Fiona Shaw Discusses Her Professional Journey: From Andor to Harry Potter

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

The Impactful Andor Monologue

When discussing her memorable eulogy scene in the Disney+ show Andor, Shaw revealed that the initial version included stronger language. "I did say a different word in my speech," she clarified, "while the screenwriter hoped that Disney would accept it."

The performer detailed the unusual shooting circumstances for that particular scene. "While I delivered that speech, I was recorded with about 200 cameras for making a hologram. I was completely alone in a massive studio, with no director nor crew members present in the room."

Classic Literature Projects

Speaking about the forthcoming screen version of Jane Austen's classic novel, Shaw expressed excitement about finishing production. "We've just finished shooting it," she mentioned, "though performers rarely witness is the completed movie."

The actress commended director Georgia Oakley as "truly wonderful and quite confident." The filming took place in stunning houses throughout Britain, including sites within Dorset, Knebworth, and Devonshire.

Shaw also reflected on her earlier performance in the 1995 adaptation of Persuasion, portraying Mrs. Croft. "The director had particular demands: no wigs and just candle illumination," she remembered. "He truly aimed to capture the experience of nineteenth-century existence."

Harry Potter Memories

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, creative and gifted man," she shared. "He had the most beautiful penmanship and on one occasion mailed me a note asking to lunch in elaborate gothic lettering."

She described Griffiths as constantly speaking and sharing fascinating anecdotes with herself and the young actors on set. "He possessed remarkable worldly understanding so we would listen captivated by his tales."

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 chorus members several years after, who said: 'I'm not over it yet,'" she disclosed.

The production continued for years, beginning in Ireland, then traveling to England, followed by the American capital, the Brooklyn Academy of Music, and ultimately Manhattan. "We grew very close as a cast," she added.

Performance Philosophy

When questioned about her ability to transition between humor and seriousness, Shaw clarified that "comedy connects us as it's about breaking conventions." Nevertheless, she admitted that "prior to a comedy, I always sleep poorly, because you have to catch the wave on the day."

Concerning her technique for tackling various roles, Shaw stated: "I discover each one difficult. But even if the person you're playing is quite distant from you, there is frequently some aspect about them that you recognize."

Recent Work

Speaking about her latest role in the production Hot Milk, Shaw characterized her character Rose as "a difficult person though you cannot perform anything from that viewpoint." She explained that Rose experiences a nervous system condition that makes walking difficult.

"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."

Personal Reflections

Upon hearing that audiences perceive her ideal as gang boss roles, Shaw responded with humor: "Oh dear! I'm so not scary. But perhaps when filled with purpose, my features can appear formidable."

She added: "I am in life sometimes quite scatty so maybe it's redemptive for me to play very intelligent, methodical personalities. I try to portray interesting people so I never judge 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 language and poetry. "My heart is always in the language," she stated, "because the clues to everything are contained within the selection of vocabulary."

She believes that "poetry represents the polished form of language, or the moment that has been captured." When people boil down to what they truly want to say, it's often poetic."

Audiobook Work

Regarding her praised spoken-word performances, specifically the classic Alice in Wonderland, Shaw revealed that "I enjoyed recording Alice in Wonderland because I incorporated everybody I knew into it – my friends and fellow performers."

She described how she performed the caterpillar as channeling Alan Rickman, and characterized the Red Queen as reminiscent of Geraldine McEwan. "It consistently feels a privilege to sit and speak literature," she concluded, "though it requires extended periods of work."

Collaborating with the Director

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

She shared 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 unusual selection in the world."

The actress also described Malick's unusual approach of asking actors "Would you prefer to do this scene indoors or outdoors?" – inquiries seldom made by different directors. "He exclusively used natural light," she continued, "so you could either perform interior near glass or outside on the street."

Concerning the extensive editing process, Shaw disclosed that "The director requires about three years to complete the movie. I had been told by the producer after two years that I was probably one of the main characters, but by the time the film was released, I was nearly gone."

She concluded by describing Malick's distinctive approach: "He builds this enormous structure, and he takes away many components. He fundamentally dismantles films."