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

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

Andor's Powerful Speech

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

The performer described the unique filming conditions for this specific moment. "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 nor crew members there with me."

Classic Literature Projects

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

The actress commended director Georgia Oakley as "really lovely and quite confident." The production 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 Persuasion, portraying Mrs. Croft. "The director had particular demands: without hairpieces and only candlelight," she remembered. "He truly aimed to recreate the feeling of early 19th century life."

Harry Potter Memories

When asked about her experience with the Harry Potter franchise, Shaw talked warmly 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 asking to lunch in ornate gothic script."

The actress portrayed Griffiths as constantly speaking and sharing fascinating anecdotes with herself and the child performers on set. "He possessed remarkable worldly understanding so we would listen captivated to his stories."

Stage Performances

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

This theatrical work continued for years, starting in Dublin, then moving to London, followed by Washington DC, the New York venue, and finally Broadway. "We grew very close as a cast," she added.

Performance Philosophy

Regarding inquiries concerning her capacity to move between humor and seriousness, Shaw clarified that "comedy connects us as it's about rupturing the norm." Nevertheless, she confessed that "the night before a comedy, I always rest badly, because you have to catch the wave during performance."

Concerning her technique for tackling various roles, Shaw commented: "I discover each one 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

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." She explained that Rose experiences a functional neurological disorder that causes mobility issues.

"She is unaware of the effect she creates on her daughter," Shaw observed. "Her only concern is that she desires to get better. She's both benign and blind. Perhaps that's what many people resemble."

Self-Perception

Upon hearing that viewers consider her perfect for gang boss roles, Shaw responded with amusement: "Oh dear! I'm really not intimidating. But maybe when infused with intention, my features can appear formidable."

She added: "I am in life occasionally rather disorganized so perhaps it's therapeutic 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!"

Passion for Words

Talking about her renowned performance of the poetic work The Waste Land, Shaw conveyed her deep connection with words and verse. "My heart is always in the language," she stated, "since the indicators to everything are there in the choice of words."

She believes that "verse constitutes the polished form of language, or the instant that's been preserved." When people reduce to what they truly want to say, it's often poetic."

Audiobook Work

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

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 record and perform literature," she finished, "despite needing days and days of work."

Working with Terrence Malick

Recalling her experience working with renowned director Terrence Malick on Tree of Life, Shaw portrayed him as distinctive. "Everything Terrence Malick expresses and undertakes is different," she noted.

The actress recounted a specific recollection of their initial encounter: "He placed 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 unusual selection in the world."

The actress also described Malick's distinctive method of asking actors "Would you prefer to do this scene inside or outside?" – inquiries seldom made by different directors. "He only employed natural light," she added, "meaning actors could perform interior near glass or outside on the street."

Regarding the lengthy post-production, 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 probably one of the main characters, but by the time the film was released, I was nearly gone."

She concluded by characterizing Malick's unique process: "He builds this enormous structure, and he takes away many components. He essentially deconstructs films."