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During a recent conversation, renowned actress Fiona Shaw opened up about her diverse career covering multiple decades and memorable characters.

Andor's Powerful Speech

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

The actress described the unusual shooting circumstances for this specific moment. "When I performed that speech, I was filmed by about 200 cameras for making a hologram. I was entirely by myself in a massive studio, with no director or production team present in the room."

Jane Austen Adaptations

Regarding the upcoming adaptation of Jane Austen's classic novel, Shaw expressed excitement about finishing production. "We've just finished shooting it," she stated, "and what an actor rarely witness is the final film."

She praised filmmaker Georgia Oakley as "truly wonderful and quite confident." The filming took place in stunning houses across the UK, including locations in Dorset, Knebworth, and Devonshire.

Shaw also reflected on her previous role in the nineties version of Austen's Persuasion, portraying Mrs. Croft. "The director had particular demands: no wigs and just candle illumination," she remembered. "He truly aimed to recreate the feeling of nineteenth-century existence."

Harry Potter Memories

When asked about her experience with the Harry Potter franchise, Shaw talked warmly about working with her departed co-star. "He represented the most refined, artistic and talented man," she revealed. "He possessed the most beautiful penmanship and once sent me a note asking to lunch in ornate gothic script."

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 to his stories."

Stage Performances

Discussing her New York stage role in Medea, Shaw remembered how emotionally demanding the production was. "I met one of the ensemble actors several years after, who said: 'I'm not over it yet,'" she disclosed.

This theatrical work had an extensive run, starting in Dublin, then traveling to England, followed by Washington DC, the New York venue, and ultimately Manhattan. "We became quite bonded as a company," she noted.

Approach to Acting

When questioned about her capacity to move between comedy and drama, Shaw explained that "comedy connects us as it's about rupturing the norm." However, she confessed that "the night before a comedy, I always rest badly, because you have to find the rhythm on the day."

Regarding her technique for tackling various roles, Shaw stated: "I find them all difficult. But even if the person you're playing is quite distant from you, there is often something about them that you recognize."

Current Projects

Discussing her latest role in Hot Milk, Shaw characterized her character Rose as "a terrible woman though you cannot perform anything from that perspective." She explained that Rose suffers from a functional neurological disorder that makes walking difficult.

"She is unaware of the effect she creates on her daughter," Shaw noted. "All she knows is that she desires to get better. She's both benign and blind. Perhaps that's what most of us are."

Personal Reflections

When told that audiences perceive her perfect for authority figure characters, Shaw answered with amusement: "Goodness me! I'm so not scary. But maybe when infused with intention, my features can appear formidable."

She added: "In reality sometimes quite scatty so perhaps it's therapeutic for me to play very intelligent, methodical personalities. I try to depict fascinating individuals so I avoid criticizing them. Don't be scared – approach and greet me!"

Passion for Words

Talking about her renowned performance of the poetic work The Waste Land, Shaw expressed her deep connection with words and verse. "My heart is always in the language," she stated, "because the clues to everything are there in the selection of vocabulary."

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

Voice Recording

Regarding her acclaimed audiobook performances, particularly the classic Alice in Wonderland, Shaw shared that "I enjoyed recording Alice in Wonderland because I included all my acquaintances into it – personal companions and fellow performers."

She described how she voiced the caterpillar as channeling Alan Rickman, and characterized the Red Queen as reminiscent of Geraldine McEwan. "It always seems a honor to record and perform literature," she concluded, "despite needing 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 described him as distinctive. "Everything Terrence Malick says and does is different," she noted.

The actress recounted a specific recollection of their initial encounter: "He placed a message on my voicemail 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 "Do you want to do this scene inside or outside?" – questions rarely posed by other filmmakers. "He only employed natural light," she continued, "meaning actors could perform inside by a window or exterior on location."

Regarding the extensive editing process, Shaw disclosed 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 by the time the film came out, 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."