TINA KILBERG
In this interview, we delve into the career journey of actress Tina Kilberg, known for her work across Greek and Cypriot television. Tina shares insights on navigating the competitive entertainment industry, her experiences with nepotism, and the rise of social media influencers in acting roles.
You’ve had quite a journey in the entertainment industry, especially navigating through the Greek and Cypriot television scenes. How did you get started, and what were some of your most memorable early roles?
Networking with industry players. There were no talent agencies, which is why I had to work sideways - I met with TV journalists, actors, directors and producers. A lot of established actors I networked with were friendly, but they maintain distances and don’t offer much help because they view the field competitively. Actors rarely help or assist other actors. My most memorable early role was the Heiress of Delphi, for a feature film called ‘The Birth of Aphrodite’ which was also a Musical Opera. I took voice and singing classes to prepare for this; the experience was delightful because I had proposed a vintage Jessica McClintock gunne sax dress that I could wear for a specific scene, which was accepted by the costume designer. It’s a beautiful, 1970s style wedding dress - so it was like a congregation or some type of personal way of devoting myself and marrying cinema.
Nepotism has been a recurring topic in many industries, including entertainment. How has it impacted your career as an actor in Greece?
Nepotism is always going to exist in this field - my personal struggle was despite having family members who work in the television industry, including some who own SIGMA Channel in Cyprus, my family networks were only strong enough to form contacts; never agreements. Nepotism does not always guarantee success - at least in my experience, because regardless of my family ties to television I still struggled nonetheless. But I believe roles are karmic, so when there isn’t a meeting of the minds; then the role was never mine. I lost out a lot of roles to children of nepotism - but what’s coincidentally funny is that I too am related to established figures in the television industry; they just don’t know much of it.
You’ve mentioned auditioning for roles where family ties within the industry played a significant part in the casting process. Could you share some examples where you felt nepotism was a factor?
Any role I auditioned for in Greece or Cyprus - I never got. The only roles I received were a result of having networked with a producer who had proposed and introduced me into production without an audition. Unfortunately, this is something I bear in the back of my mind as it doesn’t allow me to develop the skill and process of auditioning, which is an invaluable skill required for foreign productions. Luckily, I still get the chance to audition via self-tapes for projects every now and again.
With the rise of Instagram influencers being cast in acting roles, what challenges do you think professionally trained actors face in competing with them for jobs?
I auditioned for the role of Ellie in the series Η Τελευταία Ώρα (The Last Hour), which was granted to a child of nepotism who had no previous IMDb acting credits - a database that is largely taken into account by industry professionals abroad. I only found out recently, given the re-runs of this series currently, that her mother is an actress and father is a director. And it relieved my actor’s spirit – it was an answer that. Brought me a sense of relief. The show was eventually cancelled after one season due to low ratings and complaints from viewers over the amateur acting style. Despite the current re-runs of the series on television, I am not getting paid for the re-runs which largely reflects the backward nature of legal and creative rights when it comes to actors in Greece. I believe Tina the Entertainment Law student would be laughing at this if she could foresee the future.
You’ve auditioned for roles that were eventually given to influencers. How did those experiences shape your perspective on the entertainment industry’s changing landscape?
Influencers attract viewers due to their large following - or what I like to perceive as a manipulation of public consciousness, through the illusion of bought followers. What interests me however is how professional actors can approach their identity and branding rather than contemplating over the unfairness of the industry. Misery and viciousness are not the means for one to move forward in this business - there is not enough time. An actor needs to take care of their personal style, their image, rely on professional photographs over personalised images and selfies in order to develop a very strong brand regardless of their public exposure and access to editorial magazines and television appearances. We have to curate our own style and identity in our work - because we want to be remembered.
You’ve also dealt with unprofessional and even fake casting calls in Greece, like your experience with H Γη της Ελιάς (The Land of Olives). How do you recognize these fraudulent opportunities, and how do you protect yourself from them?
