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

Andor's Powerful Speech

When discussing her memorable funeral speech in the Star Wars series Andor, Shaw revealed that the original script contained stronger language. "I did say a different word in my speech," she explained, "while the screenwriter hoped that Disney would accept it."

The actress detailed the unique filming conditions for this specific moment. "When I performed that speech, I was filmed by about 200 cameras to create a hologram. I was entirely by myself in a massive studio, with no director or production team present in the room."

Jane Austen Adaptations

Speaking about the forthcoming adaptation of Jane Austen's Sense and Sensibility, Shaw shared enthusiasm about finishing production. "We've just finished shooting it," she stated, "though performers rarely witness is the completed movie."

She praised filmmaker Georgia Oakley as "really lovely and quite confident." The production took place in beautiful estates across the UK, including sites within Dorset, Knebworth, and Devonshire.

Shaw also reflected on her earlier performance in the 1995 adaptation of Austen's Persuasion, portraying Mrs. Croft. "The director had specific requirements: no wigs and just candle illumination," she remembered. "He truly aimed to recreate the feeling of nineteenth-century existence."

Wizarding World Reflections

When asked about her experience with the wizarding film series, Shaw spoke fondly about working with the late Richard Griffiths. "Richard was 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 ornate gothic script."

She described Griffiths as continuously talking and sharing fascinating anecdotes with both her and the young actors on set. "He possessed fantastic general knowledge so we would listen captivated to his stories."

Stage Performances

Talking about her Broadway performance in Medea, Shaw recalled how psychologically challenging the production was. "I met one of the chorus members three years later, who said: 'I'm not over it yet,'" she shared.

This theatrical work had an extensive run, beginning in Ireland, then moving to London, followed by the American capital, the Brooklyn Academy of Music, and finally Broadway. "We grew very close as a company," she added.

Approach to Acting

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

Concerning her technique for tackling different characters, Shaw commented: "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 identify with."

Current Projects

Speaking about her recent performance in the production Hot Milk, Shaw characterized her character Rose as "a terrible woman though you cannot perform anything from that viewpoint." The actress elaborated that Rose suffers from a nervous system condition that causes mobility issues.

"The character doesn't realize 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. Maybe this represents what most of us are."

Personal Reflections

When told that viewers consider her perfect for authority figure characters, Shaw responded with amusement: "Oh dear! I'm so not scary. But perhaps when filled with intention, my features might seem threatening."

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

Love for Language

Discussing her renowned performance of T.S. Eliot's The Waste Land, Shaw conveyed her deep connection with language and poetry. "I'm consistently devoted in the language," she stated, "since the indicators to everything are there in the choice of words."

She believes that "poetry represents the refined version of language, or the moment that has been captured." When people boil down to what they genuinely wish to express, it's frequently lyrical."

Audiobook Work

Regarding her acclaimed audiobook performances, particularly Alice's Adventures in Wonderland, Shaw shared that "I enjoyed recording Alice in Wonderland because I incorporated everybody I knew into it – my friends and fellow performers."

The actress explained how she performed the caterpillar as inspired by Alan Rickman, and portrayed the Red Queen as reminiscent of Geraldine McEwan. "It consistently feels a honor to record and perform literature," she finished, "though it requires extended periods of work."

Working with Terrence Malick

Remembering her time working with celebrated filmmaker Terrence Malick on his film Tree of Life, Shaw portrayed him as unconventional. "All that the director says and does is unique," she noted.

The actress recounted a specific recollection of their initial encounter: "He placed a message on my voicemail 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 distinctive method 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 added, "so you could either perform interior near glass or exterior on location."

Regarding the extensive editing process, Shaw disclosed that "He takes approximately three years to complete the movie. I had been told by the producer following twenty-four months that I was probably one of the primary roles, but by the time the film was released, I was mostly removed."

The actress finished by characterizing Malick's unique process: "He builds this enormous structure, and he removes most elements. He fundamentally dismantles films."