🔗 Share this article

During a recent conversation, esteemed actress Fiona Shaw shared insights about her diverse career covering many years and memorable characters.

Andor's Powerful Speech

While talking about her unforgettable funeral speech in the Disney+ show Andor, Shaw revealed that the initial version contained more explicit wording. "I actually spoke a different word in my speech," she explained, "while the screenwriter hoped that Disney would approve it."

The performer described the unique filming conditions for that particular scene. "While I delivered that speech, I was recorded with about 200 cameras to create a hologram. I was entirely by myself in a massive studio, with no director or production team present in the room."

Classic Literature Projects

Speaking about the forthcoming screen version of Jane Austen's Sense and Sensibility, Shaw expressed excitement about the completed filming. "We recently completed shooting it," she mentioned, "though performers rarely witness is the final film."

The actress commended filmmaker Georgia Oakley as "really lovely and very assured." The production 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 Persuasion, playing Mrs. Croft. "Our filmmaker had particular demands: without hairpieces and only candlelight," she remembered. "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 her departed co-star. "Richard was the most elegant, creative and gifted man," she shared. "He possessed the most beautiful penmanship and once sent me a note inviting me to lunch in ornate gothic script."

She described Griffiths as continuously talking and sharing fascinating anecdotes with herself and the child performers on set. "He had fantastic general knowledge so we would listen captivated to his stories."

Theatrical Work

Discussing her Broadway performance in Medea, Shaw remembered 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.

The production had an extensive run, beginning in Ireland, then moving to London, followed by Washington DC, the New York venue, and finally Broadway. "We became very close as a company," she noted.

Performance Philosophy

When questioned about her capacity to move between comedy and drama, Shaw clarified that "comedy connects us as it's about rupturing the norm." However, she confessed that "prior to a comedy, I always rest badly, because you have to find the rhythm on the day."

Concerning her technique for tackling different characters, Shaw stated: "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 identify with."

Current Projects

Speaking about her recent performance in the production Hot Milk, Shaw characterized her character Rose as "a terrible woman though you cannot perform anything from that perspective." The actress elaborated that Rose experiences a functional neurological disorder that causes mobility issues.

"The character doesn't realize of the impact she has on her daughter," Shaw observed. "Her only concern 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 audiences perceive her perfect for gang boss roles, Shaw responded with humor: "Oh dear! I'm so not scary. But maybe when infused with intention, my features might seem formidable."

She added: "In reality sometimes quite scatty so perhaps it's therapeutic for me to play highly intellectual, organized characters. I try to depict fascinating individuals so I never judge them. Please don't fear – approach and greet me!"

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 declared, "because the clues to everything are contained within the choice of words."

She believes that "verse constitutes the refined version of language, or the instant that's been preserved." As individuals reduce to what they truly want to say, it's frequently lyrical."

Voice Recording

Concerning her acclaimed audiobook performances, specifically Alice's Adventures in Wonderland, Shaw shared that "I loved reading Alice in Wonderland because I included everybody I knew into it – my friends and other actors."

She described how she voiced the caterpillar as inspired by Alan Rickman, and characterized the Red Queen as reminiscent of Geraldine McEwan. "It consistently feels a privilege to record and perform literature," she concluded, "despite needing days and days of work."

Collaborating with the Director

Recalling her experience working with celebrated filmmaker Terrence Malick on 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 first meeting: "He placed a message on my voicemail 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 distinctive method of asking actors "Do you want to do this scene indoors or outdoors?" – questions rarely posed by different directors. "He exclusively used natural light," she continued, "meaning actors could 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 likely among the primary roles, but by the time the film was released, I was nearly gone."

She concluded by characterizing Malick's unique process: "He builds this enormous structure, and he removes most elements. He essentially deconstructs films."