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

The Impactful Andor Monologue

When discussing her unforgettable funeral speech in the Star Wars series Andor, Shaw disclosed that the initial version contained more explicit wording. "I actually spoke a different word in my speech," she clarified, "while the screenwriter wanted the studio would accept it."

The actress described the unique filming conditions for this specific moment. "While I delivered that speech, I was filmed by about 200 cameras for making a hologram. I was completely alone in a massive studio, with no director or production team there with me."

Jane Austen Adaptations

Regarding the upcoming screen version of Jane Austen's classic novel, Shaw expressed excitement about finishing production. "We've just finished shooting it," she mentioned, "though performers rarely witness is the final film."

She praised filmmaker Georgia Oakley as "truly wonderful and quite confident." The filming took place in beautiful estates throughout Britain, including locations in Dorset, Knebworth, and Devonshire.

Shaw also reflected on her previous role in the nineties version of Persuasion, playing Mrs. Croft. "The director had particular demands: without hairpieces 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 talked warmly about working with the late Richard Griffiths. "He represented the most refined, creative and gifted man," she shared. "He possessed the most beautiful penmanship and on one occasion mailed me a note inviting me to lunch in ornate gothic script."

The actress portrayed Griffiths as constantly speaking and sharing fascinating anecdotes with herself and the young actors on set. "He had remarkable worldly understanding so we would listen captivated to his stories."

Stage Performances

Talking about her Broadway performance in the tragedy Medea, Shaw recalled how emotionally demanding the show was. "I encountered one of the ensemble actors three years later, who said: 'I'm not over it yet,'" she disclosed.

This theatrical work continued for years, beginning in Ireland, then moving to London, followed by Washington DC, the New York venue, and ultimately Manhattan. "We became quite bonded as a company," she added.

Approach to Acting

Regarding inquiries concerning her ability to transition between comedy and drama, Shaw clarified that "comedy connects us as it's about rupturing the norm." Nevertheless, she confessed that "the night before a comedy, I always rest badly, because you have to catch the wave on the day."

Regarding her technique for tackling various roles, Shaw stated: "I find them all challenging. But even if the person you're playing is quite distant from you, there is often something about them that you identify with."

Current Projects

Discussing her recent performance in the production Hot Milk, Shaw characterized her character Rose as "a difficult person though you cannot perform anything from that viewpoint." The actress elaborated that Rose experiences a functional neurological disorder that makes walking difficult.

"She is unaware of the impact she has on her daughter," Shaw observed. "All she knows is that she desires to get better. She's both benign and blind. Perhaps that's what most of us are."

Self-Perception

When told that viewers consider her ideal as authority figure characters, Shaw answered with humor: "Oh dear! I'm so not scary. But perhaps when filled 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 very intelligent, methodical personalities. I try to depict fascinating individuals so I avoid criticizing them. Don't be scared – approach and greet me!"

Love for Language

Discussing her renowned performance of the poetic work The Waste Land, Shaw conveyed her deep connection with words and verse. "I'm consistently devoted in the language," she declared, "because the clues to everything are there in the choice of words."

The actress thinks that "verse constitutes the polished form of language, or the moment that has been captured." As individuals boil down to what they truly want to say, it's often poetic."

Audiobook Work

Regarding her acclaimed audiobook performances, specifically Alice's Adventures in Wonderland, Shaw revealed that "I loved reading Alice in Wonderland because I included everybody I knew into it – personal companions and other actors."

She described how she voiced the caterpillar as channeling Alan Rickman, and portrayed the Red Queen evoking Geraldine McEwan. "It always seems a privilege to record and perform literature," she finished, "though it requires days and days of work."

Working with Terrence Malick

Recalling her experience working with renowned director Terrence Malick on his film Tree of Life, Shaw portrayed him as unconventional. "Everything Terrence Malick expresses and undertakes is unique," she observed.

She shared a specific recollection of their initial encounter: "He left a message on my answering machine which said, 'I wonder, would you come and help 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 different directors. "He exclusively used natural light," she continued, "so you could either perform inside by a window or exterior on location."

Concerning the extensive editing process, Shaw revealed 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 primary roles, but when the film came out, I was nearly gone."

The actress finished by describing Malick's unique process: "He builds this enormous structure, and he removes most elements. He fundamentally dismantles films."