Your funeral speech in Andor was a standout moment in a show that’s full of anti-fascist themes—we all know when you said “Fight the Empire!” you were probably thinking of a stronger f-word. Did you realize back then how relevant the show would feel in today’s U.S. political climate?
I actually did use a different word in my speech, and the writer was hoping Disney would be okay with it, so we kept the stronger version until the very end. But then I think an executive got nervous and changed it to “fight the Empire.” We filmed it after Trump’s first term, when there was a different president, so it wasn’t directly tied to America’s current situation.
When I performed that speech, I was surrounded by about 200 cameras to create a hologram effect. I was alone in a massive studio with no director or crew nearby. Someone spoke to me through a “God” microphone from another room, saying things like, “Let’s do that again.” It was pretty intimidating.
What can you share about the upcoming adaptation of Jane Austen’s Sense and Sensibility?
We’ve just wrapped up filming, and as an actor, I haven’t seen the final product yet. It was directed by the wonderful Georgia Oakley, who’s very confident. We shot in stunning locations across Britain, including Dorset, Knebworth, and Devonshire. The scale was incredible—I’d never been in a carriage pulled by four horses before. Though the reality of filming in grand houses meant long hours in corsets and wigs, I’m sure it will all be worth it in the end.
One of the best parts of the Harry Potter films was watching you and the late Richard Griffiths share the screen. How did you enjoy working together, and how did you prepare for your scenes?
Richard was an incredibly elegant, artistic, and talented man. He had the most beautiful handwriting and once sent me a note in gothic lettering asking, “Will you join me for lunch?” He was a non-stop talker, always sharing fascinating stories and facts with me and the two boys, Harry Melling (who played Dudley) and Daniel Radcliffe (Harry Potter). His general knowledge was so impressive that we’d sit captivated by him.
Your performance as Mrs. Croft in the 1995 adaptation of Persuasion was beautifully nuanced, especially in the scene where you speak about voyages with your husband and how you never felt afraid as long as you were together. You gazed into the distance as if recalling real memories—it was very moving. How much of that was preparation, and how much was spontaneous?
The director, Roger Michell, who also passed away too soon, insisted on no wigs and only candlelight for lighting. He wanted to capture the authentic feel of the early 19th century. He had me read a book about maritime life that revealed a world beyond Jane Austen’s pages, including topics like illegitimacy and prostitution—things Austen never wrote about directly, but that often affected her characters. Mrs. Croft was in love with the admiral, accompanied him on board, and would have slept in a hammock. At a time when most women married for security rather than happiness, she prioritized her own joy and led a more adventurous life, though she would have witnessed some terrible things. Roger only allowed three takes per scene, so I knew I had to give it my all in the moment.
I saw your incredible performance as Medea on Broadway in 2002. It must have been emotionally draining. How did you manage to do it night after night?
I ran into one of the chorus members three years later who told me, “I’m not over it yet.” The production started in Dublin and then came to Broadway a year later.The play first opened in London, then moved to Washington DC, the Brooklyn Academy of Music, and finally to Broadway. By the time we closed it in Paris, it had been running for more than two years. In London, the actors’ cars kept getting towed because they were never home to move them. We had only packed summer clothes, and suddenly it was winter. We all ended up stranded together on Broadway, which really brought the group closer.
Our approach was to capture the peak of each situation, to face it directly and remain compassionate toward every character in the story. It was essential not to judge any of them. We used to go running as a group before the show, which helped us bond, and every night we played a silly ball game that united us and provided a lighthearted break from the play’s heavy themes.
You’ve portrayed both mythical and deeply human characters. Do you believe myths help us understand humanity, or is it humanity that gives myths their power?
I think myth is a way of grappling with the incomprehensible. The Greeks were brilliant at presenting logic on both sides of an argument, allowing opposing viewpoints to collide. From that clash, a truth emerges for that moment.
You made me laugh so much in London Assurance at the National Theatre, and you seem to move effortlessly between comedy and drama. Do you find one easier to perform than the other?
Comedy brings people together because it breaks the usual patterns. The best comedy often comes from our families, where we understand the norms, but it’s not easy to perform. I always sleep poorly the night before a comedy because you have to ride the wave of the moment and hope the timing lands just right. Almost all drama contains both comedy and tragedy. The key difference is that in comedy, characters rise above their circumstances, while in tragedy, they are crushed by them.
You’ve played many very different characters, yet you always become them completely. Were any particularly challenging, and how did you tackle them? What were your most difficult roles?
I find all roles difficult. But even if a character seems far from who you are, there’s often something you recognize in them. Sometimes you find your way into a character through the language, sometimes through the costume. Other times, it comes from worrying about it all night, or simply letting go and surrendering to the role. Electra was hard because there was no humor, and Mistress Millamant was difficult because she felt too close to me at the time.
