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During a recent conversation, esteemed actress 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 included stronger language. "I actually spoke a distinct term in my speech," she explained, "while the screenwriter wanted the studio would accept it."

The actress detailed the unique filming conditions for this specific moment. "When I performed that speech, I was recorded with about 200 cameras for making a hologram. I was completely alone in a massive studio, with neither director or production team present in the room."

Classic Literature Projects

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

The actress commended director Georgia Oakley as "really lovely and quite confident." The production took place in beautiful estates across the UK, including locations in Dorset, Knebworth, and Devonshire.

The actress also recalled on her previous role in the nineties version of Austen's Persuasion, playing Mrs. Croft. "The director had specific requirements: no wigs and just candle illumination," she recalled. "He truly aimed to capture the experience of nineteenth-century existence."

Wizarding World Reflections

In response to questions regarding her experience with the wizarding film series, Shaw spoke fondly about collaborating with the late Richard Griffiths. "He represented the most elegant, artistic and talented man," she shared. "He had the most beautiful penmanship and once sent me a note asking 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 sit enthralled to his stories."

Theatrical Work

Talking about her New York stage role in Medea, Shaw remembered how psychologically challenging the show was. "I met one of the chorus members several years after, 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 the American capital, the New York venue, and finally Broadway. "We became very close as a company," she noted.

Approach to Acting

Regarding inquiries concerning her ability to transition between humor and seriousness, Shaw clarified that "comedy connects us as it's about rupturing the norm." However, she confessed that "prior to a comedy, I always sleep poorly, because you have to catch the wave during performance."

Regarding her technique for tackling various roles, 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 identify with."

Recent Work

Speaking about her recent performance in Hot Milk, Shaw described her character Rose as "a difficult person but you can't play 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 effect she creates on her daughter," Shaw noted. "Her only concern is that she wants to improve. She's well-intentioned yet unaware. Perhaps that's what most of us are."

Self-Perception

When told that audiences perceive her ideal as authority figure characters, Shaw answered with humor: "Goodness me! I'm really not intimidating. But maybe when infused with purpose, my features can appear formidable."

She added: "I am in life occasionally rather disorganized so perhaps it's therapeutic for me to play very intelligent, organized characters. I try to portray interesting people so I avoid criticizing them. Please don't fear – approach and greet me!"

Passion for Words

Talking about her celebrated interpretation of the poetic work The Waste Land, Shaw expressed her profound relationship with language and poetry. "My heart is always in the language," she declared, "because the clues to everything are there in the selection of vocabulary."

The actress thinks that "poetry represents the polished form of language, or the instant that's been preserved." When people reduce to what they genuinely wish to express, it's often poetic."

Audiobook Work

Concerning her praised spoken-word 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."

The actress explained how she performed the caterpillar as inspired by Alan Rickman, and portrayed 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 unconventional. "Everything Terrence Malick expresses and undertakes is different," she noted.

The actress recounted a particular memory of their initial encounter: "He placed 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."

Shaw also mentioned Malick's unusual approach 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 added, "meaning actors could perform interior near glass or outside on the street."

Regarding the extensive editing process, Shaw revealed that "The director requires about 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 when the film was released, I was mostly removed."

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