My experience with Andreas Georgiou’s production, ‘H Γη της Ελιάς’(The Land of Olives), was a rather unprofessional one. My experience with fraudulent castings and casting directors, including the one for this production, has taught me that this is not how people get into this series. Andreas Georgiou solely focuses on hiring instagram influencers over professional actors, a process which is rather inevitable and so it didn’t come as a shock to me that I never collaborated with him. It creates a rather unprofessional sphere in the landscape of Greek entertainment as viewers have mocked and complained about the quality of his production. But what would you expect out of an influencer? They cannot act - they can only pretend.
In what ways do you think the quality of television and film productions in Greece is being affected by both nepotism and the rise of social media influencers being cast in major roles?
My advice to actors dealing with frauds is to keep up with an agreement and ensure a deal is made within ten days. A fraudulent casting is prevalent when a casting director has not initially asked you about your resume and instantly proposes a supporting or protagonist role for a television series - without having seen any of your work beforehand. There were two fraudulent experiences I had with Miranda Rostanti (for Σασμός) and Aggelikh Argiroudi (for H Γη της Ελιάς). Both had lied several times and presented a lot of deceptive behaviour that one would not expect when coming into contact with a professional casting director. This can range from unprofessional means of communication as well as how the meeting is set up for the audition. The first casting director was upset that one of my managers at the time had contacted her on behalf of me given that I lacked talent representation and demanded that I called her. The text message for the casting audition was vague to ensure that there was no way to prove an audition took place. She lied about a few things during the day of the casting as well. Aggelikh proposed a role, gave me sides to audition for via a self-tape and then retracted her initial statement with the claim that what I did was a ‘generic casting’. It is good to identify the frauds early on and avoid them. You protect yourself through building a base for a strong support system, whether that be managers, advisors, agents and people who have leverage, influence and power in these circles. No actor walks alone, or else he’ll stumble.
Do you believe these issues—nepotism, influencer casting, and fake auditions—are unique to the Greek industry, or do they reflect broader global trends in entertainment?
I am certain they happen everywhere. The difference with these aspects abroad is that although the concept of nepotism or the rise of TikTok influencers earning Netflix deals and contracts, is that there is still room for professional actors to pave their way into the industry. Greece does not offer that option - which is why most Greek actors who have a theatre background are mocked and downgraded for their profession, as well as being labelled to be unemployed or starving artists. You have to identify the wolves and know how to deal with them early on. I refuse to give up on the process because I am not satisfied with what I have encountered from the entertainment industry so far. But I know there are great professionals and creative minds out there; and so I shall find them. My place.. my people.
Given your experiences with casting directors, such as in the auditions for Sasmos, how do you believe the casting process could become more transparent and fair for actors?
When I returned to Greece from Vancouver in 2020, I was given the opportunity to understand the television industry and how this aspect of the entertainment business operates. Despite my networks, options are limited because the television industry expects one to already be established or ‘famous’. Fame is a funny term to me because it’s an illusion we create through marketing and the selling of the self - and my brand is built on celebrating a bigger story. In North America, such as the US or Canada, an actor on average requires 5-7 years to become established. You join a talent agency, audition for supporting and lead roles, gradually over the course of 5-7 years you find yourself auditioning for the same casting directors and build a strong network to the internal ties of the entertainment business. This was a piece of advice that one of my acting instructors, Simon Longmore, gave me. Unfortunately I have not mastered that here, but I’ll persist. I believe fame is a type of trauma that occurs at the age you become famous - and well-known actors are stuck at that age. I don’t mind getting recognised for my work in my 40s because I believe a level of discipline is required to do things right - and one has to remain self-possessed and not be poisoned by the temptations of fame or applause.
Despite these challenges, you’ve continued to build your career successfully. What keeps you motivated, and what advice would you give to actors who face similar struggles?
Writing. When I was struggling to seek work, I travelled to the UK and networked with producers and directors there. When I wasn’t acting, I resorted to writing. I published three books that year as a result – The Holy Wood, an actor’s bible, Hollywood Hypnotism, hypnosis techniques for actors and Delta, an acting handbook for my all-time favorite creatives. My advice to actors is to form networks with industry players and avoid negative people who are critical of this profession; they simply cannot comprehend it. Take constructive criticism from industry professionals and avoid destructive criticism from people who do not belong in this industry; for the most part their words are full of poison and nothing more substantial than an ad-hominem attack.
