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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 unforgettable funeral speech in the Star Wars series Andor, Shaw revealed that the original script included stronger language. "I did say a different word in my speech," she clarified, "while the screenwriter wanted the studio would accept it."

The actress described the unusual shooting circumstances for this specific moment. "While I delivered that speech, I was filmed by about 200 cameras to create a hologram. I was completely alone in a massive studio, with neither director nor crew members there with me."

Jane Austen Adaptations

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

She praised director Georgia Oakley as "truly wonderful and very assured." The filming took place in beautiful estates throughout Britain, including locations in Dorset, Knebworth, and Devonshire.

The actress also recalled on her earlier performance in the 1995 adaptation of Austen's Persuasion, portraying Mrs. Croft. "Our filmmaker had specific requirements: without hairpieces and only candlelight," she remembered. "He truly aimed to capture the experience of early 19th century life."

Wizarding World Reflections

In response to questions regarding her experience with the wizarding film series, Shaw talked warmly about working with the late Richard Griffiths. "Richard was the most refined, artistic and gifted man," she revealed. "He had the most beautiful penmanship and once sent me a note inviting me to lunch in ornate gothic script."

She described Griffiths as continuously talking and sharing fascinating anecdotes with herself and the young actors on set. "He had fantastic general knowledge so we would sit enthralled to his stories."

Theatrical Work

Talking about her New York stage role in the tragedy Medea, Shaw recalled how psychologically challenging 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 had an extensive run, starting in Dublin, then traveling to England, followed by Washington DC, the New York venue, and finally Broadway. "We became quite bonded as a company," she added.

Approach to Acting

Regarding inquiries concerning her capacity to move between humor and seriousness, Shaw clarified that "humor unites people as it's about breaking conventions." Nevertheless, she admitted that "the night before a comedy, I always sleep poorly, because you have to catch the wave on the day."

Concerning her method for approaching various roles, Shaw commented: "I discover each one difficult. But even if the character you're portraying is quite distant from you, there is frequently some aspect about them that you identify with."

Current Projects

Speaking about her latest role in Hot Milk, Shaw characterized her character Rose as "a difficult person but you can't play anything from that perspective." The actress elaborated that Rose experiences a functional neurological disorder that makes walking difficult.

"She is unaware of the effect she creates on her daughter," Shaw noted. "Her only concern is that she wants to improve. She's well-intentioned yet unaware. Perhaps that's what most of us are."

Personal Reflections

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

She added: "In reality sometimes quite scatty so maybe it's redemptive for me to play very intelligent, methodical personalities. I try to portray interesting people so I avoid criticizing them. Please don't fear – come and say hello!"

Love for Language

Talking about her celebrated interpretation of the poetic work The Waste Land, Shaw expressed her profound relationship with language and poetry. "My heart is always in the language," she declared, "since the indicators to everything are contained within the choice of words."

The actress thinks that "poetry represents the polished form of language, or the moment that has been captured." When people reduce to what they genuinely wish to express, it's often poetic."

Audiobook Work

Concerning her acclaimed audiobook performances, specifically the classic Alice 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 voiced 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 concluded, "despite needing days and days of work."

Working with Terrence Malick

Remembering her time working with celebrated filmmaker Terrence Malick on Tree of Life, Shaw portrayed him as unconventional. "Everything Terrence Malick expresses and undertakes is different," she noted.

The actress recounted a particular memory of their first meeting: "He placed a message on my voicemail which said, 'I wonder, would you assist me 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 "Do you want to do this scene inside or outside?" – questions rarely posed by different directors. "He exclusively used natural light," she added, "so you could either perform interior near glass or exterior on location."

Regarding the lengthy post-production, Shaw disclosed that "He takes approximately three years to complete the movie. I had heard from the producer after two years that I was probably one of the main characters, but by the time the film came out, I was mostly removed."

The actress finished by describing Malick's unique process: "He constructs this enormous structure, and he removes most elements. He essentially deconstructs films."