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During a recent conversation, renowned actress Fiona Shaw shared insights about her diverse career spanning many years and iconic roles.

The Impactful Andor Monologue

When discussing her unforgettable eulogy scene in the Disney+ show Andor, Shaw disclosed that the initial version included more explicit wording. "I did say a different word in my speech," she clarified, "while the screenwriter hoped that Disney would approve it."

The actress described the unique filming conditions for that particular scene. "When I performed that speech, I was recorded with about 200 cameras to create a hologram. I was completely alone in a massive studio, with no director nor crew members there with me."

Jane Austen Adaptations

Regarding the upcoming adaptation of Jane Austen's Sense and Sensibility, Shaw shared enthusiasm about the completed filming. "We recently completed shooting it," she stated, "and what an actor typically doesn't see is the final film."

The actress commended filmmaker Georgia Oakley as "truly wonderful and very assured." The production took place in beautiful estates across the UK, including sites within Dorset, Knebworth, and Devonshire.

Shaw also reflected on her earlier performance in the nineties version of Austen's Persuasion, portraying Mrs. Croft. "Our filmmaker had specific requirements: without hairpieces and only candlelight," she recalled. "He truly aimed to recreate the feeling of nineteenth-century existence."

Wizarding World Reflections

In response to questions regarding her time in the wizarding film series, Shaw talked warmly about working with her departed co-star. "Richard was the most refined, artistic and talented man," she shared. "He had the most beautiful penmanship and on one occasion mailed me a note inviting me to lunch in ornate gothic script."

The actress portrayed Griffiths as constantly speaking and telling interesting stories with both her and the young actors on set. "He possessed remarkable worldly understanding so we would sit enthralled by his tales."

Theatrical Work

Discussing her Broadway performance in the tragedy Medea, Shaw recalled how psychologically challenging the production was. "I encountered one of the ensemble actors several years after, who said: 'I'm not over it yet,'" she shared.

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

Performance Philosophy

When questioned about her ability to transition between comedy and drama, Shaw clarified that "comedy connects us as it's about breaking conventions." Nevertheless, she admitted that "the night before a comedy, I always sleep poorly, because you have to find the rhythm on the day."

Regarding her technique for tackling various roles, Shaw commented: "I find them all challenging. But even if the person you're playing is quite distant from you, there is frequently some aspect about them that you recognize."

Recent Work

Speaking about her recent performance in Hot Milk, Shaw described her character Rose as "a difficult person but you can't play anything from that viewpoint." The actress elaborated that Rose suffers from a nervous system condition that makes walking difficult.

"She is unaware of the impact she has on her daughter," Shaw noted. "All she knows is that she wants to improve. She's well-intentioned yet unaware. Maybe this represents what most of us are."

Self-Perception

Upon hearing that viewers consider her perfect for authority figure characters, Shaw responded with amusement: "Goodness me! I'm really not intimidating. But perhaps when filled with purpose, my features can appear threatening."

She added: "I am in life sometimes quite scatty so maybe it's redemptive for me to play very intelligent, organized characters. I try to portray interesting people so I avoid criticizing them. Don't be scared – approach and greet me!"

Passion for Words

Talking about her celebrated interpretation of T.S. Eliot's The Waste Land, Shaw conveyed her deep connection with language and poetry. "My heart is always in the language," she declared, "because the clues to everything are contained within the selection of vocabulary."

She believes that "poetry represents the polished form of language, or the moment that has been captured." As individuals reduce to what they truly want to say, it's frequently lyrical."

Audiobook Work

Regarding her acclaimed audiobook performances, particularly Alice's Adventures in Wonderland, Shaw shared that "I enjoyed recording Alice in Wonderland because I incorporated everybody I knew into it – personal companions and other actors."

She described how she voiced the caterpillar as inspired by Alan Rickman, and portrayed 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."

Working with Terrence Malick

Recalling her experience working with renowned director Terrence Malick on his film Tree of Life, Shaw portrayed him as distinctive. "Everything Terrence Malick says and does is different," she noted.

She shared a particular memory of their initial encounter: "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."

The actress also described Malick's distinctive method of asking actors "Would you prefer to do this scene indoors or outdoors?" – questions rarely posed by other filmmakers. "He only employed natural light," she continued, "meaning actors could perform inside by a window or exterior on location."

Concerning the extensive editing process, Shaw revealed that "The director requires about three years to edit the film. I had been told by the producer after two years that I was likely among the primary roles, but by the time the film came out, I was mostly removed."

She concluded by characterizing Malick's distinctive approach: "He builds this massive framework, and he removes most elements. He fundamentally dismantles films."