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

The Impactful Andor Monologue

While talking about her memorable eulogy scene in the Star Wars series Andor, Shaw revealed that the original script contained more explicit wording. "I did say a different word in my speech," she clarified, "and the writer hoped that Disney would approve it."

The actress detailed the unusual shooting circumstances for that particular scene. "When I performed that speech, I was filmed by about 200 cameras for making a hologram. I was entirely by myself in a massive studio, with neither 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 finishing production. "We recently completed shooting it," she stated, "though performers rarely witness is the completed movie."

She praised filmmaker Georgia Oakley as "really lovely and very assured." The production took place in stunning houses across the UK, including locations in Dorset, Knebworth, and Devonshire.

The actress also recalled on her earlier performance in the nineties version of Austen's Persuasion, portraying Mrs. Croft. "The director had specific requirements: no wigs and just candle illumination," she recalled. "He genuinely wanted to recreate the feeling of early 19th century life."

Harry Potter Memories

In response to questions regarding her time in the Harry Potter franchise, Shaw spoke fondly about collaborating with the late Richard Griffiths. "Richard was the most elegant, artistic and talented man," she revealed. "He had the most beautiful penmanship and on one occasion mailed me a note inviting me to lunch in ornate gothic script."

She described Griffiths as constantly speaking and sharing fascinating anecdotes with herself and the young actors on set. "He possessed remarkable worldly understanding so we would sit enthralled to his stories."

Theatrical Work

Discussing her Broadway performance in Medea, Shaw recalled how psychologically challenging the production was. "I met one of the chorus members several years after, who said: 'I'm not over it yet,'" she shared.

The production continued for years, beginning in Ireland, then traveling to England, followed by Washington DC, the Brooklyn Academy of Music, and finally Broadway. "We became very close as a cast," she added.

Approach to Acting

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

Regarding her method for approaching different characters, Shaw stated: "I find them all challenging. But even if the character you're portraying is quite distant from you, there is frequently some aspect about them that you identify with."

Current Projects

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

"The character doesn't realize of the impact she has on her daughter," Shaw noted. "Her only concern is that she desires to get better. She's well-intentioned yet unaware. Maybe this represents 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 so not scary. But perhaps when filled with intention, my features might seem formidable."

She added: "I am in life sometimes quite scatty so maybe it's redemptive for me to play highly intellectual, methodical personalities. I try to portray interesting people so I never judge them. Don't be scared – come and say hello!"

Love for Language

Talking about her renowned performance of T.S. Eliot's The Waste Land, Shaw expressed her profound relationship with words and verse. "My heart is always in the language," she stated, "since the indicators 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 boil down to what they genuinely wish to express, it's often poetic."

Voice Recording

Regarding her acclaimed audiobook performances, particularly Alice's Adventures in Wonderland, Shaw shared that "I loved reading 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 evoking 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. "All that the director says and does is different," she noted.

She shared a specific recollection of their initial encounter: "He left a message on my answering machine 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 exotic choice in the world."

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

Concerning the extensive editing process, Shaw revealed that "The director requires about three years to edit the film. I had been told by the producer after two years that I was likely among the primary roles, but by the time the film came out, 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."