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In a recent interview, acclaimed performer Fiona Shaw shared insights about her varied professional experiences covering multiple decades and iconic roles.

Andor's Powerful Speech

When discussing 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 clarified, "and the writer 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 for making a hologram. I was completely alone in a huge soundstage, with no director nor crew members there with me."

Jane Austen Adaptations

Regarding the upcoming screen version of Jane Austen's Sense and Sensibility, Shaw shared enthusiasm about finishing production. "We recently completed shooting it," she mentioned, "though performers rarely witness is the completed movie."

She praised filmmaker Georgia Oakley as "really lovely and quite confident." The filming took place in beautiful estates across the UK, including sites within Dorset, Knebworth, and Devonshire.

The actress also recalled on her earlier performance in the nineties version of Persuasion, portraying Mrs. Croft. "Our filmmaker had specific requirements: without hairpieces and just candle illumination," she recalled. "He truly aimed to capture the experience of early 19th century life."

Wizarding World Reflections

When asked about her time in the Harry Potter franchise, Shaw talked warmly about working with the late Richard Griffiths. "He represented the most refined, artistic and talented man," she shared. "He possessed the most beautiful penmanship and once sent me a note asking to lunch in ornate gothic script."

She described Griffiths as constantly speaking and telling interesting stories with both her and the young actors on set. "He possessed fantastic general knowledge so we would sit enthralled by his tales."

Theatrical Work

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

The production continued for years, beginning in Ireland, then traveling to England, followed by the American capital, the Brooklyn Academy of Music, and ultimately Manhattan. "We became quite bonded as a company," she noted.

Performance Philosophy

Regarding inquiries concerning her ability to transition between humor and seriousness, Shaw explained that "humor unites people as it's about rupturing the norm." However, she confessed that "the night before a comedy, I always sleep poorly, because you have to catch the wave on the day."

Concerning her technique for tackling different characters, Shaw stated: "I discover each one difficult. But even if the character you're portraying is rather different from you, there is frequently some aspect about them that you identify with."

Recent Work

Speaking about her recent performance in Hot Milk, Shaw described her character Rose as "a difficult person though you cannot perform anything from that perspective." She explained that Rose suffers from a nervous system condition that makes walking difficult.

"The character doesn't realize of the effect she creates on her daughter," Shaw noted. "All she knows is that she wants to improve. She's well-intentioned yet unaware. Perhaps that's 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 maybe when infused with intention, my features can appear formidable."

The actress continued: "In reality sometimes quite scatty so maybe it's redemptive for me to play very intelligent, methodical personalities. I try to portray interesting people so I never judge them. Don't be scared – approach and greet me!"

Love for Language

Discussing her renowned performance of T.S. Eliot's The Waste Land, Shaw expressed her deep connection with language and poetry. "I'm consistently devoted in the language," she declared, "since the indicators to everything are contained within the selection of vocabulary."

She believes that "poetry represents the refined version of language, or the instant that's been preserved." As individuals boil down to what they truly want to say, it's often poetic."

Audiobook Work

Regarding her acclaimed audiobook performances, particularly 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 as reminiscent of Geraldine McEwan. "It consistently feels a honor to record and perform literature," she finished, "despite needing days and days of work."

Collaborating with the Director

Recalling her experience working with renowned director Terrence Malick on Tree of Life, Shaw described him as unconventional. "Everything Terrence Malick expresses and undertakes is different," she noted.

She shared a particular memory of their initial encounter: "He left 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."

The actress also described Malick's distinctive method 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, "meaning actors could perform interior near glass or outside on the street."

Concerning the lengthy post-production, Shaw disclosed that "The director requires about three years to complete the movie. I had been told by the producer after two years 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 unique process: "He constructs this enormous structure, and he takes away many components. He essentially deconstructs films."