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During a recent conversation, renowned performer Fiona Shaw opened up about her varied professional experiences spanning many years and iconic roles.

Andor's Powerful Speech

While talking about her memorable funeral speech in the Star Wars series Andor, Shaw revealed that the initial version included stronger language. "I actually spoke a different word in my speech," she clarified, "while the screenwriter wanted the studio would approve it."

The actress described the unique filming conditions for this specific moment. "While I delivered that speech, I was recorded with about 200 cameras to create a hologram. I was entirely by myself in a massive studio, with neither director or production team present in the room."

Classic Literature Projects

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, "and what an actor typically doesn't see is the final film."

She praised filmmaker 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.

The actress also recalled on her previous role in the 1995 adaptation of Persuasion, portraying Mrs. Croft. "Our filmmaker had specific requirements: no wigs and only candlelight," she remembered. "He truly aimed to recreate the feeling of early 19th century life."

Harry Potter Memories

In response to questions regarding her experience with the Harry Potter franchise, Shaw spoke fondly about collaborating with the late Richard Griffiths. "He represented the most refined, creative and gifted man," she shared. "He possessed the most mellifluous handwriting and on one occasion mailed me a note asking to lunch in elaborate gothic lettering."

The actress portrayed Griffiths as constantly speaking and telling interesting stories with herself and the young actors on set. "He possessed fantastic general knowledge so we would listen captivated by his tales."

Theatrical Work

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

This theatrical work continued for years, starting in Dublin, then moving to London, followed by Washington DC, the New York venue, and finally Broadway. "We became quite bonded as a cast," she noted.

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." Nevertheless, she confessed that "prior to a comedy, I always rest badly, because you have to find the rhythm on the day."

Concerning her technique for tackling different characters, Shaw stated: "I discover each one challenging. But even if the person you're playing is rather different 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 perspective." She explained 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 noted. "All she knows is that she desires to get better. She's both benign and blind. Perhaps that's what most of us are."

Personal Reflections

When told that viewers consider her perfect for authority figure characters, Shaw answered with amusement: "Goodness me! I'm really not intimidating. But perhaps when filled with purpose, my features might seem formidable."

She added: "I am in life sometimes quite scatty so perhaps it's therapeutic for me to play highly intellectual, organized characters. I try to portray interesting people so I never judge them. Don't be scared – approach and greet me!"

Passion for Words

Talking about her renowned performance of T.S. Eliot's The Waste Land, Shaw conveyed her profound relationship with words and verse. "My heart is always in the language," she declared, "because the clues to everything are contained within the choice of words."

The actress thinks that "verse constitutes the polished form of language, or the moment that has been captured." As individuals reduce to what they genuinely wish to express, it's often poetic."

Voice Recording

Regarding 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."

The actress explained how she performed the caterpillar as inspired by Alan Rickman, and characterized the Red Queen evoking Geraldine McEwan. "It consistently feels a honor to sit and speak literature," she concluded, "despite needing days and days of work."

Collaborating with the Director

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

She shared a specific recollection of their initial encounter: "He placed a message on my answering machine 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 "Would you prefer to do this scene indoors or outdoors?" – inquiries seldom made by different directors. "He only employed natural light," she continued, "meaning actors could perform inside by a window or outside on the street."

Regarding the extensive editing process, Shaw disclosed that "He takes approximately three years to edit the film. I had been told by the producer after two years that I was probably one of the main characters, but by the time the film was released, I was nearly gone."

The actress finished by characterizing Malick's distinctive approach: "He builds this enormous structure, and he takes away many components. He fundamentally dismantles films."