The Actress Fiona Shaw Talks About Her Career: From Andor to Harry Potter

In a recent interview, renowned actress Fiona Shaw opened up about her varied professional experiences covering multiple decades and iconic roles.

Andor's Powerful Speech

While talking about her memorable eulogy scene in the Disney+ show Andor, Shaw disclosed that the original script included stronger language. "I did say a different word in my speech," she clarified, "and the writer hoped that Disney would approve it."

The actress detailed the unique filming conditions for that particular scene. "While I delivered that speech, I was filmed by about 200 cameras to create a hologram. I was completely alone in a massive studio, with no director or production team there with me."

Classic Literature Projects

Speaking about the forthcoming adaptation of Jane Austen's classic novel, Shaw shared enthusiasm about the completed filming. "We've just finished shooting it," she stated, "though performers rarely witness is the completed movie."

The actress commended filmmaker Georgia Oakley as "really lovely and very assured." The production took place in stunning houses throughout Britain, including sites within Dorset, Knebworth, and Devonshire.

The actress also recalled on her earlier performance in the nineties version of Austen's Persuasion, playing Mrs. Croft. "The director had specific requirements: without hairpieces and only candlelight," she remembered. "He genuinely wanted to recreate the feeling of early 19th century life."

Harry Potter Memories

In response to questions regarding her experience with the wizarding film series, Shaw spoke fondly about working with her departed co-star. "He represented the most elegant, creative and talented man," she revealed. "He possessed the most mellifluous handwriting and on one occasion mailed me a note inviting me to lunch in elaborate gothic lettering."

The actress portrayed Griffiths as constantly speaking and sharing fascinating anecdotes with both her and the child performers on set. "He possessed remarkable worldly understanding so we would listen captivated by his tales."

Theatrical Work

Discussing her New York stage role 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, starting in Dublin, then traveling to England, followed by Washington DC, the Brooklyn Academy of Music, and ultimately Manhattan. "We became very close as a company," she added.

Performance Philosophy

Regarding inquiries concerning her capacity to move between humor and seriousness, Shaw clarified that "humor unites people as it's about breaking conventions." Nevertheless, she confessed that "the night before a comedy, I always sleep poorly, because you have to find the rhythm on the day."

Regarding her technique for tackling various roles, Shaw stated: "I find them all difficult. But even if the character you're portraying is quite distant from you, there is often something about them that you recognize."

Current Projects

Discussing her recent performance in the production Hot Milk, Shaw characterized her character Rose as "a difficult person but you can't play anything from that viewpoint." The actress elaborated 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 both benign and blind. Maybe this represents what many people resemble."

Self-Perception

Upon hearing that audiences perceive her perfect for authority figure characters, Shaw responded with humor: "Oh dear! I'm really not intimidating. But maybe when infused with purpose, my features might seem formidable."

The actress continued: "I am in life occasionally rather disorganized so perhaps it's therapeutic for me to play highly intellectual, methodical personalities. I try to depict fascinating individuals so I never judge them. Don't be scared – approach and greet me!"

Love for Language

Talking about her renowned performance of the poetic work The Waste Land, Shaw conveyed her deep connection with words and verse. "My heart is always in the language," she stated, "because the clues to everything are contained within the selection of vocabulary."

She believes that "verse constitutes the refined version of language, or the moment that has been captured." When people boil down to what they truly want to say, it's frequently lyrical."

Audiobook Work

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

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

Working with Terrence Malick

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

She shared a particular memory of their first meeting: "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 unusual selection in the world."

The actress also described Malick's distinctive method of asking actors "Do you want to do this scene indoors or outdoors?" – inquiries seldom made by other filmmakers. "He exclusively used natural light," she continued, "so you could either perform inside by a window or exterior on location."

Regarding the extensive editing process, Shaw disclosed that "The director requires about three years to edit the film. I had been told by the producer after two years that I was probably one of the main characters, but when the film was released, I was mostly removed."

The actress finished by characterizing Malick's distinctive approach: "He builds this massive framework, and he takes away many components. He fundamentally dismantles films."