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During a recent conversation, renowned performer Fiona Shaw shared insights about her varied professional experiences spanning many years and memorable characters.

The Impactful Andor Monologue

When discussing her memorable funeral speech in the Disney+ show Andor, Shaw revealed that the initial version contained 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 detailed 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 entirely by myself in a massive studio, with neither director nor crew members present in the room."

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 completed movie."

She praised director Georgia Oakley as "really lovely and quite confident." 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, playing Mrs. Croft. "Our filmmaker had particular demands: without hairpieces and just candle illumination," she remembered. "He genuinely wanted 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 talked warmly about working with the late Richard Griffiths. "Richard was the most refined, artistic and talented man," she revealed. "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 continuously talking and sharing fascinating anecdotes with herself and the child performers on set. "He had remarkable worldly understanding so we would listen captivated by his tales."

Theatrical Work

Talking about her Broadway performance in the tragedy Medea, Shaw recalled 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, beginning in Ireland, then traveling to England, followed by the American capital, the Brooklyn Academy of Music, and finally Broadway. "We grew quite bonded as a company," she added.

Approach to Acting

Regarding inquiries concerning her capacity to move between comedy and drama, Shaw clarified 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 find the rhythm during performance."

Regarding her technique for tackling different characters, Shaw commented: "I find them all difficult. But even if the character you're portraying is rather different from you, there is frequently some aspect about them that you recognize."

Current Projects

Discussing her latest role in Hot Milk, Shaw described her character Rose as "a terrible woman but you can't play anything from that perspective." She explained that Rose suffers from a nervous system condition that causes mobility issues.

"She is unaware of the effect she creates 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

Upon hearing that viewers consider her ideal as gang boss roles, Shaw responded with amusement: "Oh dear! I'm really not intimidating. But maybe when infused with intention, my features might seem formidable."

The actress continued: "In reality sometimes quite scatty so perhaps it's therapeutic 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 the poetic work The Waste Land, Shaw conveyed her deep connection with words and verse. "My heart is always in the language," she declared, "since the indicators to everything are contained within the selection of vocabulary."

She believes that "poetry represents the refined version of language, or the instant that's been preserved." As individuals reduce to what they truly want to say, it's often poetic."

Audiobook Work

Concerning her praised spoken-word performances, specifically the classic Alice in Wonderland, Shaw shared that "I enjoyed recording Alice in Wonderland because I incorporated all my acquaintances into it – my friends and fellow performers."

The actress explained how she performed the caterpillar as channeling Alan Rickman, and portrayed the Red Queen as reminiscent of Geraldine McEwan. "It always seems a privilege to sit and speak literature," she finished, "despite needing extended periods of work."

Working with Terrence Malick

Remembering her time working with renowned director Terrence Malick on Tree of Life, Shaw described him as distinctive. "All that the director expresses and undertakes is different," she observed.

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 exotic choice in the world."

The actress also described Malick's distinctive method 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 added, "meaning actors could perform inside by a window or outside on the street."

Regarding the lengthy post-production, Shaw revealed that "He takes approximately 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 mostly removed."

The actress finished by describing Malick's unique process: "He builds this enormous structure, and he takes away many components. He essentially deconstructs films."