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During a recent conversation, renowned actress Fiona Shaw opened up about her varied professional experiences spanning multiple decades and memorable characters.

The Impactful Andor Monologue

When discussing her memorable eulogy scene in the Star Wars series Andor, Shaw disclosed that the initial version contained more explicit wording. "I did say a different word in my speech," she clarified, "and the writer wanted the studio would approve it."

The actress described the unique filming conditions for this specific moment. "While I delivered that speech, I was recorded with about 200 cameras for making a hologram. I was entirely by myself in a massive studio, with no director nor crew members there with me."

Classic Literature Projects

Speaking about the forthcoming adaptation of Jane Austen's Sense and Sensibility, Shaw shared enthusiasm about the completed filming. "We recently completed shooting it," she stated, "though performers typically doesn't see is the final film."

She praised director Georgia Oakley as "truly wonderful and very assured." The production took place in stunning houses across the UK, including sites within Dorset, Knebworth, and Devonshire.

Shaw also reflected on her earlier performance in the 1995 adaptation of Persuasion, playing Mrs. Croft. "Our filmmaker had specific requirements: no wigs and only candlelight," she recalled. "He genuinely wanted to capture the experience of early 19th century life."

Harry Potter Memories

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

The actress portrayed Griffiths as constantly speaking and telling interesting stories with herself and the young actors on set. "He possessed fantastic general knowledge so we would sit enthralled to his stories."

Theatrical Work

Talking about her Broadway performance in the tragedy Medea, Shaw recalled how emotionally demanding the production was. "I met one of the chorus members several years after, who said: 'I'm not over it yet,'" she disclosed.

This theatrical work had an extensive run, beginning in Ireland, 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.

Approach to Acting

When questioned about her ability to transition between humor and seriousness, Shaw explained that "humor unites people as it's about rupturing the norm." Nevertheless, she admitted that "prior to a comedy, I always rest badly, because you have to catch the wave during performance."

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

Recent Work

Discussing her recent performance in Hot Milk, Shaw described her character Rose as "a difficult person though you cannot perform anything from that perspective." The actress elaborated that Rose experiences a functional neurological disorder that makes walking difficult.

"She is unaware of the impact she has on her daughter," Shaw noted. "Her only concern is that she wants to improve. She's well-intentioned yet unaware. Maybe this represents what most of us are."

Self-Perception

When told that audiences perceive her perfect for gang boss roles, Shaw answered with amusement: "Goodness me! I'm really not intimidating. But maybe when infused with intention, my features can appear threatening."

She added: "In reality sometimes quite scatty so maybe it's redemptive for me to play highly intellectual, methodical personalities. I try to depict fascinating individuals so I never judge 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 conveyed her deep connection 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 "verse constitutes the refined version of language, or the instant that's been preserved." As individuals reduce to what they genuinely wish to express, it's frequently lyrical."

Audiobook Work

Regarding her acclaimed audiobook performances, specifically Alice's Adventures in Wonderland, Shaw shared that "I enjoyed recording Alice in Wonderland because I included everybody I knew into it – personal companions and other actors."

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

Working with Terrence Malick

Recalling her experience working with celebrated filmmaker Terrence Malick on his film Tree of Life, Shaw portrayed him as distinctive. "All that the director expresses and undertakes is different," she observed.

She shared a particular memory of their initial encounter: "He placed 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 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, "so you could either perform interior near glass or outside on the street."

Regarding the lengthy post-production, 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 main characters, but by the time the film came out, I was mostly removed."

The actress finished by describing Malick's distinctive approach: "He builds this massive framework, and he removes most elements. He essentially deconstructs films."