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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

When discussing her memorable funeral speech in the Star Wars series Andor, Shaw disclosed that the original script included more explicit wording. "I did say a different word in my speech," she explained, "while the screenwriter wanted the studio would approve it."

The performer detailed the unique filming conditions for this specific moment. "While I delivered that speech, I was filmed by about 200 cameras to create a hologram. I was completely alone in a huge soundstage, with neither director or production team there with me."

Jane Austen Adaptations

Regarding the upcoming adaptation of Jane Austen's classic novel, Shaw shared enthusiasm about finishing production. "We recently completed shooting it," she stated, "and what an actor typically doesn't see is the final film."

She praised 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.

Shaw also reflected on her previous role in the nineties version of Persuasion, playing Mrs. Croft. "The director had particular demands: no wigs and just candle illumination," she recalled. "He genuinely wanted to recreate the feeling of early 19th century life."

Wizarding World Reflections

In response to questions regarding her experience with the Harry Potter franchise, Shaw spoke fondly about working with her departed co-star. "He represented the most elegant, creative and talented man," she revealed. "He had the most beautiful penmanship and on one occasion mailed me a note asking 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 listen captivated by his tales."

Theatrical Work

Talking about her New York stage role in Medea, Shaw remembered how psychologically challenging the production was. "I encountered one of the ensemble actors 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 grew very close as a cast," she noted.

Approach to Acting

When questioned about her ability to transition between comedy and drama, Shaw clarified that "comedy connects us as it's about rupturing the norm." Nevertheless, she confessed that "prior to a comedy, I always rest badly, because you have to catch the wave during performance."

Concerning her technique for tackling different characters, Shaw commented: "I discover each one difficult. But even if the character you're portraying is quite distant from you, there is frequently some aspect about them that you recognize."

Current Projects

Discussing her latest role in the production Hot Milk, Shaw characterized her character Rose as "a difficult person though you cannot perform anything from that viewpoint." She explained that Rose experiences a functional neurological disorder that makes walking difficult.

"The character doesn't realize of the impact she has on her daughter," Shaw observed. "All she knows is that she desires to get better. She's both benign and blind. Maybe this represents what most of us are."

Personal Reflections

Upon hearing that audiences perceive her ideal as gang boss roles, Shaw answered with amusement: "Goodness me! I'm really not intimidating. But perhaps when filled with intention, my features might seem formidable."

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

Love for Language

Discussing 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 stated, "because the clues to everything are there in the choice of words."

She believes that "poetry represents the refined version of language, or the moment that has been captured." As individuals reduce to what they truly want to say, it's frequently lyrical."

Voice Recording

Concerning 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 – my friends and fellow performers."

She described how she voiced the caterpillar as channeling Alan Rickman, and portrayed the Red Queen as reminiscent of Geraldine McEwan. "It consistently feels a honor to sit and speak literature," she finished, "despite needing extended periods of work."

Working with Terrence Malick

Remembering her time working with renowned director Terrence Malick on his film Tree of Life, Shaw described him as unconventional. "All that the director says and does is unique," she observed.

She shared a specific recollection of their initial encounter: "He left 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 exotic choice in the world."

The actress also described Malick's unusual approach of asking actors "Would you prefer to do this scene indoors or outdoors?" – inquiries seldom made by other filmmakers. "He exclusively used natural light," she continued, "so you could either perform interior near glass or outside on the street."

Regarding the lengthy post-production, Shaw disclosed that "He takes approximately three years to edit the film. I had been told by the producer after two years that I was probably one of the main characters, but by the time the film came out, I was mostly removed."

She concluded by describing Malick's unique process: "He builds this massive framework, and he removes most elements. He fundamentally dismantles films."