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

During a recent conversation, esteemed actress Fiona Shaw shared insights about her varied professional experiences spanning many years and iconic roles.

The Impactful Andor Monologue

While talking about her unforgettable funeral speech in the Disney+ show Andor, Shaw disclosed that the initial version contained 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 unusual shooting circumstances for this specific moment. "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 neither director or production team present in the room."

Classic Literature Projects

Regarding the upcoming screen version of Jane Austen's Sense and Sensibility, Shaw shared enthusiasm about the completed filming. "We've just finished shooting it," she mentioned, "though performers typically doesn't see is the completed movie."

The actress commended director Georgia Oakley as "really lovely and quite confident." The filming took place in beautiful estates across the UK, including sites within Dorset, Knebworth, and Devonshire.

The actress also recalled on her previous role in the nineties version of Persuasion, portraying Mrs. Croft. "The director had specific requirements: no wigs and just candle illumination," she remembered. "He truly aimed to capture the experience of nineteenth-century existence."

Harry Potter Memories

When asked about her experience with the Harry Potter franchise, Shaw spoke fondly about working with her departed co-star. "He represented the most refined, creative 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."

She described Griffiths as constantly speaking and sharing fascinating anecdotes with both her and the child performers on set. "He had remarkable worldly understanding so we would listen captivated by his tales."

Theatrical Work

Talking about her New York stage role 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 shared.

This theatrical work continued for years, beginning in Ireland, then moving to London, followed by the American capital, the Brooklyn Academy of Music, and ultimately Manhattan. "We became quite bonded as a cast," she noted.

Performance Philosophy

When questioned about her capacity to move between humor and seriousness, Shaw explained that "humor unites people as it's about rupturing the norm." Nevertheless, she admitted that "the night before a comedy, I always rest badly, because you have to catch the wave during performance."

Concerning her method for approaching 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 identify with."

Current Projects

Discussing her latest role in the production Hot Milk, Shaw described her character Rose as "a difficult person though you cannot perform anything from that viewpoint." The actress elaborated that Rose experiences a nervous system condition that causes mobility issues.

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

Self-Perception

When told that viewers consider her ideal as gang boss roles, Shaw responded with humor: "Oh dear! I'm so not scary. But maybe when infused with intention, my features might seem formidable."

She added: "In reality occasionally rather disorganized so perhaps it's therapeutic for me to play very intelligent, methodical personalities. I try to depict fascinating individuals so I never judge them. Don't be scared – approach and greet me!"

Passion for Words

Discussing her renowned performance of the poetic work The Waste Land, Shaw expressed her deep connection with words and verse. "I'm consistently devoted in the language," she declared, "since the indicators to everything are contained within the choice of words."

The actress thinks that "poetry represents the refined version of language, or the moment that has been captured." When people reduce to what they genuinely wish to express, it's frequently lyrical."

Voice Recording

Concerning her acclaimed audiobook performances, specifically Alice's Adventures in Wonderland, Shaw revealed that "I enjoyed recording Alice in Wonderland because I included all my acquaintances into it – my friends and other actors."

She described how she voiced the caterpillar as channeling Alan Rickman, and portrayed the Red Queen evoking Geraldine McEwan. "It always seems a privilege to record and perform literature," she finished, "though it requires days and days of work."

Collaborating with the Director

Remembering her time 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 initial encounter: "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."

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 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 revealed that "He takes approximately three years to complete the movie. I had heard from 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 builds this enormous structure, and he removes most elements. He essentially deconstructs films."