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During a recent conversation, acclaimed actress Fiona Shaw shared insights about her varied professional experiences spanning multiple decades and iconic roles.

Andor's Powerful Speech

While talking about her unforgettable eulogy scene in the Star Wars series Andor, Shaw revealed that the initial version 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 described the unusual shooting circumstances for this specific moment. "When I performed that speech, I was recorded with about 200 cameras for making a hologram. I was entirely by myself in a huge soundstage, with neither director or production team there with me."

Classic Literature Projects

Speaking about the forthcoming screen version of Jane Austen's Sense and Sensibility, Shaw expressed excitement about the completed filming. "We've just finished shooting it," she mentioned, "and what an actor typically doesn't see is the final film."

She praised 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 nineties version of Austen's Persuasion, playing Mrs. Croft. "Our filmmaker had particular demands: without hairpieces and only candlelight," she remembered. "He truly aimed to capture the experience of early 19th century life."

Harry Potter Memories

When asked about her time in the wizarding film series, Shaw spoke fondly about collaborating with the late Richard Griffiths. "He represented the most refined, creative and talented man," she shared. "He possessed the most beautiful penmanship 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 fantastic general knowledge so we would sit enthralled to his stories."

Theatrical Work

Discussing her New York stage role in the tragedy Medea, Shaw remembered how psychologically challenging the production was. "I met one of the chorus members 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 New York venue, and finally Broadway. "We grew quite bonded as a cast," she added.

Approach to Acting

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

Concerning her technique for tackling various roles, Shaw stated: "I discover each one challenging. 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 recent performance in Hot Milk, Shaw described her character Rose as "a terrible woman though you cannot perform anything from that perspective." The actress elaborated that Rose experiences a functional neurological disorder that makes walking difficult.

"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 both benign and blind. Perhaps that's what many people resemble."

Personal Reflections

Upon hearing that viewers consider her ideal as gang boss roles, Shaw responded with humor: "Goodness me! I'm so not scary. But perhaps when filled with intention, my features might seem formidable."

She added: "I am in life occasionally rather disorganized so maybe it's redemptive for me to play very intelligent, methodical personalities. I try to portray interesting people so I never judge them. Don't be scared – approach and greet me!"

Love for Language

Discussing her renowned performance of T.S. Eliot's The Waste Land, Shaw conveyed her deep connection with words and verse. "My heart is always in the language," she stated, "since the indicators to everything are contained within the choice of words."

The actress thinks 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

Concerning her acclaimed audiobook performances, particularly the classic Alice in Wonderland, Shaw shared that "I enjoyed recording Alice in Wonderland because I incorporated everybody I knew into it – personal companions and fellow performers."

She described how she performed the caterpillar as channeling Alan Rickman, and portrayed the Red Queen evoking Geraldine McEwan. "It always seems a privilege to record and perform literature," she concluded, "though it requires days and days of work."

Working with Terrence Malick

Remembering her time working with renowned director Terrence Malick on Tree of Life, Shaw portrayed him as unconventional. "Everything Terrence Malick says and does is different," she noted.

She shared a specific recollection of their first meeting: "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 unusual selection in the world."

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

Concerning the lengthy post-production, Shaw disclosed that "He takes approximately three years to edit the film. I had heard from the producer following twenty-four months that I was probably one of the primary roles, but by the time 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 essentially deconstructs films."