During a recent conversation, esteemed actress Fiona Shaw shared insights about her varied professional experiences covering multiple decades and iconic roles.
While talking about her memorable eulogy scene in the Star Wars series Andor, Shaw revealed that the initial version contained more explicit wording. "I actually spoke a distinct term in my speech," she explained, "and the writer hoped that Disney would approve it."
The performer detailed the unique filming conditions for that particular scene. "When I performed that speech, I was recorded with about 200 cameras for making a hologram. I was entirely by myself in a massive studio, with neither director or production team present in the room."
Regarding the upcoming adaptation of Jane Austen's classic novel, Shaw expressed excitement about the completed filming. "We've just finished shooting it," she mentioned, "and what an actor typically doesn't see is the completed movie."
She praised filmmaker 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.
The actress also recalled on her previous role in the nineties version of Austen's Persuasion, portraying Mrs. Croft. "Our filmmaker had particular demands: without hairpieces and only candlelight," she remembered. "He truly aimed to recreate the feeling of early 19th century life."
In response to questions regarding her time in the Harry Potter franchise, Shaw spoke fondly about collaborating with the late Richard Griffiths. "Richard was the most refined, creative and gifted man," she shared. "He possessed the most mellifluous handwriting and once sent me a note asking to lunch in ornate gothic script."
The actress portrayed Griffiths as constantly speaking and telling interesting stories with both her and the child performers on set. "He possessed fantastic general knowledge so we would listen captivated by his tales."
Discussing her Broadway performance in the tragedy Medea, Shaw recalled how psychologically challenging the show was. "I encountered one of the ensemble actors three years later, who said: 'I'm not over it yet,'" she shared.
This theatrical work continued for years, beginning in Ireland, then moving to London, followed by Washington DC, the Brooklyn Academy of Music, and ultimately Manhattan. "We grew very close as a cast," she noted.
Regarding inquiries concerning her ability to transition between comedy and drama, Shaw explained that "comedy connects us as it's about breaking conventions." However, she confessed that "the night before a comedy, I always sleep poorly, because you have to catch the wave during performance."
Concerning her technique for tackling different characters, Shaw commented: "I discover each one difficult. But even if the person you're playing is quite distant from you, there is frequently some aspect about them that you identify with."
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 functional neurological disorder that causes mobility issues.
"She is unaware of the impact she has on her daughter," Shaw observed. "Her only concern is that she wants to improve. She's well-intentioned yet unaware. Perhaps that's what most of us are."
Upon hearing that audiences perceive her ideal as gang boss roles, Shaw answered with amusement: "Oh dear! I'm so not scary. But maybe when infused with purpose, my features might seem threatening."
She added: "I am in life sometimes quite scatty so perhaps it's therapeutic for me to play highly intellectual, methodical personalities. I try to depict fascinating individuals so I never judge them. Please don't fear – come and say hello!"
Talking about her renowned performance of T.S. Eliot's The Waste Land, Shaw conveyed her profound relationship 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 refined version of language, or the instant that's been preserved." As individuals reduce to what they truly want to say, it's often poetic."
Regarding her acclaimed audiobook performances, specifically the classic Alice in Wonderland, Shaw revealed that "I loved reading Alice in Wonderland because I incorporated all my acquaintances into it – my friends and other actors."
She described how she voiced 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 concluded, "despite needing extended periods of work."
Remembering her time working with renowned director Terrence Malick on his film Tree of Life, Shaw described him as unconventional. "Everything Terrence Malick says and does is different," she observed.
She shared a particular memory of their first meeting: "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 exotic choice in the world."
Shaw also mentioned Malick's distinctive method of asking actors "Do you want to do this scene indoors or outdoors?" – inquiries seldom made by different directors. "He exclusively used natural light," she added, "so you could either perform interior near glass or outside on the street."
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 by the time the film was released, I was nearly gone."
The actress finished by characterizing Malick's unique process: "He constructs this enormous structure, and he removes most elements. He fundamentally dismantles films."
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