I try to approach each character differently, so it always feels like the first time. I start by knowing nothing, finding a fresh path into new territory. But in the end, when you look in the mirror, it’s always you.
I really enjoyed your recent performance in Hot Milk. How did you prepare to play a character like Rose, making her sympathetic even though she’s so damaging to her daughter’s life?
I really liked Rose. I loved that she appreciates literature. The story suggests ambiguity about why she can’t walk—sometimes she can. She has a functional neurological disorder, which I researched, and it’s a distressing condition with elusive origins. It may be linked to emotional trauma from the past, which was the case in this story, though in reality it varies from person to person. Rose isn’t aware she has this disorder, and she certainly doesn’t realize it might be connected to her past. So often, what you’re portraying is what the character doesn’t know about themselves.
Of course, she’s a terrible person in many ways, but you can’t play her from that perspective. She is completely blind to the impact she has on her daughter.She only knows that she wants to improve. She is gentle and unaware, which might be true for many of us.
You’d make the ideal mafia boss or secret service leader. Your expression seems to say, “I’ll outsmart you first, and if that doesn’t work, I’ll have someone take care of you.” Do you agree? I’m sure you’re wonderful, but I’d be a bit intimidated by you in person, sorry!
Oh no, I’m really not frightening! But perhaps when I’m focused, my appearance can seem that way. In reality, I can be quite scattered, so playing highly intelligent, organized roles feels like a redemption. I aim to portray fascinating individuals without judging them. Please don’t be afraid—come say hello!
In university, a professor showed us your performance of The Waste Land, and it amazed me. Is your passion for poetry always present, even in large-scale productions?
My heart is always in the language because the choice of words holds all the clues. A word’s sound often carries deeper meanings beyond its definition. Poetry is language refined or a captured moment. When people express their true feelings, it often becomes poetic, using simple, powerful words in intense moments. So, I always seek the poetry in scripts, usually in one standout line I call the “plumb line,” which becomes the key to the character.
I adore your audiobook narrations. Your reading of Alice’s Adventures in Wonderland was exceptional, among others. What’s the experience like for you?
I enjoyed narrating Alice in Wonderland because I imagined all my friends and fellow actors in the roles—Alan Rickman as the caterpillar, Geraldine McEwan as the Red Queen. Reading The Mill on the Floss was also a privilege, spending days immersed in speaking literature aloud.
What was it like collaborating with Terrence Malick on Tree of Life?
Everything about Terrence Malick is unique. He left a message on my answering machine asking, “Would you come help me with my film?” We met for breakfast, and when I ordered scrambled eggs, he chose the same as if it were the most adventurous option. One of his unusual methods was asking, “Do you want to do this scene indoors or outdoors?”—a question filmmakers rarely pose. He only used natural light, so scenes were shot by a window or outside. He takes around three years to edit, and though I heard I might be a main character early on, by the film’s release, my role was nearly cut. He constructs a vast structure and then dismantles much of it, essentially unbuilding films.
Park Avenue will be in UK and Irish cinemas starting November 14th.
Frequently Asked Questions
Of course Here is a list of FAQs about the topic Im not scary at all but my characters can be based on Fiona Shaws discussions of her work in Austen Andor and Harry Potter
General Beginner Questions
Q1 What does Fiona Shaw mean by Im not scary at all but my characters can be
A1 She means that in real life she is a friendly and approachable person but she is skilled at playing intimidating or formidable characters on screen and stage
Q2 Who is Fiona Shaw
A2 Fiona Shaw is a highly acclaimed Irish actress known for her powerful performances in theater film and television
Q3 What character did she play in Harry Potter
A3 She played Petunia Dursley Harry Potters bitter and dismissive aunt
Q4 What character does she play in Andor
A4 She plays Maarva the fierce and loving adoptive mother of the hero Cassian Andor
Q5 Has she acted in any Jane Austen adaptations
A5 Yes she played the stern and moralistic Miss Reid in the 2007 film adaptation of Persuasion
Advanced InDepth Questions
Q6 How does Fiona Shaw approach playing such different types of scary or formidable characters
A6 She focuses on finding the humanity and motivation behind each character For her even a villainous or stern character believes they are justified in their actions
Q7 What did she say about her role as Petunia Dursley in the Harry Potter films
A7 She has discussed finding Petunias vulnerability and deepseated jealousy of the magical world which helps explain her cruel behavior
Q8 How does her role as Maarva in Andor differ from Petunia Dursley
A8 While both are maternal figures Maarvas fierceness comes from a place of revolutionary love and defiance against an oppressive empire whereas Petunias is born from resentment and fear
Q9 What connects her work in a classic like Persuasion to a scifi show like Andor
A9 In both she portrays women who are constrained by their societieswhether by Regencyera manners or
