Introducing Tonia Sotiropoulou

An interview with the Greek actress.

What links Skyfall, the highest-grossing film of all time, with Berberian Sound Studio, the winner of the most awards at the 2012 BIFTAs? If you look close enough, you’ll see that it’s the up-and-coming Greek actress Tonia Sotiropoulou.

Four years ago, Sotiropoulou moved from Athens to London to pursue her career. She has just finished playing the part of Gilda in Future Cinema’s The Shawshank Redemption. Here, she talks about living in London, how she landed the role in Skyfall and what she finds appealing about independent film.

What were you doing in Greece before you came to London?

I did my first movie while I was in drama school with a director called Nikos Perakis who is very well known in Greece. After studying, I started working and doing TV. I’ve always wanted to do cinema and I’ve always wanted to move from Greece and go either to America or to England. At some point I realised it was time for me to go and accomplish what I thought I could accomplish. I decided to move to London because I love the way the industry works here. You have the chance to do American films, European film and English ones as well. So I moved to London. I started having acting coaching classes for two years because English is not my mother language so I had to work on it. I did accent softening and all the boring things actors have to do – well, it’s not boring for us but for other people who are not in the profession it might seem a bit weird.

What was the first role you landed after moving to London?

I did seven short films and some web series but the first part I got in a feature film was in Berberian Sound Studio. Statistics say that for a good actor you get one out of thirteen auditions. Berberian Sound Studio happened a year-and-a-half after I moved here.

How did your involvement in Skyfall come about?

I was originally auditioning for another role, one of the main parts. I didn’t get that but the casting director told me that there was another part that I would be suitable for. Eight months of my life passed, I did some other projects and then I got invited to audition for the small part I did in Skyfall and I was lucky enough to get it.

What do you like about living in London?

Everything is anarchy in Greece, not only now with the crisis, but it’s always been this way. It’s a different kind of mentality, maybe because we have sun. But it’s relatively an easy life to live. In London you really have to work hard because it doesn’t matter how much networking you do or how many people you know, you have to be disciplined. You actually have to go through auditions and you have to work on yourself and your craft a lot more than you do in Greece. I really like it because it has changed me completely. I have become a lot more disciplined and I’ve found a peace within myself and in my life. I’ve found my base and I feel more at home when I’m in London. When I return here, I’m coming back home. And when I go to Greece, I feel that this is the place where I grew up, but I don’t feel like I belong there. I feel like I belong here a lot more.

Berberian Sound Studio was a low-budget, independent film, while Skyfall was a massive blockbuster. Which of the two – independent film or blockbusters – interests you more?  

Of course I feel enormously proud that I’m a part of Bond. Even though mine was a small part, just working with the people involved, just breathing next to a huge director like Sam Mendes, is a huge lesson for an actor. But somehow I feel we have accomplished a lot more with Berberian Sound Studio. You make a film like that with a low budget and you put so much love into it, you believe in it, and then it works out and you see that people actually accept it, love it and you win awards. I love independent films because they don’t point at themselves for the whole world to see – like a Bond film does, for example. It’s something more personal. And when an independent film is accepted and appreciated, it’s a huge satisfaction. I think through independent films you have the chance to make more personal projects that mean a lot more to you than a blockbuster can. With big budget movies, people are betting a lot of money on you and you have to deliver, and so you have this anxiety. With independent projects you know you’ll have your crowd but you know it’s a loyal crowd. You know that they came to see the movie because someone told them that it’s interesting. It’s not because you have to see it in the way that you have to see Lord of the Rings just because it’s Lord of the Rings. You conquer people and that’s a wonderful thing to do as a director, as an actor, and as a production company.

In Skyfall and Berberian Sound Studio, you’ve been involved in two hugely successful films. What is it about a relatively small project like Future Cinema that appeals to you?

Acting is my job. It’s what I love to do. Especially with Future Cinema – when will I ever get to play Gilda again in my life? Also, it’s the interaction you have with the audience. I really love what I do. I want to see myself developing as an actress. I don’t believe that I’m an artist just yet because I don’t believe I’ve accomplished something that is miraculous. I believe that everything I’ve had to do had a certain amount of difficulty to it but it’s something that is manageable. I really love acting. All the rest – how people perceive one, or being a celebrity – it’s a part of this industry and people identify it with success. But for me, my job finishes when I hear the director say "It’s a wrap". I know that my job ends there.

Editor's note: This article's photograph was originally incorrect - depicting Berenice Marlohe rather than Tonia Sotiropoulou - and has now been corrected.

