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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.

The Impactful Andor Monologue

When discussing her unforgettable eulogy scene in the Star Wars series Andor, Shaw revealed that the original script contained stronger language. "I did say a distinct term in my speech," she clarified, "while the screenwriter wanted the studio would approve it."

The performer described the unusual shooting circumstances 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 there with me."

Jane Austen Adaptations

Regarding the upcoming screen version of Jane Austen's Sense and Sensibility, Shaw expressed excitement about the completed filming. "We recently completed shooting it," she stated, "though performers typically doesn't see is the final film."

The actress commended director Georgia Oakley as "really lovely and very assured." The production took place in beautiful estates throughout Britain, including locations in Dorset, Knebworth, and Devonshire.

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

Wizarding World Reflections

In response to questions regarding her experience with the Harry Potter franchise, Shaw spoke fondly about working with her departed co-star. "He represented the most refined, artistic and gifted man," she shared. "He possessed the most beautiful penmanship and on one occasion mailed me a note inviting me to lunch in elaborate gothic lettering."

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

Stage Performances

Discussing her Broadway performance in the tragedy Medea, Shaw recalled how emotionally demanding the show was. "I encountered one of the chorus members three years later, who said: 'I'm not over it yet,'" she shared.

The production continued for years, starting in Dublin, then moving to London, followed by Washington DC, the New York venue, and ultimately Manhattan. "We became very close as a company," she added.

Performance Philosophy

When questioned about her capacity to move between comedy and drama, Shaw clarified that "comedy connects us as it's about rupturing the norm." However, she admitted that "the night before a comedy, I always sleep poorly, because you have to find the rhythm during performance."

Regarding her method for approaching various roles, Shaw stated: "I find them all difficult. But even if the character you're portraying is quite distant from you, there is often something about them that you recognize."

Recent Work

Discussing her latest role in the production Hot Milk, Shaw described her character Rose as "a terrible woman though you cannot perform anything from that perspective." The actress elaborated that Rose suffers from a nervous system condition 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 wants to improve. She's well-intentioned yet unaware. Perhaps that's what many people resemble."

Personal Reflections

When told that viewers consider her perfect for gang boss roles, Shaw answered with amusement: "Goodness me! I'm really not intimidating. But maybe when infused with intention, my features might seem formidable."

The actress continued: "In reality occasionally rather disorganized so maybe it's redemptive for me to play highly intellectual, methodical personalities. I try to depict fascinating individuals so I never judge them. Don't be scared – approach and greet me!"

Love for Language

Talking about her renowned performance of the poetic work The Waste Land, Shaw expressed her profound relationship with language and poetry. "My heart is always 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 reduce to what they genuinely wish to express, it's often poetic."

Audiobook Work

Concerning her praised spoken-word performances, particularly Alice's Adventures in Wonderland, Shaw revealed that "I loved reading Alice in Wonderland because I incorporated everybody I knew into it – my friends and other actors."

She described how she voiced the caterpillar as channeling Alan Rickman, and characterized the Red Queen evoking Geraldine McEwan. "It consistently feels a honor to sit and speak literature," she finished, "despite needing days and days of work."

Working with Terrence Malick

Recalling her experience working with renowned director Terrence Malick on his film Tree of Life, Shaw described him as unconventional. "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 exotic choice in the world."

The actress also described Malick's unusual approach of asking actors "Would you prefer to do this scene inside or outside?" – questions rarely posed by other filmmakers. "He exclusively used natural light," she continued, "meaning actors could perform interior near glass or exterior on location."

Regarding the lengthy post-production, Shaw revealed that "He takes approximately three years to complete the movie. I had been told by the producer following twenty-four months that I was likely among the main characters, but when the film came out, I was mostly removed."

She concluded by describing Malick's unique process: "He constructs this massive framework, and he takes away many components. He fundamentally dismantles films."