Fiona Shaw Talks About Her Professional Journey: From Andor to Harry Potter

During a recent conversation, esteemed actress Fiona Shaw shared insights about her varied professional experiences spanning multiple decades and iconic roles.

Andor's Powerful Speech

While talking about her memorable eulogy scene in the Disney+ show Andor, Shaw revealed that the initial version contained more explicit wording. "I did say a different word in my speech," she explained, "and the writer hoped that Disney would accept it."

The performer described the unusual shooting circumstances for this specific moment. "When I performed that speech, I was filmed by about 200 cameras to create a hologram. I was completely alone in a huge soundstage, with neither director or production team present in the room."

Jane Austen Adaptations

Regarding the upcoming screen version of Jane Austen's classic novel, Shaw expressed excitement about the completed filming. "We've just finished shooting it," she mentioned, "and what an actor rarely witness is the final film."

The actress commended filmmaker Georgia Oakley as "truly wonderful and quite confident." The filming took place in beautiful estates 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 specific requirements: without hairpieces and only candlelight," she recalled. "He genuinely wanted to capture the experience of nineteenth-century existence."

Wizarding World Reflections

When asked about her time in the wizarding film series, Shaw talked warmly about collaborating with her departed co-star. "He represented the most elegant, artistic and talented man," she revealed. "He had the most beautiful penmanship and on one occasion mailed me a note inviting me to lunch in elaborate gothic lettering."

The actress portrayed Griffiths as continuously talking and sharing fascinating anecdotes with both her and the child performers on set. "He possessed remarkable worldly understanding so we would sit enthralled by his tales."

Theatrical Work

Talking about her New York stage role in Medea, Shaw remembered how emotionally demanding the production was. "I encountered one of the ensemble actors three years later, who said: 'I'm not over it yet,'" she shared.

The production continued for years, beginning in Ireland, then moving to London, followed by the American capital, the New York venue, and finally Broadway. "We became very close as a cast," she noted.

Approach to Acting

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 "prior to a comedy, I always rest badly, because you have to find the rhythm on the day."

Concerning her method for approaching different characters, Shaw stated: "I find them all challenging. But even if the person you're playing is rather different from you, there is frequently some aspect about them that you recognize."

Recent Work

Speaking about her latest role in Hot Milk, Shaw described her character Rose as "a terrible woman but you can't play anything from that viewpoint." She explained that Rose experiences 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. Maybe this represents what most of us are."

Personal Reflections

Upon hearing that viewers consider her perfect for gang boss roles, Shaw responded with amusement: "Goodness me! I'm really not intimidating. But perhaps when filled with purpose, my features might seem formidable."

The actress continued: "In reality occasionally rather disorganized so maybe it's redemptive for me to play very intelligent, organized characters. I try to depict fascinating individuals so I avoid criticizing them. Don't be scared – come and say hello!"

Passion for Words

Discussing her renowned performance of the poetic work The Waste Land, Shaw expressed her deep connection with language and poetry. "My heart is always in the language," she stated, "because the clues to everything are contained within 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 truly want to say, it's often poetic."

Voice Recording

Regarding her praised spoken-word performances, particularly Alice's Adventures in Wonderland, Shaw revealed that "I enjoyed recording Alice in Wonderland because I included everybody I knew 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 consistently feels a honor to record and perform literature," she finished, "despite needing extended periods of work."

Collaborating with the Director

Recalling her experience working with renowned director Terrence Malick on his film Tree of Life, Shaw portrayed him as distinctive. "All that the director expresses and undertakes is unique," she noted.

The actress recounted a specific recollection of their first meeting: "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 "Do you want to do this scene indoors or outdoors?" – inquiries seldom made by other filmmakers. "He only employed natural light," she added, "meaning actors could perform inside by a window or exterior on location."

Concerning the lengthy post-production, Shaw revealed that "He takes approximately three years to edit the film. I had been told by the producer after two years that I was probably one of the primary roles, but when the film was released, I was mostly removed."

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