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
OLIVER BURSTON
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How science and statistics are taking over sport

An ongoing challenge for analysts is to disentangle genuine skill from chance events. Some measurements are more useful than others.

In the mid-1990s, statistics undergraduates at Lancaster University were asked to analyse goal-scoring in a hypothetical football match. When Mark Dixon, a researcher in the department, heard about the task, he grew curious. The analysis employed was a bit simplistic, but with a few tweaks it could become a powerful tool. Along with his fellow statistician Stuart Coles, he expanded the methods, and in doing so transformed how researchers – and gamblers – think about football.

The UK has always lagged behind the US when it comes to the mathematical analysis of sport. This is partly because of a lack of publicly available match data, and partly because of the structure of popular sports. A game such as baseball, with its one-on-one contests between pitcher and batter, can be separated into distinct events. Football is far messier, with a jumble of clashes affecting the outcome. It is also relatively low-scoring, in contrast to baseball or basketball – further reducing the number of notable events. Before Dixon and Coles came along, analysts such as Charles Reep had even concluded that “chance dominates the game”, making predictions all but impossible.

Successful prediction is about locating the right degree of abstraction. Strip away too much detail and the analysis becomes unrealistic. Include too many processes and it becomes hard to pin them down without vast amounts of data. The trick is to distil reality into key components: “As simple as possible, but no simpler,” as Einstein put it.

Dixon and Coles did this by focusing on three factors – attacking and defensive ability for each team, plus the fabled “home advantage”. With ever more datasets now available, betting syndicates and sports analytics firms are developing these ideas further, even including individual players in the analysis. This requires access to a great deal of computing power. Betting teams are hiring increasing numbers of science graduates, with statisticians putting together predictive models and computer scientists developing high-speed software.

But it’s not just betters who are turning to statistics. Many of the techniques are also making their way into sports management. Baseball led the way, with quantitative Moneyball tactics taking the Oakland Athletics to the play-offs in 2002 and 2003, but other sports are adopting scientific methods, too. Premier League football teams have gradually built up analytics departments in recent years, and all now employ statisticians. After winning the 2016 Masters, the golfer Danny Willett thanked the new analytics firm 15th Club, an offshoot of the football consultancy 21st Club.

Bringing statistics into sport has many advantages. First, we can test out common folklore. How big, say, is the “home advantage”? According to Ray Stefani, a sports researcher, it depends: rugby union teams, on average, are 25 per cent more likely to win than to lose at home. In NHL ice hockey, this advantage is only 10 per cent. Then there is the notion of “momentum”, often cited by pundits. Can a few good performances give a weaker team the boost it needs to keep winning? From baseball to football, numerous studies suggest it’s unlikely.

Statistical models can also help measure player quality. Teams typically examine past results before buying players, though it is future performances that count. What if a prospective signing had just enjoyed a few lucky games, or been propped up by talented team-mates? An ongoing challenge for analysts is to disentangle genuine skill from chance events. Some measurements are more useful than others. In many sports, scoring goals is subject to a greater degree of randomness than creating shots. When the ice hockey analyst Brian King used this information to identify the players in his local NHL squad who had profited most from sheer luck, he found that these were also the players being awarded new contracts.

Sometimes it’s not clear how a specific skill should be measured. Successful defenders – whether in British or American football – don’t always make a lot of tackles. Instead, they divert attacks by being in the right position. It is difficult to quantify this. When evaluating individual performances, it can be useful to estimate how well a team would have done without a particular player, which can produce surprising results.

The season before Gareth Bale moved from Tottenham Hotspur to Real Madrid for a record £85m in 2013, the sports consultancy Onside Analysis looked at which players were more important to the team: whose absence would cause most disruption? Although Bale was the clear star, it was actually the midfielder Moussa Dembélé who had the greatest impact on results.

As more data is made available, our ability to measure players and their overall performance will improve. Statistical models cannot capture everything. Not only would complete understanding of sport be dull – it would be impossible. Analytics groups know this and often employ experts to keep their models grounded in reality.

There will never be a magic formula that covers all aspects of human behaviour and psychology. However, for the analysts helping teams punch above their weight and the scientific betting syndicates taking on the bookmakers, this is not the aim. Rather, analytics is one more way to get an edge. In sport, as in betting, the best teams don’t get it right every time. But they know how to win more often than their opponents. 

Adam Kucharski is author of The Perfect Bet: How Science and Maths are Taking the Luck Out of Gambling (Profile Books)

This article first appeared in the 28 April 2016 issue of the New Statesman, The new fascism