🔗 Share this article

During a recent conversation, esteemed performer Fiona Shaw shared insights about her varied professional experiences spanning many years and iconic roles.

The Impactful Andor Monologue

When discussing 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, "while the screenwriter wanted the studio would approve it."

The actress detailed the unique filming conditions for that particular scene. "While I delivered that speech, I was filmed by about 200 cameras to create a hologram. I was completely alone in a massive studio, with no director or production team present in the room."

Jane Austen Adaptations

Speaking about the forthcoming screen version of Jane Austen's classic novel, Shaw expressed excitement about finishing production. "We've just finished shooting it," she mentioned, "though performers typically doesn't see is the final film."

She praised director Georgia Oakley as "truly wonderful and very assured." The filming took place in stunning houses across the UK, including sites within Dorset, Knebworth, and Devonshire.

Shaw also reflected on her earlier performance in the 1995 adaptation of Persuasion, playing Mrs. Croft. "The director had particular demands: without hairpieces and only candlelight," she recalled. "He truly aimed to capture the experience of nineteenth-century existence."

Harry Potter Memories

In response to questions regarding her experience with the wizarding film series, Shaw talked warmly about working with the late Richard Griffiths. "Richard was the most elegant, artistic and gifted man," she shared. "He possessed the most mellifluous handwriting and once sent me a note inviting me to lunch in elaborate gothic lettering."

The actress portrayed Griffiths as continuously talking and sharing fascinating anecdotes with herself and the young actors on set. "He possessed fantastic general knowledge so we would sit enthralled to his stories."

Stage Performances

Discussing her Broadway performance in Medea, Shaw recalled 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 shared.

This theatrical work had an extensive run, starting in Dublin, then traveling to England, followed by Washington DC, the Brooklyn Academy of Music, and finally Broadway. "We became very close as a company," she added.

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 confessed that "prior to a comedy, I always rest badly, 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 person you're playing is quite distant from you, there is frequently some aspect about them that you recognize."

Recent Work

Speaking about her latest role in the production Hot Milk, Shaw characterized her character Rose as "a difficult person though you cannot perform anything from that perspective." The actress elaborated that Rose suffers from a functional neurological disorder that makes walking difficult.

"The character doesn't realize of the impact she has 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."

Self-Perception

Upon hearing that viewers consider her ideal as authority figure characters, Shaw responded with humor: "Oh dear! I'm really not intimidating. But perhaps when filled with purpose, my features can appear formidable."

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 – come and say hello!"

Love for Language

Talking about her renowned performance of T.S. Eliot's The Waste Land, Shaw conveyed 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 selection of vocabulary."

She believes that "verse constitutes the polished form of language, or the moment that has been captured." As individuals boil down to what they genuinely wish to express, it's often poetic."

Audiobook Work

Concerning her acclaimed audiobook performances, particularly 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 fellow performers."

The actress explained how she voiced the caterpillar as inspired by Alan Rickman, and characterized the Red Queen evoking Geraldine McEwan. "It consistently feels a honor to record and perform literature," she concluded, "though it requires days and days of work."

Collaborating with the Director

Remembering her time working with renowned director Terrence Malick on Tree of Life, Shaw described him as unconventional. "All that the director says and does is different," she observed.

The actress recounted a specific recollection of their first meeting: "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 exotic choice 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 other filmmakers. "He exclusively used natural light," she continued, "meaning actors could perform interior near glass or outside on the street."

Concerning the lengthy post-production, Shaw disclosed that "He takes approximately three years to complete the movie. I had heard from the producer after two years that I was likely among the primary roles, but by the time the film was released, I was mostly removed."

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