How do you think the entertainment industry can better address the balance between celebrity influence and actual acting talent when it comes to casting decisions?
Celebrity influence is vital. My background in Entertainment Law has taught me that fame is about being a public personality. Many are known, few are celebrated. That is the essence of the word ‘celebrity’ - your life and achievements are celebrated by the public. I don’t consider talent to be as important as networks - it’s all about how you get it. And once you get in, you’re in. We have to view celebrity influence as a positive aspect and work our way as professional actors to be in alignment with the world of stardom. We are actors after all, we hold the power to illusion and selling a story. We don’t want to be convincing, we want to be remembered. I view the pursuit of celebrity as a means to be granted the creative freedom to continue working in this profession - because then, the industry wants to see more of us as creatives in motion.
As someone who has navigated the industry professionally, how do you personally handle rejection or setbacks, especially in situations where casting decisions seem influenced by factors outside of merit?
With laughter. It took me some time. There are a lot of fools and clowns you’ll come across in this industry, along with deviant social masks, you have to learn how to tease them and move along. The industry is a theatrical performance - I have it in me for my very nature of being Greek. I’m someone who holds back tears and such emotions were viewed as weaknesses in my family - but I don’t think I have ever cried as much over anything as I have over acting. Even when I did get roles, I’d return home to an empty apartment at night, come to terms with my own solitude and cry after long filming hours due to the stress. Lots of sleepless nights where I would resort to writing. Showers are the best place to ease the pain perhaps because one is stark naked and at their most vulnerable - you are left with nothing but yourself in your most natural God-intended form. I prefer it that way, as I’m ashamed of my tears. Thankfully hypnosis sessions prepared me for the rejections, as I was made aware of everything that was going on and was gaining access to information that later revealed itself to me through time. The Greeks are more assertive, they’ll yell in your ear and men are very stressed under work - but it is your job to remain calm, and as an actor, provide a solution to their problem. Crying no longer serves me, and so I deal with the pain through laughter. There are no negative emotions, there are only emotions. And so I would rather put all the sadness aside and hysterically laugh at the face of adversity.
With your background in entertainment law, how do you think legal frameworks can help protect actors from issues like nepotism, fraudulent casting calls, or unfair contracts?
I published my dissertation for my LLM in Entertainment Law on actor’s contracts in Hollywood. Oral contracts, also known as handshake deals in Hollywood, are the preferred means to conduct business. They are also legally binding in New York and California. Written contracts are less preferable as they take up too much time and productions want to save money and get straight into filmmaking. But with the rise of technology and the digitalisation of the industry, I propose the use of E-contracts. My advice to actors is to prove the existence that an oral discussion or agreement took place, which is viable through digital means such as emails. We have to create evidence in order to support our claims. That way, nobody can defame us in the future if they retract their initial statements.
In your experience as both an actor and a legal consultant, what advice would you give to actors when it comes to negotiating contracts, especially in industries like film and television where nepotism and influencer culture might impact opportunities?
I always tell my clients that 90% of their success all comes down to recognising their rights and leverage in the dealmaking process. This is why I pursued contract law over litigation and lawsuits – I’m interested in bringing creatives together. It is an actor’s prerogative to acknowledge their creative rights regardless of where they are in their career - and nobody, not even the studio executives and people in power can take that away from you. Do not be concerned with the rise of nepotism or influencer culture - these aspects of the industry will continue to exist so we must prepare ourselves based on the options we have, in order to expand them and prosper. The entertainment industry is deep, and we have to carve our way in to mark our path in Hollywood and beyond.
Actress: Tina Kilberg
IG: tinakilberg
WB: https://www.tinakilberg.com
TW: https://twitter.com/tinakilberg
YT: https://www.youtube.com/@tinakilberg7230
Photographer: Danny Koumniotis
Hair Stylist: Penelope Nakou
Makeup Artist: Kikh Oikonomou
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