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During a recent conversation, esteemed performer Fiona Shaw shared insights about her varied professional experiences spanning many years and memorable characters.

The Impactful Andor Monologue

While talking about her unforgettable funeral speech in the Star Wars series Andor, Shaw revealed that the original script included more explicit wording. "I actually spoke a different word in my speech," she clarified, "while the screenwriter hoped that Disney would accept it."

The actress described the unique filming conditions for that particular scene. "When I performed that speech, I was recorded with about 200 cameras to create a hologram. I was completely alone in a massive studio, with no director or production team present in the room."

Jane Austen Adaptations

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

She praised filmmaker Georgia Oakley as "truly wonderful and quite confident." The filming took place in stunning houses across the UK, including sites within Dorset, Knebworth, and Devonshire.

Shaw also reflected on her earlier performance in the nineties version of Austen's Persuasion, playing Mrs. Croft. "The director had specific requirements: no wigs and just candle illumination," she recalled. "He genuinely wanted to capture the experience of early 19th century life."

Wizarding World Reflections

In response to questions regarding her experience with the wizarding film series, Shaw spoke fondly about working with her departed co-star. "He represented the most refined, artistic and gifted man," she shared. "He had the most mellifluous handwriting and on one occasion mailed me a note inviting me to lunch in elaborate gothic lettering."

The actress portrayed Griffiths as continuously talking and telling interesting stories with herself and the child performers on set. "He possessed fantastic general knowledge so we would listen captivated by his tales."

Stage Performances

Discussing her Broadway performance in the tragedy Medea, Shaw recalled how psychologically challenging the production was. "I encountered one of the chorus members several years after, who said: 'I'm not over it yet,'" she shared.

This theatrical work had an extensive run, beginning in Ireland, then traveling to England, followed by Washington DC, the New York venue, and finally Broadway. "We became very close as a cast," she added.

Approach to Acting

Regarding inquiries concerning her ability to transition between humor and seriousness, Shaw clarified that "humor unites people as it's about breaking conventions." However, she confessed that "prior to a comedy, I always rest badly, because you have to find the rhythm on the day."

Concerning her method for approaching different characters, Shaw stated: "I find them all challenging. But even if the character you're portraying is quite distant from you, there is often something about them that you identify with."

Current Projects

Discussing her latest role in Hot Milk, Shaw characterized her character Rose as "a terrible woman though you cannot perform anything from that viewpoint." The actress elaborated that Rose suffers from a functional neurological disorder that makes walking difficult.

"She is unaware of the effect she creates on her daughter," Shaw noted. "All she knows 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 authority figure characters, Shaw responded with humor: "Oh dear! I'm so not scary. But maybe when infused with purpose, my features can appear threatening."

The actress continued: "I am in life sometimes quite scatty so maybe it's redemptive for me to play very intelligent, organized characters. I try to depict fascinating individuals so I never judge them. Please don't fear – approach and greet me!"

Passion for Words

Discussing her celebrated interpretation of T.S. Eliot's The Waste Land, Shaw expressed her profound relationship with language and poetry. "I'm consistently devoted in the language," she stated, "since the indicators to everything are contained within the selection of vocabulary."

She believes that "poetry represents the refined version of language, or the instant that's been preserved." When people reduce 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 shared that "I enjoyed recording Alice in Wonderland because I included everybody I knew into it – my friends and other actors."

She described how she performed the caterpillar as channeling Alan Rickman, and characterized the Red Queen evoking Geraldine McEwan. "It consistently feels a honor to record and perform literature," she concluded, "despite needing days and days of work."

Working with Terrence Malick

Recalling her experience working with renowned director Terrence Malick on his film Tree of Life, Shaw described 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 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 distinctive method 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, "meaning actors could perform inside by a window or outside on the street."

Regarding the extensive editing process, Shaw revealed that "The director requires about three years to complete the movie. I had been told by the producer after two years that I was probably one of the primary roles, but when the film came out, I was nearly gone."

The actress finished by characterizing Malick's unique process: "He builds this enormous structure, and he removes most elements. He essentially deconstructs films."