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During a recent conversation, esteemed actress Fiona Shaw shared insights about her diverse career spanning multiple decades and memorable characters.

Andor's Powerful Speech

While talking about her unforgettable eulogy scene in the Star Wars series Andor, Shaw disclosed that the original script included more explicit wording. "I actually spoke a different word in my speech," she explained, "and the writer wanted the studio would accept it."

The performer described the unusual shooting circumstances 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 neither director or production team present in the room."

Jane Austen Adaptations

Regarding the upcoming screen version of Jane Austen's Sense and Sensibility, Shaw expressed excitement about the completed filming. "We recently completed shooting it," she stated, "and what an actor typically doesn't see is the completed movie."

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 previous role in the 1995 adaptation of Austen's Persuasion, portraying Mrs. Croft. "The director had specific requirements: no wigs and only candlelight," she recalled. "He truly aimed to recreate the feeling of early 19th century life."

Wizarding World Reflections

When asked about her experience with the Harry Potter franchise, Shaw spoke fondly about collaborating with the late Richard Griffiths. "He represented the most refined, artistic and talented man," she shared. "He had the most mellifluous handwriting and once sent me a note asking to lunch in elaborate gothic lettering."

The actress portrayed Griffiths as continuously talking and telling interesting stories with herself and the child performers on set. "He had remarkable worldly understanding so we would listen captivated by his tales."

Theatrical Work

Talking about her Broadway performance in the tragedy Medea, Shaw remembered how psychologically challenging the production was. "I encountered one of the ensemble actors several years after, who said: 'I'm not over it yet,'" she shared.

This theatrical work continued for years, starting in Dublin, then moving to London, followed by Washington DC, the Brooklyn Academy of Music, and ultimately Manhattan. "We became very close as a company," she noted.

Approach to Acting

When questioned about her capacity to move between comedy and drama, Shaw clarified that "comedy connects us as it's about breaking conventions." However, she admitted that "prior to a comedy, I always sleep poorly, because you have to find the rhythm on the day."

Regarding her technique for tackling different characters, Shaw commented: "I find them all challenging. But even if the character you're portraying is rather different from you, there is often something 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." She explained 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. "All she knows 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 audiences perceive her perfect for gang boss roles, Shaw responded 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 sometimes quite scatty so perhaps it's therapeutic for me to play very intelligent, organized characters. I try to depict fascinating individuals so I avoid criticizing them. Don't be scared – approach and greet me!"

Love for Language

Talking about her celebrated interpretation of T.S. Eliot's The Waste Land, Shaw expressed her profound relationship with words and verse. "I'm consistently devoted in the language," she declared, "because the clues to everything are contained within the choice of words."

She believes that "verse constitutes the polished form of language, or the instant that's been preserved." When people reduce to what they truly want to say, it's frequently lyrical."

Voice Recording

Concerning her praised spoken-word performances, particularly Alice's Adventures in Wonderland, Shaw revealed that "I loved reading Alice in Wonderland because I incorporated everybody I knew into it – personal companions and fellow performers."

She described how she voiced 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 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. "Everything Terrence Malick says and does is unique," she observed.

The actress recounted a particular memory of their initial encounter: "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."

Shaw also mentioned Malick's unusual approach of asking actors "Do you want to do this scene inside or outside?" – inquiries seldom made by other filmmakers. "He exclusively used natural light," she continued, "meaning actors could perform inside by a window or outside on the street."

Concerning the lengthy post-production, Shaw disclosed that "He takes approximately three years to edit the film. I had heard from the producer following twenty-four months that I was probably one of the main characters, but when the film came out, I was nearly gone."

She concluded by characterizing Malick's distinctive approach: "He constructs this massive framework, and he removes most elements. He essentially deconstructs films."