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 diverse career spanning multiple decades and iconic roles.

Andor's Powerful Speech

While talking about her memorable funeral speech in the Disney+ show Andor, Shaw revealed that the initial version included more explicit wording. "I did say a distinct term in my speech," she clarified, "and the writer wanted the studio would approve it."

The performer detailed the unusual shooting circumstances for this specific moment. "While I delivered that speech, I was recorded with about 200 cameras for making a hologram. I was completely alone in a massive studio, with neither director nor crew members there with me."

Classic Literature Projects

Speaking about the forthcoming screen version of Jane Austen's Sense and Sensibility, Shaw shared enthusiasm about the completed filming. "We've just finished shooting it," she stated, "and what an actor rarely witness is the completed movie."

She praised director Georgia Oakley as "really lovely and quite confident." The production 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 1995 adaptation of Persuasion, playing Mrs. Croft. "The director had specific requirements: no wigs 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 wizarding film series, Shaw spoke fondly about working with the late Richard Griffiths. "He represented the most elegant, creative and gifted man," she shared. "He had the most beautiful penmanship and once sent me a note inviting me to lunch in elaborate gothic lettering."

She described Griffiths as constantly speaking and telling interesting stories with both her and the child performers on set. "He had fantastic general knowledge so we would sit enthralled to his stories."

Stage Performances

Discussing her Broadway performance in the tragedy 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.

The production continued for years, starting in Dublin, then moving to London, followed by the American capital, the Brooklyn Academy of Music, and finally Broadway. "We became very close as a company," she noted.

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 sleep poorly, because you have to find the rhythm during performance."

Concerning her method for approaching various roles, Shaw stated: "I discover each one difficult. But even if the person you're playing is rather different from you, there is frequently some aspect about them that you recognize."

Recent Work

Speaking about her latest role in Hot Milk, Shaw characterized her character Rose as "a difficult person though you cannot perform anything from that viewpoint." The actress elaborated that Rose suffers from a functional neurological disorder that causes mobility issues.

"She is unaware of the impact she has on her daughter," Shaw observed. "Her only concern is that she desires to get better. She's well-intentioned yet unaware. Perhaps that's what many people resemble."

Self-Perception

Upon hearing that viewers consider her perfect for gang boss roles, Shaw responded with humor: "Oh dear! I'm really not intimidating. But maybe when infused with intention, my features might seem threatening."

The actress continued: "I am in life sometimes quite scatty so perhaps it's therapeutic for me to play highly intellectual, methodical personalities. I try to depict fascinating individuals so I avoid criticizing them. Please don't fear – approach and greet me!"

Love for Language

Discussing her renowned performance of T.S. Eliot's The Waste Land, Shaw conveyed her deep connection with language and poetry. "I'm consistently devoted in the language," she stated, "since the indicators to everything are contained within the choice of words."

She believes that "poetry represents the polished form of language, or the moment that has been captured." When people reduce to what they genuinely wish to express, it's often poetic."

Audiobook Work

Regarding her acclaimed audiobook performances, particularly the classic Alice in Wonderland, Shaw revealed that "I loved reading Alice in Wonderland because I incorporated everybody I knew into it – personal companions and fellow performers."

The actress explained 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 sit and speak literature," she concluded, "despite needing extended periods of work."

Working with Terrence Malick

Remembering her time working with celebrated filmmaker Terrence Malick on his film Tree of Life, Shaw portrayed him as distinctive. "Everything Terrence Malick says and does is unique," she observed.

The actress recounted a specific recollection of their first meeting: "He placed a message on my answering machine 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 distinctive method of asking actors "Would you prefer to do this scene inside or outside?" – inquiries seldom made by different directors. "He only employed natural light," she added, "meaning actors could perform inside by a window or exterior on location."

Concerning the lengthy post-production, Shaw disclosed 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 when the film was released, I was mostly removed."

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