Tonia Sotiropoulou as Gilda in Future Cinema's The Shawshank Redemption. Photograph: Laura Little
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“I see the world in rectangles”: Life as a Lego Master Builder

Nathan Sawaya stunned colleagues when he quit his job as a lawyer to play with Lego full-time. Now everyone from Lady Gaga to Barack Obama’s a fan.

Nathan Sawaya is describing his favourite Lego brick, shiny-eyed and grinning at the thought of it. But he’s not a child proudly displaying a beloved toy. He’s a 43-year-old former corporate lawyer, and well over six foot tall. The brick he is evangelising about is a small 1x2 socket plate with a stud in the centre of its top. He calls this a “Jumper”.

“You know your Lego lingo?” he asks, looking crestfallen when I shake my head. “It has only one stud instead of two, and it allows you to do even more detail because you can offset the brick a little bit. But in general, I focus on the rectangular pieces.”


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Sawaya is one of the world’s eight Lego Master Builders, having left his job at a New York law firm when he was 32 to dedicate his life to building Lego constructions full-time. His most striking works include a torso of a man ripping his chest open with bricks spilling out, called Yellow, a lifesize T-Rex skeleton, a two-metre long model of Brooklyn Bridge, and replicas of famous paintings, including the Mona Lisa, and Edvard Munch’s Scream.

I meet him in a dark exhibition space in a tent on London’s Southbank, where his works are lit up around us. His latest constructions consist of a series of DC Comics superheroes, so we are surrounded by expressionless Supermen flying around us, capes realistically rippling, and a full-size Batmobile with glistening batwings. His boyish eagerness aside, Sawaya himself looks like a comic book villain – a hulking figure dressed in black from top to toe, with a long black overcoat, piercing eyes and thick dark hair.


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Back in his early thirties when he was a lawyer, he would come home after a punishing day at work and do something creative – drawing, painting, sculpting with clay and wire. He soon began to experiment with Lego, constructing models out of sets he had lying around the house. His son, now 17, was never particularly interested in playing with it himself.

“Eventually I made the choice to leave the law firm behind and become a full-time artist who plays with toys,” he beams.

His family was supportive, his colleagues jealous, and his bosses confused – but it wasn’t long until Sawaya found success as a Lego artist. He has had exhibitions of his work on every continent but Antarctica, and gained some high-profile fans. When he was US President, Barack Obama posed with one of his installations – monochrome life-size men sitting on park benches in Washington – and Bill Clinton has a sculpture in his office, as does Lady Gaga in a music video.

“That is the magic of Lego,” he says of his popularity. “It has become a universal language in a way.”


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Sawaya’s Master Builder status means he can buy all his bricks directly from Lego in bulk – not possible for us Lego civilians. He used to buy sets in toy shops and on eBay when starting out; now he can email asking for 500,000 red 2x4 bricks, say, and Lego ships them to him on wooden pallets. He has six million bricks on hand at his studio in Los Angeles. “Millions of each colour and shape and size,” he says. “And they’re all organised by shape and colour.”

He works away for hours at a time in his studio, with his dogs obediently at his feet, in what he describes as a “trance”. He plans designs on special “brick paper” like graph paper, but sometimes he free-builds from his imagination. “I do often see the world in rectangles,” he says, and sometimes he even dreams in bricks.

Just like children do with Lego sets, he simply snaps the bricks together – though he does dab glue between each brick, which triples the time it takes. He describes it as “therapeutic”, but says making a mistake can be “heartbreaking” – he can lose days and weeks of work at a time. “There may be times where I start questioning my choices in life,” he smiles.


Photos: Copyright Jane Hobson

Sawaya faced snobbery from the art world when he first began approaching galleries as a Lego artist. “Oh, is that cars and trucks and little castles?” was the response. He feels it’s now a more acceptable medium. “It makes art accessible,” he says. “And in doing that, it democratises the art world a bit. It allows people to relate to the art. Everyone has snapped a brick together at one point, every child has played a little bit with Lego.

“As an artist, my role is to inspire. And what better way to do it than through a medium everyone is familiar with? If someone sees a marble statue, they can appreciate it, but very few people have marble at home they can chip away at.”

The first Lego creation Sawaya can remember making was a little house, when he was first given the toy at the age of five. He then made a city that grew to 36 square feet. When he was ten, he was desperate for a dog. His parents refused, so he tore all his creations down and built a lifesize one. “It was blocky and very multi-coloured, of course,” he says. “But it was that ‘Aha!’ moment – when I realised it doesn’t have to be on the front of the box. It can be whatever I want.”

The Art of the Brick: DC Super Heroes is on at Upper Ground, Southbank, London, until 3 September 2017.

Anoosh Chakelian is senior writer at the New Statesman.

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