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In a recent interview, esteemed performer Fiona Shaw shared insights about her varied professional experiences covering many years and iconic roles.

The Impactful Andor Monologue

When discussing her memorable eulogy scene in the Disney+ show Andor, Shaw revealed that the original script included more explicit wording. "I actually spoke a different word in my speech," she clarified, "while the screenwriter wanted the studio would accept it."

The actress detailed the unusual shooting circumstances for this specific moment. "While I delivered that speech, I was recorded with about 200 cameras for making a hologram. I was completely alone in a huge soundstage, with neither director or production team there with me."

Classic Literature Projects

Speaking about the forthcoming adaptation of Jane Austen's Sense and Sensibility, Shaw expressed excitement about finishing production. "We've just finished shooting it," she mentioned, "though performers rarely witness is the final film."

The actress commended director Georgia Oakley as "really lovely and very assured." The filming took place in stunning houses across the UK, including sites within Dorset, Knebworth, and Devonshire.

Shaw also reflected on her previous role in the nineties version of Austen's Persuasion, playing Mrs. Croft. "The director had particular demands: without hairpieces and just candle illumination," she remembered. "He genuinely wanted to recreate the feeling 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 the late Richard Griffiths. "Richard was the most refined, artistic and gifted man," she shared. "He had the most mellifluous handwriting and once sent me a note inviting me to lunch in ornate gothic script."

She described Griffiths as continuously talking and telling interesting stories with both her and the young actors on set. "He possessed fantastic general knowledge so we would sit enthralled to his stories."

Theatrical Work

Talking about her New York stage role in Medea, Shaw recalled how emotionally demanding the production was. "I encountered one of the ensemble actors several years after, who said: 'I'm not over it yet,'" she disclosed.

The production continued for years, starting in Dublin, then moving to London, followed by Washington DC, the Brooklyn Academy of Music, and finally Broadway. "We grew very close as a cast," she added.

Approach to Acting

Regarding inquiries concerning her ability to transition between comedy and drama, Shaw clarified that "comedy connects us as it's about rupturing the norm." Nevertheless, she confessed that "prior to a comedy, I always rest badly, because you have to find the rhythm on the day."

Regarding her method for approaching different characters, Shaw commented: "I find them all 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

Discussing her recent performance in Hot Milk, Shaw characterized her character Rose as "a terrible woman but you can't play anything from that perspective." The actress elaborated that Rose experiences a nervous system condition that makes walking difficult.

"The character doesn't realize of the impact she has on her daughter," Shaw noted. "All she knows is that she wants to improve. She's both benign and blind. Maybe this represents what most of us are."

Personal Reflections

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

The actress continued: "In reality occasionally rather disorganized so perhaps it's therapeutic for me to play very intelligent, methodical personalities. I try to depict fascinating individuals so I never judge them. Please don't fear – approach and greet me!"

Love for Language

Talking about her renowned performance of T.S. Eliot's The Waste Land, Shaw conveyed her profound relationship with words and verse. "I'm consistently devoted in the language," she stated, "since the indicators to everything are there in the selection of vocabulary."

The actress thinks that "poetry represents the refined version of language, or the moment that has been captured." As individuals reduce to what they truly want to say, it's often poetic."

Voice Recording

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

The actress explained how she voiced the caterpillar as inspired by Alan Rickman, and portrayed the Red Queen as reminiscent of Geraldine McEwan. "It always seems a privilege to sit and speak literature," she finished, "though it requires days and days of work."

Collaborating with the Director

Recalling her experience working with renowned director Terrence Malick on Tree of Life, Shaw portrayed him as unconventional. "Everything Terrence Malick expresses and undertakes is unique," she noted.

The actress recounted a particular memory of their initial encounter: "He left 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 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 continued, "so you could either perform inside by a window or exterior on location."

Regarding the extensive editing process, Shaw disclosed that "The director requires about three years to edit the film. I had heard from the producer after two years that I was likely among the main characters, but when the film came out, I was nearly gone."

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