Fiona Shaw Discusses Her Career: From Andor to Harry Potter

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

Andor's Powerful Speech

When discussing her unforgettable funeral speech in the Disney+ show Andor, Shaw revealed that the initial version contained stronger language. "I did say a distinct term in my speech," she explained, "while the screenwriter wanted the studio would accept it."

The performer described the unique filming conditions for this specific moment. "When I performed that speech, I was recorded with about 200 cameras for making a hologram. I was completely alone in a huge soundstage, with neither director or production team there with me."

Classic Literature Projects

Regarding the upcoming screen version of Jane Austen's Sense and Sensibility, Shaw shared enthusiasm about finishing production. "We recently completed shooting it," she mentioned, "and what an actor typically doesn't see is the final film."

She praised director Georgia Oakley as "really lovely and quite confident." The production took place in stunning houses across the UK, including locations in Dorset, Knebworth, and Devonshire.

The actress also recalled on her previous role in the nineties version of Austen's Persuasion, portraying Mrs. Croft. "The director had specific requirements: no wigs and only candlelight," she recalled. "He genuinely wanted to capture the experience of nineteenth-century existence."

Wizarding World Reflections

In response to questions regarding her experience with the Harry Potter franchise, Shaw talked warmly about working with the late Richard Griffiths. "Richard was the most refined, creative and gifted man," she revealed. "He possessed 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 telling interesting stories with herself and the young actors on set. "He had fantastic general knowledge so we would listen captivated by his tales."

Theatrical Work

Discussing her Broadway performance in Medea, Shaw remembered how emotionally demanding the production was. "I met one of the chorus members three years later, who said: 'I'm not over it yet,'" she shared.

This theatrical work continued for years, starting in Dublin, then traveling to England, followed by Washington DC, the New York venue, and finally Broadway. "We grew very close as a company," she noted.

Approach to Acting

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

Regarding her method for approaching different characters, Shaw stated: "I find them all difficult. But even if the person you're playing is rather different from you, there is often something about them that you identify with."

Recent Work

Speaking about her recent performance in the production Hot Milk, Shaw described her character Rose as "a terrible woman but you can't play anything from that perspective." The actress elaborated 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. "Her only concern is that she wants to improve. She's both benign and blind. Perhaps that's what most of us are."

Self-Perception

When told that viewers consider her ideal as authority figure characters, Shaw responded with amusement: "Goodness me! I'm really not intimidating. But perhaps when filled with intention, my features can appear formidable."

She added: "In reality occasionally rather disorganized so perhaps it's therapeutic for me to play very intelligent, methodical personalities. I try to portray interesting people so I avoid criticizing them. Don't be scared – approach and greet me!"

Passion for Words

Talking about her renowned performance of T.S. Eliot's The Waste Land, Shaw expressed her deep connection with words and verse. "My heart is always in the language," she declared, "since the indicators to everything are there in the choice of words."

She believes that "verse constitutes the refined version of language, or the instant that's been preserved." As individuals boil down to what they truly want to say, it's frequently lyrical."

Audiobook Work

Regarding her acclaimed audiobook performances, particularly Alice's Adventures in Wonderland, Shaw shared that "I loved reading Alice in Wonderland because I included all my acquaintances into it – personal companions and other actors."

The actress explained how she voiced the caterpillar as channeling Alan Rickman, and characterized the Red Queen as reminiscent of Geraldine McEwan. "It always seems a privilege to record and perform literature," she concluded, "though it requires extended periods of work."

Collaborating with the Director

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

The actress recounted a specific recollection 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."

Shaw also mentioned Malick's distinctive method of asking actors "Do you want to do this scene inside or outside?" – questions rarely posed by other filmmakers. "He only employed natural light," she continued, "so you could either perform interior near glass or outside on the street."

Regarding the lengthy post-production, Shaw revealed that "He takes approximately three years to complete the movie. I had heard from the producer after two years that I was likely among the main characters, but when the film came out, I was nearly gone."

She concluded by describing Malick's distinctive approach: "He builds this enormous structure, and he removes most elements. He essentially deconstructs films."