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

During a recent conversation, renowned actress Fiona Shaw opened up about her diverse career spanning multiple decades and iconic roles.

Andor's Powerful Speech

When discussing her unforgettable funeral speech in the Disney+ show Andor, Shaw disclosed that the initial version contained more explicit wording. "I did say a different word in my speech," she explained, "and the writer hoped that Disney would approve it."

The performer detailed the unusual shooting circumstances for this specific moment. "When I performed that speech, I was filmed by about 200 cameras for making a hologram. I was completely alone in a massive studio, with neither director nor crew members present in the room."

Jane Austen Adaptations

Speaking about the forthcoming screen version of Jane Austen's Sense and Sensibility, Shaw expressed excitement about the completed filming. "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 throughout Britain, including locations in Dorset, Knebworth, and Devonshire.

Shaw also reflected on her previous role in the nineties version of Austen's Persuasion, playing Mrs. Croft. "Our filmmaker had specific requirements: no wigs and just candle illumination," she recalled. "He genuinely wanted to recreate the feeling of nineteenth-century existence."

Harry Potter Memories

In response to questions regarding her time in the wizarding film series, Shaw talked warmly about collaborating with the late Richard Griffiths. "Richard was the most refined, creative and talented man," she revealed. "He possessed the most mellifluous handwriting and once sent me a note asking to lunch in ornate gothic script."

The actress portrayed 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

Talking about her New York stage role in Medea, Shaw remembered how emotionally demanding the show was. "I met one of the chorus members three years later, who said: 'I'm not over it yet,'" she shared.

This theatrical work continued for years, beginning in Ireland, then traveling to England, followed by the American capital, the New York venue, and ultimately Manhattan. "We grew quite bonded as a company," she added.

Approach to Acting

When questioned about her capacity to move between comedy and drama, Shaw explained that "comedy connects us as it's about rupturing the norm." However, she admitted that "the night before 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 rather different from you, there is often something about them that you identify with."

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 perspective." The actress elaborated that Rose suffers from a nervous system condition that causes mobility issues.

"She is unaware of the effect she creates on her daughter," Shaw observed. "All she knows is that she desires to get better. She's both benign and blind. Perhaps that's what many people resemble."

Personal Reflections

When told 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: "In reality sometimes quite scatty so perhaps it's therapeutic for me to play highly intellectual, organized characters. I try to depict fascinating individuals so I avoid criticizing them. Please don't fear – approach and greet me!"

Passion for Words

Talking about her celebrated interpretation of T.S. Eliot's The Waste Land, Shaw conveyed her profound relationship with words and verse. "My heart is always in the language," she declared, "since the indicators to everything are contained within the selection of vocabulary."

The actress thinks that "verse constitutes the polished form of language, or the instant that's been preserved." As individuals reduce to what they truly want to say, it's often poetic."

Voice Recording

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

The actress explained how she voiced the caterpillar as inspired by Alan Rickman, and portrayed the Red Queen evoking Geraldine McEwan. "It always seems a honor to sit and speak literature," she concluded, "despite needing extended periods of work."

Collaborating with the Director

Recalling her experience working with celebrated filmmaker Terrence Malick on his film Tree of Life, Shaw described him as unconventional. "All that the director says and does is different," 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 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 "Do you want to do this scene inside or outside?" – inquiries seldom made by other filmmakers. "He exclusively used natural light," she added, "meaning actors could perform inside by a window or outside on the street."

Regarding the extensive editing process, Shaw disclosed that "The director requires about three years to complete the movie. I had heard from the producer after two years that I was likely among the main characters, but when the film was released, I was mostly removed."

She concluded by characterizing Malick's unique process: "He builds this enormous structure, and he takes away many components. He essentially deconstructs films."