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

In a recent interview, esteemed performer Fiona Shaw shared insights about her varied professional experiences covering many years and iconic roles.

Andor's Powerful Speech

When discussing her unforgettable eulogy scene in the Disney+ show Andor, Shaw revealed that the original script contained stronger language. "I did say a distinct term in my speech," she explained, "while the screenwriter hoped that Disney would accept it."

The performer described the unusual shooting circumstances for that particular scene. "When I performed that speech, I was filmed by about 200 cameras to create a hologram. I was completely alone in a huge soundstage, with no director nor crew members present in the room."

Jane Austen Adaptations

Regarding the upcoming screen version of Jane Austen's classic novel, Shaw shared enthusiasm about finishing production. "We recently completed shooting it," she stated, "and what an actor typically doesn't see is the completed movie."

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

The actress also recalled on her previous role in the 1995 adaptation of Austen's Persuasion, portraying Mrs. Croft. "Our filmmaker had particular demands: without hairpieces and just candle illumination," she recalled. "He truly aimed to recreate the feeling of nineteenth-century existence."

Wizarding World Reflections

When asked about her time in the Harry Potter franchise, Shaw talked warmly about working with the late Richard Griffiths. "He represented the most refined, creative and gifted man," she shared. "He possessed the most beautiful penmanship 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 herself and the child performers on set. "He had fantastic general knowledge so we would listen captivated by his tales."

Theatrical Work

Talking about her Broadway performance in Medea, Shaw recalled how psychologically challenging the show was. "I encountered one of the ensemble actors three years later, who said: 'I'm not over it yet,'" she disclosed.

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 very close as a cast," she added.

Approach to Acting

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 "the night before a comedy, I always rest badly, because you have to find the rhythm during performance."

Regarding her technique for tackling different characters, Shaw stated: "I discover each one challenging. But even if the character you're portraying is rather different from you, there is frequently some aspect about them that you identify with."

Current Projects

Speaking about her recent performance in Hot Milk, Shaw described her character Rose as "a terrible woman 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. "Her only concern is that she wants to improve. She's both benign and blind. Maybe this represents what most of us are."

Self-Perception

When told that viewers consider her ideal as gang boss roles, Shaw responded with humor: "Goodness me! I'm so not scary. But perhaps when filled with intention, my features can appear threatening."

The actress continued: "In reality occasionally rather disorganized so perhaps it's therapeutic for me to play highly intellectual, organized characters. I try to portray interesting people so I never judge them. Please don't fear – come and say hello!"

Passion for Words

Talking about her celebrated interpretation of the poetic work The Waste Land, Shaw expressed her profound relationship with language and poetry. "My heart is always in the language," she stated, "since the indicators to everything are contained within the choice of words."

She believes that "poetry represents the refined version of language, or the moment that has been captured." As individuals reduce to what they genuinely wish to express, it's frequently lyrical."

Voice Recording

Regarding her acclaimed audiobook performances, particularly the classic Alice in Wonderland, Shaw shared that "I enjoyed recording Alice in Wonderland because I included all my acquaintances into it – personal companions and other actors."

She described how she voiced the caterpillar as inspired by Alan Rickman, and characterized the Red Queen evoking Geraldine McEwan. "It consistently feels a honor to record and perform literature," she concluded, "though it requires extended periods of work."

Collaborating with the Director

Recalling her experience working with renowned director Terrence Malick on Tree of Life, Shaw portrayed him as unconventional. "Everything Terrence Malick expresses and undertakes is unique," she noted.

She shared a specific recollection of their first meeting: "He placed a message on my answering machine 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 inside or outside?" – questions rarely posed by other filmmakers. "He only employed natural light," she continued, "so you could either perform inside by a window or outside on the street."

Concerning the extensive editing process, Shaw disclosed that "He takes approximately 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 when the film came out, I was mostly removed."

She concluded by describing Malick's unique process: "He constructs this massive framework, and he takes away many components. He essentially deconstructs films."