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During a recent conversation, renowned performer Fiona Shaw shared insights about her varied professional experiences covering multiple decades and iconic roles.

The Impactful Andor Monologue

When discussing her unforgettable funeral speech in the Star Wars series Andor, Shaw revealed that the initial version included more explicit wording. "I actually spoke a different word in my speech," she clarified, "while the screenwriter hoped that Disney would approve it."

The actress detailed the unique filming conditions for this specific moment. "While I delivered that speech, I was recorded with about 200 cameras to create a hologram. I was entirely by myself in a huge soundstage, with neither director or production team there with me."

Classic Literature Projects

Speaking about the forthcoming adaptation of Jane Austen's Sense and Sensibility, Shaw shared enthusiasm about finishing production. "We've just finished shooting it," she stated, "though performers typically doesn't see is the completed movie."

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

The actress also recalled on her previous role in the 1995 adaptation of Austen's Persuasion, playing Mrs. Croft. "Our filmmaker had particular demands: without hairpieces and only candlelight," she remembered. "He genuinely wanted to capture the experience of nineteenth-century existence."

Harry Potter Memories

When asked about her time in the wizarding film series, Shaw talked warmly about collaborating with the late Richard Griffiths. "Richard was the most elegant, artistic and gifted man," she shared. "He had the most mellifluous handwriting and on one occasion mailed me a note inviting me to lunch in ornate gothic script."

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

Theatrical Work

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

This theatrical work continued for years, starting in Dublin, then moving to London, followed by Washington DC, the New York venue, and ultimately Manhattan. "We grew very close as a cast," she added.

Performance Philosophy

Regarding inquiries concerning her capacity to move between comedy and drama, Shaw clarified that "comedy connects us as it's about breaking conventions." However, she confessed that "prior to a comedy, I always rest badly, because you have to find the rhythm on the day."

Regarding her technique for tackling 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."

Recent Work

Speaking about her recent performance in the production Hot Milk, Shaw characterized her character Rose as "a difficult person though you cannot perform anything from that viewpoint." She explained that Rose suffers from a functional neurological disorder that makes walking difficult.

"She is unaware of the impact she has on her daughter," Shaw noted. "All she knows is that she wants to improve. She's well-intentioned yet unaware. Perhaps that's what many people resemble."

Self-Perception

Upon hearing that viewers consider her perfect for gang boss roles, Shaw answered with amusement: "Goodness me! I'm so not scary. But perhaps when filled with intention, my features might seem threatening."

She added: "I am in life occasionally rather disorganized so perhaps it's therapeutic for me to play highly intellectual, organized characters. I try to depict fascinating individuals so I avoid criticizing them. Don't be scared – come and say hello!"

Love for Language

Discussing her renowned performance of T.S. Eliot's The Waste Land, Shaw expressed her profound relationship with words and verse. "I'm consistently devoted in the language," she declared, "because the clues to everything are there in the choice of words."

The actress thinks that "verse constitutes the refined version of language, or the moment that has been captured." When people reduce to what they genuinely wish to express, it's frequently lyrical."

Audiobook Work

Concerning her acclaimed audiobook performances, specifically the classic Alice 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 performed the caterpillar as inspired by Alan Rickman, and portrayed the Red Queen evoking Geraldine McEwan. "It consistently feels a privilege to sit and speak literature," she concluded, "though it requires days and days of work."

Collaborating with the Director

Recalling her experience working with renowned director Terrence Malick on his film Tree of Life, Shaw portrayed him as unconventional. "Everything Terrence Malick says and does is different," she noted.

She shared a specific recollection of their first meeting: "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 unusual selection in the world."

Shaw also mentioned Malick's distinctive method of asking actors "Do you want to do this scene inside or outside?" – questions rarely posed by other filmmakers. "He only employed natural light," she added, "meaning actors could perform interior near glass or exterior on location."

Regarding the lengthy post-production, Shaw revealed that "He takes approximately three years to complete the movie. I had heard from the producer following twenty-four months that I was probably one of the main characters, but by the time the film came out, I was nearly gone."

She concluded by characterizing Malick's distinctive approach: "He constructs this massive framework, and he removes most elements. He essentially deconstructs films."