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During a recent conversation, acclaimed actress Fiona Shaw shared insights about her diverse career covering many years and iconic roles.

The Impactful Andor Monologue

When discussing her memorable funeral speech in the Disney+ show Andor, Shaw revealed that the original script contained more explicit wording. "I actually spoke a different word in my speech," she clarified, "and the writer wanted the studio would approve it."

The performer described the unusual shooting circumstances for that particular scene. "While I delivered that speech, I was filmed by about 200 cameras for making a hologram. I was entirely by myself in a huge soundstage, with no director or production team present in the room."

Classic Literature Projects

Regarding the upcoming screen version of Jane Austen's Sense and Sensibility, Shaw shared enthusiasm about the completed filming. "We recently completed 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 production took place in beautiful estates across the UK, including sites within Dorset, Knebworth, and Devonshire.

The actress also recalled on her previous role in the 1995 adaptation of Persuasion, playing Mrs. Croft. "The director had specific requirements: no wigs and only candlelight," she remembered. "He genuinely wanted to capture the experience of early 19th century life."

Harry Potter Memories

In response to questions regarding her time in the Harry Potter franchise, Shaw talked warmly about collaborating with the late Richard Griffiths. "He represented the most elegant, creative and talented man," she shared. "He possessed the most mellifluous handwriting 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 child performers on set. "He possessed remarkable worldly understanding so we would listen captivated by his tales."

Theatrical Work

Discussing her Broadway performance in the tragedy Medea, Shaw recalled 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 disclosed.

This theatrical work had an extensive run, starting in Dublin, then moving to London, followed by the American capital, the Brooklyn Academy of Music, and finally Broadway. "We became quite bonded as a company," she noted.

Approach to Acting

When questioned about her capacity to move between humor and seriousness, Shaw explained that "humor unites people as it's about breaking conventions." However, she confessed that "prior to a comedy, I always sleep poorly, because you have to find the rhythm during performance."

Regarding her technique for tackling different characters, Shaw stated: "I find them all difficult. 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 recent performance in the production Hot Milk, Shaw described her character Rose as "a difficult person though you cannot perform anything from that perspective." She explained that Rose experiences a functional neurological disorder that makes walking difficult.

"The character doesn't realize 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."

Self-Perception

When told that viewers consider her ideal as gang boss roles, Shaw answered with amusement: "Oh dear! I'm so not scary. But maybe when infused with intention, my features can appear threatening."

The actress continued: "In reality sometimes quite scatty so maybe it's redemptive for me to play highly intellectual, methodical personalities. I try to depict fascinating individuals so I avoid criticizing them. Don't be scared – approach and greet me!"

Passion for Words

Talking about her celebrated interpretation 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 there in the selection of vocabulary."

The actress thinks that "poetry represents 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

Regarding her acclaimed audiobook performances, specifically the classic Alice in Wonderland, Shaw shared that "I enjoyed recording Alice in Wonderland because I included everybody I knew into it – my friends and other actors."

She described how she voiced 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 finished, "though it requires extended periods of work."

Working with Terrence Malick

Remembering her time working with renowned director Terrence Malick on his film Tree of Life, Shaw described him as unconventional. "Everything Terrence Malick expresses and undertakes is unique," she noted.

She shared a specific recollection of their initial encounter: "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."

Shaw also mentioned Malick's unusual approach of asking actors "Do you want to do this scene inside or outside?" – questions rarely posed by other filmmakers. "He only employed natural light," she added, "so you could either perform interior near glass or outside on the street."

Regarding the lengthy post-production, Shaw disclosed that "The director requires about three years to edit the film. I had heard from the producer following twenty-four months that I was probably one of the main characters, but by the time the film came out, I was nearly gone."

She concluded by characterizing Malick's distinctive approach: "He constructs this enormous structure, and he removes most elements. He essentially deconstructs films."