🔗 Share this article

During a recent conversation, renowned performer Fiona Shaw opened up about her diverse career covering multiple decades and iconic roles.

Andor's Powerful Speech

While talking about her unforgettable funeral speech in the Star Wars series Andor, Shaw revealed that the initial version included stronger language. "I actually spoke a different word in my speech," she explained, "while the screenwriter hoped that Disney would accept it."

The actress detailed the unique filming conditions for this specific moment. "When I performed that speech, I was recorded with about 200 cameras for making a hologram. I was completely alone in a massive studio, with neither director or production team there with me."

Classic Literature Projects

Regarding the upcoming adaptation of Jane Austen's classic novel, 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 filmmaker Georgia Oakley as "really lovely and quite confident." The production took place in beautiful estates throughout Britain, including sites within Dorset, Knebworth, and Devonshire.

Shaw also reflected on her previous role in the 1995 adaptation of Persuasion, portraying Mrs. Croft. "The director had specific requirements: no wigs and only candlelight," she recalled. "He genuinely wanted to recreate the feeling of nineteenth-century existence."

Harry Potter Memories

In response to questions regarding her time in the Harry Potter franchise, Shaw spoke fondly about collaborating with the late Richard Griffiths. "He represented the most elegant, artistic and gifted man," she revealed. "He had the most beautiful penmanship and on one occasion mailed me a note inviting me to lunch in ornate gothic script."

She described Griffiths as constantly speaking and telling interesting stories with herself and the child performers on set. "He possessed remarkable worldly understanding so we would sit enthralled by his tales."

Stage Performances

Talking about her New York stage role in the tragedy Medea, Shaw recalled how psychologically challenging the production was. "I met one of the chorus members three years later, who said: 'I'm not over it yet,'" she shared.

This theatrical work continued for years, starting in Dublin, 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 added.

Performance Philosophy

Regarding inquiries concerning her ability to transition between comedy and drama, Shaw clarified that "comedy connects us as it's about rupturing the norm." However, she admitted that "prior to a comedy, I always rest badly, because you have to find the rhythm during performance."

Concerning her method for approaching different characters, Shaw stated: "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 recognize."

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." She explained that Rose experiences a functional neurological disorder that causes mobility issues.

"She is unaware of the effect she creates on her daughter," Shaw observed. "All she knows is that she desires to get better. She's both benign and blind. Maybe this represents what many people resemble."

Personal Reflections

When told that viewers consider her perfect for gang boss roles, Shaw responded with amusement: "Goodness me! I'm so not scary. But maybe when infused with intention, 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, methodical personalities. I try to portray interesting people so I avoid criticizing them. Don't be scared – come and say hello!"

Love for Language

Discussing 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 stated, "because the clues to everything are there in the choice of words."

The actress thinks that "poetry represents 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."

Audiobook Work

Concerning her praised spoken-word performances, specifically the classic Alice in Wonderland, Shaw revealed that "I enjoyed recording Alice in Wonderland because I incorporated all my acquaintances into it – my friends and fellow performers."

She described how she voiced the caterpillar as channeling Alan Rickman, and characterized the Red Queen as reminiscent of Geraldine McEwan. "It always seems a privilege to record and perform literature," she concluded, "though it requires 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 expresses and undertakes is unique," she observed.

She shared a particular memory of their first meeting: "He left 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 exotic choice in the world."

The actress also described Malick's unusual approach of asking actors "Would you prefer to do this scene inside or outside?" – questions rarely posed by other filmmakers. "He only employed natural light," she continued, "so you could either perform interior near glass or outside on the street."

Regarding the lengthy post-production, Shaw disclosed that "He takes approximately three years to complete the movie. I had been told by the producer after two years that I was probably one of the primary roles, but when the film was released, I was mostly removed."

The actress finished by characterizing Malick's distinctive approach: "He constructs this massive framework, and he takes away many components. He essentially deconstructs films."