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

The Impactful Andor Monologue

When discussing her memorable eulogy scene in the Star Wars series Andor, Shaw disclosed that the initial version contained more explicit wording. "I actually spoke a distinct term in my speech," she clarified, "while the screenwriter wanted the studio would approve it."

The actress detailed the unique filming conditions for this specific moment. "When I performed that speech, I was filmed by about 200 cameras to create a hologram. I was completely alone in a massive studio, with neither director nor crew members there with me."

Jane Austen Adaptations

Regarding the upcoming screen version of Jane Austen's Sense and Sensibility, 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 filmmaker Georgia Oakley as "really lovely and very assured." The production took place in beautiful estates across the UK, including sites within Dorset, Knebworth, and Devonshire.

Shaw also reflected on her earlier performance in the 1995 adaptation of Persuasion, portraying Mrs. Croft. "Our filmmaker had specific requirements: no wigs and only candlelight," she remembered. "He truly aimed to recreate the feeling of nineteenth-century existence."

Harry Potter Memories

In response to questions regarding her time in the wizarding film series, Shaw spoke fondly about working with her departed co-star. "Richard was the most refined, creative and gifted man," she revealed. "He possessed the most mellifluous handwriting and once sent me a note inviting me to lunch in elaborate gothic lettering."

She described Griffiths as constantly speaking and telling interesting stories with both her and the child performers on set. "He had remarkable worldly understanding so we would listen captivated by his tales."

Theatrical Work

Talking about her New York stage role in Medea, Shaw remembered how emotionally demanding the show was. "I encountered one of the ensemble actors several years after, who said: 'I'm not over it yet,'" she disclosed.

The production had an extensive run, beginning in Ireland, then traveling to England, followed by the American capital, the Brooklyn Academy of Music, and ultimately Manhattan. "We grew very close as a cast," she added.

Performance Philosophy

When questioned about her capacity to move between humor and seriousness, Shaw clarified that "comedy connects us as it's about rupturing the norm." Nevertheless, she admitted that "prior to a comedy, I always rest badly, because you have to catch the wave during performance."

Regarding her technique for tackling different characters, Shaw commented: "I find them all difficult. But even if the character you're portraying is rather different from you, there is frequently some aspect about them that you recognize."

Current Projects

Discussing her recent performance in the production Hot Milk, Shaw described her character Rose as "a terrible woman but you can't play anything from that perspective." She explained that Rose suffers from a nervous system condition that causes mobility issues.

"She is unaware of the effect she creates on her daughter," Shaw noted. "Her only concern is that she wants to improve. She's both benign and blind. Maybe this represents what most of us are."

Personal Reflections

When told that audiences perceive her perfect for authority figure characters, Shaw responded with amusement: "Oh dear! I'm so not scary. But perhaps when filled with intention, my features can appear threatening."

She added: "In reality occasionally rather disorganized so perhaps it's therapeutic 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!"

Passion for Words

Discussing her celebrated interpretation 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 there in the selection of vocabulary."

She believes that "poetry represents the polished form of language, or the moment that has been captured." When people boil down to what they truly want to say, it's often poetic."

Voice Recording

Regarding her acclaimed audiobook performances, particularly Alice's Adventures in Wonderland, Shaw revealed that "I enjoyed recording Alice in Wonderland because I incorporated everybody I knew into it – personal companions and fellow performers."

She described how she performed the caterpillar as inspired by Alan Rickman, and characterized the Red Queen as reminiscent of Geraldine McEwan. "It consistently feels a honor to sit and speak literature," she finished, "despite needing extended periods of work."

Collaborating with the Director

Remembering her time working with celebrated filmmaker Terrence Malick on Tree of Life, Shaw portrayed him as unconventional. "Everything Terrence Malick expresses and undertakes is different," she noted.

The actress recounted a specific recollection of their initial encounter: "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 unusual selection in the world."

The actress also described Malick's distinctive method of asking actors "Would you prefer to do this scene indoors or outdoors?" – questions rarely posed by different directors. "He exclusively used natural light," she continued, "so you could either perform inside by a window or exterior on location."

Regarding the lengthy post-production, Shaw disclosed that "The director requires about three years to complete the movie. I had been told by the producer following twenty-four months that I was probably one of the main characters, but when the film was released, I was mostly removed."

She concluded by describing Malick's distinctive approach: "He constructs this enormous structure, and he removes most elements. He fundamentally dismantles films."