Back in 1994, if you had crossed paths with Joe and Anthony Russo, then 20-somethings, they might not have appeared as if they would become two of the most influential directors globally. At that time, Anthony was studying law in their hometown Cleveland, while Joe was attending drama school. Despite their chosen careers, neither seemed content, leading them to abandon their respective paths and venture into filmmaking. To finance their debut movie, Pieces, costing $30,000, they utilized their credit cards to the limit. Their unseen work managed to attract attention from renowned director Steven Soderbergh when it was showcased at Slamdance in 1997.
Afterward, they traveled along a curving path which eventually led them to helming episodes for acclaimed (albeit short-lived) series like “Arrested Development”, “Happy Endings” and “Community”. Eventually, they secured a sit-down with Marvel Studios. Notably, the studio head, Kevin Feige, was a huge fan of “Community”. Defying expectations, they were given the opportunity to direct “Captain America: The Winter Soldier” and have since emerged as prominent and influential directors within the Marvel stable. Their work includes the $714 million earner “Captain America: The Winter Soldier”, the billion-dollar smash hit “Captain America: Civil War”, and a duo of “Avengers” films that rank among the highest-grossing movies ever, with their collective box office revenue totaling an astounding $6.85 billion.
As they journeyed together, they eventually earned Robert Downey Jr.’s trust, enticing them to guide him once more in two additional Marvel movies – the 2026 release “Avengers: Doomsday” (slated for production in London next month) and the 2027 film “Avengers: Secret Wars.
According to Downey, they’ve become more like family for him. He plans to travel to the North Fork of Long Island to see Anthony (and Anne, his wife) this coming summer, possibly again. Additionally, Joe and his wife Alicia are considered very close friends not only to Downey but also to his own spouse, Susan.
Following the success of “Avengers: Endgame”, the Russos shifted their attention towards their production company AGBO, which went on to create Netflix sensations like “Extraction” and the Academy Award-winning “Everything Everywhere All at Once”. Their most recent directorial project, “The Electric State”, premiered on Netflix on March 14. The staggering $300 million budget indicates their high-profile status as directors who can inspire companies to invest in their creative vision.
Over a chat in Beverly Hills towards the end of February, the pair reminisce about being indebted for ten years following their initial movie release, discuss their reunion with Marvel, and explain why they won’t be taking on the role of James Bond.
Hey Anthony, since both you and Joe are part of a close-knit family in Cleveland, did they express any worries when you decided to leave law school to pursue a career in filmmaking instead?
AS A FAN: Back then, I resided under our family roof, only to find a six-month silence from my father.
Were you two men in your twenties who owed $30,000 on your credit cards, using the funds for a film production? Did you believe you had a well-thought-out strategy in place?
JOE RUSSO We found ourselves in a difficult situation. The costs of producing the film exceeded our budget. After we completed shooting, we stored the movie in a refrigerator for nearly an entire year. There was a risk of power outage which could’ve destroyed all the footage.
ANTHONY After enrolling in film school at Case Western Reserve University, we took out student loans specifically for the purpose of completing our movie. We invested a significant amount into it. It took us a full ten years to pay off the debt accumulated during the making of that movie.
So even after directing a George Clooney movie, 2002’s Welcome to Collinwood, the debt stayed?
JOE On the set of ‘Welcome to Collinwood’, we were so inept that the studio proposed trimming two days from the production schedule. However, we refused and returned our fees. In essence, we worked on the film without pay. Consequently, we ended up in debt.
When did you finally start making a living as directors?
JOE It’s been nearly a decade since we began earning enough money to sustain our lifestyle, which was approximately around the time of the release of “Arrested Development.
How did you link up with Imagine Entertainment, which produced Arrested?
JOE We tried out a series on FX named Lucky, which could be our most cherished project to date. Regrettably, it only ran for one season, but its unique, edgy style made a significant impact.
ANTHONY Despite the fact that the show didn’t succeed, we managed to secure additional meetings due to our pilot. Suddenly, everyone seemed eager to connect with us. Among them was Imagine.
JOEThey approached me with an intriguing proposal: “We’ve got this lengthy script – a whopping 70 pages for a 22-minute show. The writer is incredibly gifted, and they need your help to trim it down and infuse it with a fresh perspective.” It seemed like there were around 24 location changes to manage within just five days. I was wondering how on earth we could make this work?
AS A FAN, I’M PROUD TO SAY: They recognized our unique style as “guerrilla filmmakers” making waves in the independent scene. They handed us the challenge, encouraging us to revolutionize television production in a way that’s both budget-friendly and creatively exhilarating.
JOE Our approach was to utilize digital Betamax cameras in near darkness, without necessary permits. We communicated to our cast through a memo that essentially read: “Take care of your own hair and makeup, prepare for high-speed pursuits, and be ready to be evicted from locations.
ANTHROY “Please wear your costume every day.” However, many of our suggestions were discarded since they stated that they constituted union violations.
Who was the hardest character to cast in Arrested Development?
JOE It was Gob. [Will] Arnett showed up like a week before shooting.
