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

During a recent conversation, esteemed performer Fiona Shaw opened up about her diverse career covering multiple decades and iconic roles.

The Impactful Andor Monologue

When discussing her memorable eulogy scene in the Disney+ show Andor, Shaw revealed that the original script included stronger language. "I actually spoke a different word in my speech," she explained, "while the screenwriter wanted the studio would accept it."

The performer detailed the unusual shooting circumstances for that particular scene. "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

Speaking about the forthcoming adaptation of Jane Austen's classic novel, Shaw expressed excitement about finishing production. "We recently completed shooting it," she mentioned, "though performers rarely witness is the final film."

She praised filmmaker Georgia Oakley as "truly wonderful and quite confident." The production 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 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."

Wizarding World Reflections

In response to questions regarding her time in the Harry Potter franchise, Shaw spoke fondly about working with her departed co-star. "He represented the most refined, artistic and talented man," she shared. "He possessed the most beautiful penmanship and on one occasion mailed me a note inviting me to lunch in ornate gothic script."

She described Griffiths as constantly speaking and telling interesting stories with both her and the child performers on set. "He possessed fantastic general knowledge so we would listen captivated by his tales."

Theatrical Work

Talking about her Broadway performance in Medea, Shaw remembered 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 continued for years, beginning in Ireland, then moving to London, followed by the American capital, the New York venue, and ultimately Manhattan. "We became very close as a cast," she noted.

Performance Philosophy

Regarding inquiries concerning her ability to transition between humor and seriousness, Shaw explained that "comedy connects us as it's about rupturing the norm." Nevertheless, she admitted that "the night before a comedy, I always sleep poorly, because you have to find the rhythm on the day."

Regarding her method for approaching various roles, Shaw commented: "I find them all challenging. But even if the person you're playing is quite distant from you, there is frequently some aspect about them that you identify with."

Current Projects

Speaking about her latest role in the production Hot Milk, Shaw described 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 impact she has on her daughter," Shaw observed. "All she knows is that she wants to improve. She's well-intentioned yet unaware. Perhaps that's what most of us are."

Self-Perception

When told that viewers consider her perfect for gang boss roles, Shaw answered with humor: "Goodness me! I'm really not intimidating. But maybe when infused with intention, my features can appear formidable."

The actress continued: "In reality occasionally rather disorganized so perhaps it's therapeutic for me to play highly intellectual, organized characters. I try to portray interesting people so I avoid criticizing them. Don't be scared – come and say hello!"

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 declared, "because the clues to everything are there in the selection of vocabulary."

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

Voice Recording

Regarding her acclaimed audiobook performances, specifically Alice's Adventures in Wonderland, Shaw shared that "I enjoyed recording Alice in Wonderland because I included all my acquaintances into it – my friends and fellow performers."

She described how she performed the caterpillar as channeling Alan Rickman, and portrayed the Red Queen as reminiscent of Geraldine McEwan. "It always seems a privilege to record and perform literature," she concluded, "despite needing extended periods of work."

Working with Terrence Malick

Recalling her experience working with celebrated filmmaker Terrence Malick on Tree of Life, Shaw portrayed him as distinctive. "Everything Terrence Malick says and does is different," she observed.

She shared a particular memory of their first meeting: "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 unusual selection in the world."

Shaw also mentioned Malick's unusual approach of asking actors "Do you want to do this scene inside or outside?" – 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."

Regarding the lengthy post-production, 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 probably one of the main characters, but when the film was released, I was mostly removed."

She concluded by characterizing Malick's unique process: "He constructs this massive framework, and he takes away many components. He fundamentally dismantles films."