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During a recent conversation, acclaimed performer Fiona Shaw opened up about her diverse career spanning many years and iconic roles.

Andor's Powerful Speech

When discussing her memorable funeral speech 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 performer detailed the unique filming conditions for that particular scene. "While I delivered that speech, I was filmed by about 200 cameras to create a hologram. I was completely alone in a huge soundstage, with neither director nor crew members there with me."

Jane Austen Adaptations

Regarding the upcoming adaptation of Jane Austen's Sense and Sensibility, Shaw expressed excitement about finishing production. "We've just finished shooting it," she mentioned, "and what an actor typically doesn't see is the final film."

The actress commended filmmaker Georgia Oakley as "really lovely and very assured." The filming took place in beautiful estates throughout Britain, including sites within Dorset, Knebworth, and Devonshire.

Shaw also reflected on her earlier performance in the 1995 adaptation of Persuasion, playing Mrs. Croft. "The director had particular demands: no wigs and just candle illumination," she recalled. "He truly aimed to capture the experience of early 19th century life."

Wizarding World Reflections

In response to questions regarding her experience with the Harry Potter franchise, Shaw spoke fondly about working with the late Richard Griffiths. "Richard was the most refined, creative and talented man," she shared. "He possessed the most mellifluous handwriting and on one occasion mailed me a note inviting me to lunch in elaborate gothic lettering."

She described Griffiths as continuously talking and sharing fascinating anecdotes with both her and the child performers on set. "He had fantastic general knowledge so we would listen captivated by his tales."

Theatrical Work

Talking about her New York stage role in the tragedy Medea, Shaw recalled how emotionally demanding the production was. "I encountered one of the ensemble actors three years later, who said: 'I'm not over it yet,'" she shared.

This theatrical work had an extensive run, starting in Dublin, then traveling to England, followed by the American capital, the New York venue, and finally Broadway. "We became quite bonded as a cast," she noted.

Performance Philosophy

Regarding inquiries concerning her capacity to move between comedy and drama, Shaw clarified that "humor unites people as it's about breaking conventions." Nevertheless, she admitted that "prior to a comedy, I always sleep poorly, because you have to catch the wave on the day."

Regarding her technique for tackling different characters, Shaw commented: "I discover each one challenging. But even if the person you're playing is quite distant from you, there is frequently some aspect about them that you recognize."

Current Projects

Discussing her recent performance in Hot Milk, Shaw described her character Rose as "a difficult person but you can't play anything from that perspective." She explained that Rose suffers from a functional neurological disorder that causes mobility issues.

"She is unaware of the impact she has on her daughter," Shaw observed. "All she knows 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 viewers consider her ideal as gang boss roles, Shaw responded with amusement: "Oh dear! I'm really not intimidating. But perhaps when filled with purpose, my features might seem formidable."

She added: "I am in life 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. 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 deep connection with words and verse. "My heart is always in the language," she declared, "because the clues to everything are there in the choice of words."

The actress thinks that "poetry represents the polished form of language, or the moment that has been captured." When people boil down to what they truly want to say, it's often poetic."

Voice Recording

Regarding her praised spoken-word performances, particularly the classic Alice in Wonderland, Shaw revealed that "I loved reading Alice in Wonderland because I included everybody I knew into it – my friends and other actors."

The actress explained how she performed the caterpillar as channeling Alan Rickman, and portrayed the Red Queen as reminiscent of Geraldine McEwan. "It always seems a honor to record and perform literature," she finished, "though it requires extended periods 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 unconventional. "All that the director expresses and undertakes is different," she observed.

The actress recounted a specific recollection of their first meeting: "He placed a message on my voicemail 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."

Shaw also mentioned Malick's unusual approach of asking actors "Would you prefer to do this scene inside or outside?" – questions rarely posed by different directors. "He exclusively used natural light," she added, "meaning actors could perform interior near glass or exterior on location."

Regarding the extensive editing process, Shaw revealed that "He takes approximately three years to complete the movie. I had been told by the producer after two years that I was likely among the primary roles, but by the time the film was released, I was nearly gone."

She concluded by characterizing Malick's unique process: "He constructs this massive framework, and he removes most elements. He fundamentally dismantles films."