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During a recent conversation, esteemed actress Fiona Shaw shared insights about her varied professional experiences covering many years and iconic roles.

Andor's Powerful Speech

While talking about her memorable eulogy scene in the Disney+ show Andor, Shaw disclosed that the original script included more explicit wording. "I did say a distinct term in my speech," she explained, "while the screenwriter hoped that Disney would accept it."

The actress described the unique filming conditions for this specific moment. "While I delivered that speech, I was filmed by about 200 cameras for making a hologram. I was entirely by myself in a huge soundstage, with no director or production team 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've just finished shooting it," she stated, "and what an actor rarely witness is the completed movie."

She praised filmmaker Georgia Oakley as "truly wonderful and quite confident." The production took place in beautiful estates throughout Britain, including sites within Dorset, Knebworth, and Devonshire.

The actress also recalled on her earlier performance in the nineties version of Austen's Persuasion, portraying Mrs. Croft. "The director had specific requirements: no wigs and only candlelight," she recalled. "He truly aimed to recreate the feeling of nineteenth-century existence."

Harry Potter Memories

When asked about her experience with the wizarding film series, Shaw talked warmly about collaborating with the late Richard Griffiths. "Richard was the most elegant, creative and gifted man," she revealed. "He possessed the most mellifluous handwriting and on one occasion mailed me a note asking to lunch in ornate gothic script."

She described Griffiths as constantly speaking and sharing fascinating anecdotes with herself and the young actors on set. "He possessed remarkable worldly understanding so we would listen captivated to his stories."

Theatrical Work

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

This theatrical work had an extensive run, beginning in Ireland, then traveling to England, followed by Washington DC, the Brooklyn Academy of Music, and finally Broadway. "We grew quite bonded as a cast," she added.

Approach to Acting

Regarding inquiries concerning her capacity to move between humor and seriousness, Shaw clarified that "humor unites people as it's about rupturing the norm." However, she confessed that "the night before a comedy, I always sleep poorly, because you have to catch the wave during performance."

Regarding her technique for tackling various roles, Shaw stated: "I find them all challenging. But even if the person you're playing is rather different from you, there is often something about them that you identify with."

Recent Work

Speaking about her latest role in the production Hot Milk, Shaw described her character Rose as "a terrible woman but you can't play anything from that perspective." The actress elaborated that Rose experiences a functional neurological disorder that causes mobility issues.

"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 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 might seem formidable."

The actress continued: "In reality sometimes quite scatty so perhaps it's therapeutic for me to play highly intellectual, methodical personalities. I try to portray interesting people so I avoid criticizing them. Don't be scared – come and say hello!"

Love for Language

Talking about 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 declared, "because the clues to everything are there in the selection of vocabulary."

The actress thinks that "verse constitutes the polished form of language, or the instant that's been preserved." When people boil down to what they genuinely wish to express, it's often poetic."

Audiobook Work

Regarding her praised spoken-word performances, particularly the classic Alice in Wonderland, Shaw shared that "I loved reading Alice in Wonderland because I included all my acquaintances into it – personal companions and other actors."

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

Working with Terrence Malick

Recalling her experience working with celebrated filmmaker Terrence Malick on his film Tree of Life, Shaw described him as distinctive. "Everything Terrence Malick says and does is unique," she noted.

She shared a specific recollection of their first meeting: "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 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 exclusively used natural light," she continued, "so you could either perform inside by a window or exterior on location."

Concerning 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 likely among the primary roles, but by the time the film was released, I was mostly removed."

She concluded by describing Malick's distinctive approach: "He builds this massive framework, and he takes away many components. He essentially deconstructs films."