Actress: Tina Kilberg @tinakilberg
Morgan de tois: Trench Coat
Anna Maratti: Ella Suede Heels
Make-Up: Radiant Professional
Tina Kilberg is an actor, usually based between Vancouver and LA, who has found herself back in Europe due to the global pandemic. A challenging yet tremendously exciting turn in her acting career, where Kilberg has moved from auditioning for films to auditioning for television.
She is currently based between Greece and Cyprus, where she has just completed filming her first Feature-Film Opera, “Aphrodite: Birth Of A Goddess”, her first Period Drama and singing role in her portrayal of Heiress Of Delphi. A twist and turn of events has forced this young actress to keep face and mediate between the actor vs the public personality.
If there is one thing Tina Kilberg has learned from the pandemic, it’s that industry survival in the world of entertainment requires publicity and brand-building.
Could you share how you expand your vision of art, fashion?
Films and television series play a large role in determining my assumptions over art and fashion trends. I’ve just finished watching Netflix’s You Season 3 and was infatuated by the way Dottie Quinn (Saffron Burrows) carried herself through her clothing. She wore a fantastic golden-yellow blazer that I can’t stop thinking about - it reminded me of the swinging sixties and hippie fashion. Films ought to reflect our world, to which fashion undeniably develops a voice within such creative works.
Is art, fashion important in your life? Why?
My grandfather worked in Design & Textiles, so fashion has always played a big role since my early upbringing. Fashion to me is a fifth sense; a way of reading people and understanding who they are before they even speak. 90% of my interactions with people subconsciously involve first impressions and opinions we share about each other based on how we’re dressed. As an actor, style has become a more essential matter than looks or talent - because that’s what makes you truly stand out. Style should be an actor’s signature scent, like a kiss of a rose - it can never be forgotten.
Do you have any problems with your profession? How did you solve it?
The most difficult part of the acting profession, which is inevitable in any sector of the entertainment industry, is interacting with frauds and opportunists. Networks are definitely essential, but it may take an actor, on average, 5-7 years to reach a heightened level of success. The first 3-4 years are the most dangerous for an actor - you’ll come across all the wrong collaborators while you’re still in search of the right team of people. But the first years are essential for anyone who wants to conquer the film industry in the long run.
In modern society, lots of people want to be famous, influential. What do you think about it?
Dreaming about being famous or influential is more exciting than actually being as such. It takes a lot of hard work. When I first started acting, I was more focused on the creative process and the art of storytelling. As I grew older, I realized that I was operating in a tremendously competitive industry. Before I knew it, I found myself in Los Angeles, a town which consists of 300,000 actors. Fame and influence comes with great responsibility, but I knew that I required an element of the ‘Fame Factor’ if I wanted to survive in this industry and continue working.
To become famous, what kind of qualities do you think the person should have?
Charisma, diplomacy and laughter - these are the qualities every world leader ought to have. Working in public spheres of work demand an individual with open energy, confidence and the ability to engage with minds known or unknown to them. If you are able to move a person with your philosophy, life doctrine, or even fashion, you are able to conquer the world.
What will be the suggestions to new photographers?
Due to the global pandemic, we have seen a digital shift in photography - a lot of photographers are conducting shoots with clients via FaceTime. I’m always interested in discovering the digitalization of the entertainment industry as a whole - although I’m hoping that studio photoshoots don’t disappear entirely.
What is your favorite camera? Why?
I’ve always had a preference for DSLR cameras - mainly because those were the first ones I began using during my early filmmaking years. I have a very intimate relationship with cameras because they are able to capture expressions and reveal truths about our character while providing a two-dimensional protection within a creative lens. I prefer using a self-timer on my camera over taking selfies on my iPhone because a camera is always more truthful and kind in its recaptures of reality and time.
Where does your inspiration come from?
I lived in Charenton-le-pont when I was 17 and took a morning train to Alliance Francaise to learn French. I remember examining people’s sense of fashion discretely by observing their reflections through the glass doors. At the time, my signature outfit was a navy blue blouse, a pair of cigarette pants and red flats. Parisians understand fashion best - sure, new trends come and go, but style is what remains with us over the years. The day I decided that effortless choices in fashion was also freedom, I became a fashion forecaster. A blasé attitude is my go-to expression for fashion editorials and headshot photography.
What is the most important thing for creating new work?
Trusting the process. Simpler-minded people suffer less in the creative world than complex-minded people because they worry less. It’s essential to leave things up to fate at times and let a creative image manifest in its own time, energy and pace. The best ideas in my opinion reveal themselves through the subconscious, to which spontaneous decision always serves the best final product.