors several years after, who said: 'I'm not over it yet,'" she disclosed.

This theatrical work had an extensive run, starting in Dublin, then moving to London, followed by the American capital, the Brooklyn Academy of Music, and ultimately Manhattan. "We grew very close 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 breaking conventions." Nevertheless, she admitted that "prior to a comedy, I always sleep poorly, because you have to catch the wave during performance."

Concerning her method for approaching various roles, Shaw commented: "I find them all challenging. But even if the character you're portraying is quite distant from you, there is frequently some aspect about them that you recognize."

Current Projects

Speaking about her recent performance in the production Hot Milk, Shaw characterized her character Rose as "a terrible woman though you cannot perform anything from that perspective." She explained that Rose experiences a functional neurological disorder that makes walking difficult.

"She is unaware of the effect she creates on her daughter," Shaw noted. "All she knows is that she desires to get better. She's well-intentioned yet unaware. Maybe this represents what many people resemble."

Personal Reflections

When told that audiences perceive her perfect for gang boss roles, Shaw responded with humor: "Goodness me! I'm really not intimidating. But perhaps when filled with intention, my features can appear threatening."

She added: "In reality occasionally rather disorganized so maybe it's redemptive for me to play highly intellectual, organized characters. I try to portray interesting people so I avoid criticizing them. Don't be scared – come and say hello!"

Love for Language

Talking about her celebrated interpretation of the poetic work The Waste Land, Shaw conveyed 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 selection of vocabulary."

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

Voice Recording

Regarding her acclaimed audiobook performances, specifically the classic Alice in Wonderland, Shaw shared that "I enjoyed recording Alice in Wonderland because I incorporated all my acquaintances into it – my friends and other actors."

The actress explained how she performed the caterpillar as channeling Alan Rickman, and portrayed the Red Queen evoking Geraldine McEwan. "It consistently feels a honor to record and perform literature," she finished, "though it requires extended periods of work."

Working with Terrence Malick

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

The actress recounted a particular memory of their initial encounter: "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 unusual selection in the world."

Shaw also mentioned Malick's distinctive method 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."

Concerning the extensive editing process, Shaw disclosed that "The director requires about three years to complete the movie. I had heard from the producer following twenty-four months that I was probably one of the primary roles, but when the film was released, I was nearly gone."

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