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

Andor's Powerful Speech

While talking about her unforgettable funeral speech in the Star Wars series Andor, Shaw disclosed that the initial version included more explicit wording. "I did say a different word in my speech," she clarified, "and the writer hoped that Disney would approve it."

The actress detailed the unusual shooting circumstances for this specific moment. "When I performed that speech, I was recorded with about 200 cameras for making a hologram. I was entirely by myself in a massive studio, with neither director or production team there with me."

Jane Austen Adaptations

Regarding the upcoming adaptation of Jane Austen's Sense and Sensibility, Shaw shared enthusiasm about finishing production. "We recently completed shooting it," she mentioned, "and what an actor rarely witness is the completed movie."

The actress commended filmmaker Georgia Oakley as "truly wonderful and very assured." The filming took place in stunning houses across the UK, including sites within Dorset, Knebworth, and Devonshire.

The actress also recalled on her previous role in the nineties version of Austen's Persuasion, playing Mrs. Croft. "The director had specific requirements: no wigs and only candlelight," she recalled. "He truly aimed to capture the experience of early 19th century life."

Wizarding World Reflections

When asked about her experience with the Harry Potter franchise, Shaw talked warmly about collaborating with her departed co-star. "Richard was the most elegant, creative and gifted man," she shared. "He had the most mellifluous handwriting and once sent me a note asking to lunch in elaborate gothic lettering."

The actress portrayed Griffiths as constantly speaking and telling interesting stories with both her and the young actors on set. "He possessed fantastic general knowledge so we would listen captivated by his tales."

Theatrical Work

Discussing her New York stage role in Medea, Shaw remembered how emotionally demanding the production was. "I encountered 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 moving to London, followed by the American capital, the Brooklyn Academy of Music, and ultimately Manhattan. "We became very close as a cast," she added.

Approach to Acting

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

Concerning her technique for tackling different characters, Shaw commented: "I discover each one difficult. But even if the person you're playing is quite distant from you, there is often something about them that you identify with."

Recent Work

Discussing her recent performance in Hot Milk, Shaw described her character Rose as "a difficult person but you can't play anything from that viewpoint." She explained that Rose experiences a nervous system condition that causes mobility issues.

"The character doesn't realize of the effect she creates on her daughter," Shaw observed. "All she knows is that she desires to get better. She's well-intentioned yet unaware. Maybe this represents what many people resemble."

Self-Perception

Upon hearing that viewers consider her perfect for authority figure characters, Shaw answered with humor: "Oh dear! I'm really not intimidating. But perhaps when filled with purpose, my features can appear formidable."

The actress continued: "In reality sometimes quite scatty so perhaps it's therapeutic for me to play very intelligent, methodical personalities. I try to portray interesting people so I never judge them. Don't be scared – approach and greet me!"

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 declared, "since the indicators to everything are there in the selection of vocabulary."

She believes that "verse constitutes the refined version of language, or the instant that's been preserved." When people boil down to what they truly want to say, it's often poetic."

Voice Recording

Regarding her acclaimed audiobook performances, particularly the classic Alice in Wonderland, Shaw revealed that "I enjoyed recording Alice in Wonderland because I included all my acquaintances 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 concluded, "despite needing extended periods of work."

Collaborating with the Director

Recalling her experience working with celebrated filmmaker Terrence Malick on his film Tree of Life, Shaw described him as distinctive. "Everything Terrence Malick expresses and undertakes is unique," she noted.

The actress recounted a specific recollection of their first meeting: "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."

The actress also described Malick's unusual approach of asking actors "Do you want to do this scene indoors or outdoors?" – inquiries seldom made by different directors. "He exclusively used natural light," she continued, "so you could either perform inside by a window or outside on the street."

Regarding the extensive editing process, Shaw revealed that "He takes approximately three years to complete the movie. I had been told by the producer following twenty-four months 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 enormous structure, and he takes away many components. He fundamentally dismantles films."