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

In a recent interview, renowned performer Fiona Shaw shared insights about her diverse career spanning many years and memorable characters.

The Impactful Andor Monologue

While talking about her memorable eulogy scene in the Disney+ show Andor, Shaw disclosed that the original script included more explicit wording. "I did say a different word in my speech," she clarified, "while the screenwriter wanted the studio would approve it."

The actress 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 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 rarely witness is the completed movie."

She praised director Georgia Oakley as "truly wonderful 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 earlier performance in the 1995 adaptation of Persuasion, portraying Mrs. Croft. "The director had particular demands: no wigs and only candlelight," she remembered. "He truly aimed to capture the experience of early 19th century life."

Wizarding World Reflections

In response to questions regarding her experience with the wizarding film series, Shaw spoke fondly about working with the late Richard Griffiths. "He represented the most elegant, creative and gifted man," she revealed. "He possessed the most mellifluous handwriting and once sent me a note asking 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 fantastic general knowledge so we would listen captivated by his tales."

Theatrical Work

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

The production 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 grew very close as a cast," she noted.

Approach to Acting

When questioned about her ability to transition between comedy and drama, Shaw explained that "comedy connects us as it's about breaking conventions." However, she admitted that "prior to a comedy, I always rest badly, because you have to catch the wave on the day."

Concerning her method for approaching various roles, Shaw stated: "I find them all 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 Hot Milk, Shaw described her character Rose as "a difficult person though you cannot perform anything from that viewpoint." The actress elaborated that Rose suffers from a nervous system condition that causes mobility issues.

"The character doesn't realize of the effect she creates on her daughter," Shaw observed. "All she knows is that she wants to improve. She's both benign and blind. Maybe this represents what most of us are."

Personal Reflections

When told that audiences perceive her ideal as authority figure characters, Shaw answered with amusement: "Oh dear! I'm so not scary. But maybe when infused with purpose, my features can appear formidable."

The actress continued: "In reality sometimes quite scatty so maybe it's redemptive for me to play highly intellectual, organized characters. I try to depict fascinating individuals so I avoid criticizing them. Don't be scared – come and say hello!"

Love for Language

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

She believes that "poetry represents the polished form of language, or the instant that's been preserved." As individuals boil down to what they genuinely wish to express, it's often poetic."

Voice Recording

Concerning her praised spoken-word performances, specifically Alice's Adventures in Wonderland, Shaw shared that "I enjoyed recording Alice in Wonderland because I included everybody I knew into it – personal companions and other actors."

She described how she performed the caterpillar as inspired by Alan Rickman, and characterized the Red Queen evoking Geraldine McEwan. "It consistently feels a honor to sit and speak 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 distinctive. "All that the director expresses and undertakes is different," she observed.

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

The actress also described Malick's distinctive method of asking actors "Would you prefer to do this scene indoors or outdoors?" – questions rarely posed by other filmmakers. "He exclusively used natural light," she added, "meaning actors could perform inside by a window or outside on the street."

Regarding the extensive editing process, Shaw revealed that "The director requires about three years to edit the film. I had been told by the producer following twenty-four months that I was likely among the main characters, but when the film came out, I was nearly gone."

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