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During a recent conversation, acclaimed performer Fiona Shaw shared insights about her varied professional experiences covering multiple decades and iconic roles.

Andor's Powerful Speech

When discussing her memorable eulogy scene in the Star Wars series Andor, Shaw revealed that the original script included more explicit wording. "I actually spoke a distinct term in my speech," she explained, "and the writer hoped that Disney would approve it."

The performer described the unusual shooting circumstances for this specific moment. "When I performed that speech, I was filmed by about 200 cameras to create 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 classic novel, Shaw shared enthusiasm about the completed filming. "We've just finished shooting it," she stated, "and what an actor rarely witness is the final film."

She praised filmmaker Georgia Oakley as "really lovely and quite confident." The filming took place in stunning houses throughout Britain, including locations in Dorset, Knebworth, and Devonshire.

Shaw also reflected on her earlier performance in the 1995 adaptation of Austen's Persuasion, portraying Mrs. Croft. "The director had particular demands: without hairpieces and just candle illumination," she remembered. "He genuinely wanted to recreate the feeling of nineteenth-century existence."

Harry Potter Memories

In response to questions regarding her time in the Harry Potter franchise, Shaw spoke fondly about collaborating with the late Richard Griffiths. "He represented the most refined, artistic and gifted man," she revealed. "He had the most mellifluous handwriting and on one occasion mailed me a note asking to lunch in elaborate gothic lettering."

The actress portrayed Griffiths as constantly speaking and sharing fascinating anecdotes with both her and the young actors on set. "He had remarkable worldly understanding so we would sit enthralled to his stories."

Theatrical Work

Talking about her New York stage role 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 disclosed.

This theatrical work had an extensive run, starting in Dublin, then moving to London, followed by the American capital, the Brooklyn Academy of Music, and ultimately Manhattan. "We became very close as a company," she added.

Performance Philosophy

When questioned about her capacity to move between comedy and drama, Shaw explained that "humor unites people as it's about breaking conventions." However, she admitted that "the night before a comedy, I always rest badly, because you have to find the rhythm on the day."

Concerning her technique for tackling various roles, Shaw stated: "I find them all challenging. But even if the person you're playing is rather different from you, there is frequently some aspect about them that you identify with."

Recent Work

Discussing her recent performance in the production Hot Milk, Shaw characterized her character Rose as "a terrible woman but you can't play anything from that viewpoint." The actress elaborated that Rose suffers from a nervous system condition that makes walking difficult.

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

Personal Reflections

When told that audiences perceive her perfect for gang boss roles, Shaw responded with amusement: "Goodness me! I'm so not scary. But maybe when infused with intention, my features can appear threatening."

She added: "I am in life sometimes quite scatty so maybe it's redemptive for me to play very intelligent, organized characters. I try to portray interesting people so I avoid criticizing them. Don't be scared – approach and greet me!"

Passion for Words

Discussing her celebrated interpretation of T.S. Eliot's The Waste Land, Shaw conveyed her profound relationship with words and verse. "My heart is always in the language," she declared, "because the clues to everything are contained within the choice of words."

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

Audiobook Work

Regarding her acclaimed audiobook performances, specifically the classic Alice in Wonderland, Shaw shared that "I enjoyed recording Alice in Wonderland because I incorporated 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 honor to record and perform literature," she concluded, "though it requires days and days of work."

Working with Terrence Malick

Recalling her experience working with renowned director Terrence Malick on Tree of Life, Shaw portrayed him as distinctive. "All that the director expresses and undertakes is unique," she noted.

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 distinctive method of asking actors "Would you prefer to do this scene inside or outside?" – inquiries seldom made by other filmmakers. "He exclusively used natural light," she continued, "meaning actors could perform inside by a window or outside on the street."

Regarding the extensive editing process, Shaw disclosed that "The director requires about three years to edit the film. I had heard from the producer after two years that I was likely among the primary roles, but by the time the film was released, I was nearly gone."

The actress finished by describing Malick's distinctive approach: "He constructs this massive framework, and he takes away many components. He fundamentally dismantles films."