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During a recent conversation, esteemed performer Fiona Shaw shared insights about her varied professional experiences spanning many years and memorable characters.

Andor's Powerful Speech

While talking about her memorable eulogy scene in the Star Wars series Andor, Shaw disclosed that the initial version contained more explicit wording. "I actually spoke a distinct term in my speech," she clarified, "and the writer wanted the studio would accept it."

The actress detailed the unique filming conditions for that particular scene. "While I delivered that speech, I was filmed by about 200 cameras for making a hologram. I was completely alone in a massive studio, with no director or production team present in the room."

Jane Austen Adaptations

Regarding the upcoming screen version 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 very assured." The filming took place in beautiful estates throughout Britain, including locations in Dorset, Knebworth, and Devonshire.

The actress also recalled on her earlier performance in the nineties version of Austen's Persuasion, portraying Mrs. Croft. "Our filmmaker had particular demands: without hairpieces and just candle illumination," she remembered. "He truly aimed to recreate the feeling of nineteenth-century existence."

Wizarding World Reflections

When asked about her experience with the wizarding film series, Shaw spoke fondly about working with the late Richard Griffiths. "He represented the most refined, artistic and gifted man," she revealed. "He had the most beautiful penmanship and once sent me a note inviting me 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 possessed fantastic general knowledge so we would listen captivated to his stories."

Theatrical Work

Discussing her Broadway performance in the tragedy Medea, Shaw recalled how emotionally demanding the show was. "I met one of the ensemble actors several years after, who said: 'I'm not over it yet,'" she shared.

This theatrical work had an extensive run, beginning in Ireland, then traveling to England, followed by the American capital, the Brooklyn Academy of Music, and ultimately Manhattan. "We grew quite bonded as a company," she added.

Approach to Acting

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

Concerning her technique for tackling different characters, Shaw stated: "I find them all challenging. But even if the character you're portraying is rather different from you, there is often something about them that you recognize."

Recent Work

Discussing her latest role in Hot Milk, Shaw characterized her character Rose as "a difficult person but you can't play anything from that perspective." The actress elaborated 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. "Her only concern is that she wants to improve. She's well-intentioned yet unaware. Perhaps that's what most of us are."

Personal Reflections

When told that audiences perceive her perfect for authority figure characters, Shaw answered with humor: "Oh dear! I'm really not intimidating. But maybe when infused with purpose, my features might seem threatening."

The actress continued: "In reality occasionally rather disorganized so maybe it's redemptive for me to play highly intellectual, organized characters. I try to portray interesting people so I avoid criticizing them. Please don't fear – approach and greet me!"

Love for Language

Discussing her renowned performance of the poetic work The Waste Land, Shaw expressed her deep connection with words and verse. "I'm consistently devoted in the language," she declared, "because the clues to everything are there in the selection of vocabulary."

The actress thinks that "verse constitutes the refined version of language, or the moment that has been captured." When people reduce to what they genuinely wish to express, it's often poetic."

Voice Recording

Regarding her praised spoken-word performances, specifically Alice's Adventures 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 inspired by Alan Rickman, and characterized the Red Queen as reminiscent of Geraldine McEwan. "It always seems a privilege to sit and speak literature," she concluded, "though it requires days and days of work."

Working with Terrence Malick

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

The actress recounted a specific recollection of their initial encounter: "He left 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 exotic choice in the world."

Shaw also mentioned Malick's unusual approach of asking actors "Would you prefer to do this scene indoors or outdoors?" – inquiries seldom made by different directors. "He only employed natural light," she continued, "so you could either perform inside by a window or exterior on location."

Concerning the lengthy post-production, Shaw revealed 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 when the film was released, I was mostly removed."

The actress finished by characterizing Malick's distinctive approach: "He builds this enormous structure, and he takes away many components. He fundamentally dismantles films."