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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

While talking about her memorable eulogy scene in the Star Wars series Andor, Shaw revealed that the initial version contained stronger language. "I did say a different word in my speech," she clarified, "while the screenwriter wanted the studio would accept it."

The performer described 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 entirely by myself in a massive studio, with no director or production team there with me."

Classic Literature Projects

Speaking about the forthcoming adaptation of Jane Austen's Sense and Sensibility, Shaw expressed excitement about the completed filming. "We recently completed shooting it," she stated, "and what an actor rarely witness is the completed movie."

The actress commended filmmaker Georgia Oakley as "truly wonderful and quite confident." The production took place in stunning houses 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. "The director had particular demands: without hairpieces and only candlelight," she remembered. "He genuinely wanted to recreate the feeling of early 19th century life."

Harry Potter Memories

When asked about her time in the Harry Potter franchise, Shaw talked warmly about collaborating with the late Richard Griffiths. "He represented the most elegant, artistic and talented 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."

She described Griffiths as continuously talking 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

Talking about her Broadway performance in Medea, Shaw recalled how psychologically challenging the show was. "I encountered one of the chorus members 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 Washington DC, the New York venue, and finally Broadway. "We became quite bonded as a company," she added.

Approach to Acting

When questioned about her ability to transition between humor and seriousness, Shaw clarified that "humor unites people as it's about rupturing the norm." However, she confessed that "prior to a comedy, I always sleep poorly, because you have to catch the wave during performance."

Regarding her technique for tackling various roles, 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 recognize."

Recent Work

Discussing her latest role in Hot Milk, Shaw characterized her character Rose as "a terrible woman but you can't play anything from that perspective." She explained that Rose experiences a functional neurological disorder that causes mobility issues.

"She is unaware of the impact she has on her daughter," Shaw noted. "All she knows is that she desires to get better. She's both benign and blind. Perhaps that's what most of us are."

Personal Reflections

Upon hearing that audiences perceive her ideal as authority figure characters, Shaw answered with humor: "Goodness me! I'm really not intimidating. But perhaps when filled with intention, my features might seem threatening."

The actress continued: "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 never judge them. Please don't fear – come and say hello!"

Passion for Words

Talking about her renowned performance of the poetic work The Waste Land, Shaw conveyed her deep connection with language and poetry. "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 "verse constitutes the refined version of language, or the moment that has been captured." When people boil down to what they truly want to say, it's frequently lyrical."

Voice Recording

Regarding her acclaimed audiobook performances, specifically Alice's Adventures in Wonderland, Shaw revealed that "I enjoyed recording Alice in Wonderland because I incorporated all my acquaintances into it – personal companions and fellow performers."

The actress explained how she voiced the caterpillar as inspired by Alan Rickman, and characterized the Red Queen evoking Geraldine McEwan. "It consistently feels a privilege to record and perform literature," she finished, "despite needing extended periods of work."

Working with Terrence Malick

Remembering her time working with celebrated filmmaker Terrence Malick on Tree of Life, Shaw portrayed him as unconventional. "Everything Terrence Malick expresses and undertakes is unique," she noted.

The actress recounted a particular memory 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 indoors or outdoors?" – questions rarely posed by different directors. "He only employed natural light," she continued, "meaning actors could perform interior near glass or exterior on location."

Concerning 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 probably one of the primary roles, but when the film came out, I was nearly gone."

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