ANTHONY [Jason] Bateman’s was very tough as well.
JOE We needed to record him in the studio on four separate occasions due to his involvement in numerous unsuccessful television pilots previously. Consequently, he was perceived as a liability or unwanted baggage at that point in time. Mitch [Hurwitz, the show creator] exhibited concern, expressing apprehension such as, “This might bring us bad fortune if we decide to cast him.
As a gamer diving headfirst into the realm of television production, the series we unveiled was hailed by critics for its innovative approach, but unfortunately, it failed to captivate mass audiences. Yet, despite not being a ratings sensation, it marked the beginning of our journey as visionaries capable of steering critically-acclaimed, imaginative TV productions.
JOE Our studio boss didn’t like the way we filmed the pilot. On the third day, I recall her telling us that the daily footage wouldn’t make a coherent whole.
ANTHONY But the show’s lifeline was, everybody’s assistant loved the show.
JOE Then a year later, we all won Emmys and sort of the rest is history.
ANTHONY For that production run, we made a movie titled You, Me and Dupree. Unfortunately, that experience didn’t quite suit us, given the way it was handled. At that moment, we weren’t accustomed to large-scale studio filmmaking yet.
JOE That film, however, was the one that ultimately cleared our debts. It was the initial project we produced that was deemed financially successful by others.
When did Kevin Feige come into your lives?
As a die-hard fan, I eagerly recall the time in season two of Community, when we aimed to bring back Justin Lin for the paintball episodes, but his busy schedule and obligations to Fast & Furious made it impossible. Consequently, we proceeded with the paintball episodes, one of which was a hilarious tribute to Star Wars. Kevin, who is undeniably the biggest Star Wars enthusiast I’ve ever encountered, was deeply involved in this production. Our agent reached out…
ANTHONY — “Marvel has a group of 10 directors they’re considering for the next Captain America film, and you two are included in that list.” This was incredible news to us. They were simply speaking with individuals who were creating intriguing projects. They didn’t even allow us to review the script until after our initial meeting. Over those two months, the project essentially consumed our lives. We grew fond of it, and we started sketching storyboards. We rewrote scenes merely to demonstrate our vision in terms of tone. We produced an animatic to provide them with an idea of mood and texture. Eventually, our efforts paid off.
Joe: While we were managing the “Community” show, it was far from a casual endeavor. That production was quite intricate. There were numerous colorful characters, many of whom had their own unique complexities, all contributing to the show. Each episode required a significant creative leap. It was an incredibly demanding phase for us. I often found myself catching up on sleep in the trailer on the “Community” lot, juggling edits and preparations for “Captain America”.
ANTHONY Just before our last meeting about Marvel, my wife reminded me of a statement I made earlier: “If we don’t secure this film project, I need to reevaluate my entire career. It’s all confusing to me if this doesn’t materialize.” It seemed like the movie was meant for us.
JOE We thrived in the world of television, enjoying a good deal of creative freedom without many problems. We were able to maneuver past studio executives and heads of studios, ensuring projects were completed according to our vision. Therefore, if we’re planning to return to film production, it must be something worthwhile and a project that genuinely excites us.
Ranking my most significant encounters, where does the attempt to cast Robert Downey Jr. for Captain America: Civil War sit among them?
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In terms of memorable meetings I’ve had, where would the discussion about casting Robert Downey Jr. in Captain America: Civil War place on that list?
ANTHONY We proposed the idea to Kevin and he said, “Alright, I’m in. Now it’s up to you guys to find Downey.” I asked, “You mean we have to find Downey? Aren’t you joining us?” But he didn’t.
JOE Downey was sprawled comfortably on a chaise longue, like royalty, atop his office in Venice. Ant and I had arrived, and we’d been fine-tuning our pitch – an audacious proposal to transform the largest cinematic icon’s character from hero to villain. We were essentially trying to persuade the world’s most famous movie star to sell his prized cow of a role for a new, sinister version.
ANTHONY In a Captain America movie.
JOE The movie wasn’t even named after his character, but it was a once-in-a-lifetime opportunity. And when asked if he was in, he said yes. He appreciated the risk, as proven later, and this decision paved the way for the phenomenal success of Avengers: Infinity War and Avengers: Endgame.
Since Endgame’s monumental success, you’ve moved forward with AGBO, now a prominent industry player. Who are the key figures in the business world that you can seek advice from?
ANTHONY We had early encounters with two directors: Steven Soderbergh, an innovative independent thinker who works beyond the usual frameworks, and Ron Howard, whose Imagine production company shares some similarities to what AGBO eventually developed. While we didn’t delve too deeply into discussions with Ron about this, he was undeniably a figure worth studying for us.
JOE Taking control, securing your own funds, working at your own pace. Producing what you desire, funding what you wish to create. The studio system can become tiresome, and we felt if we didn’t break free from it, we would become drained and consider quitting. AGBO rekindled our passion and provided us with numerous chances to showcase our creativity in various forms. Collaborating with emerging filmmakers, such as with Everything Everywhere All at Once, producing Extraction.
What direction do you envision the industry moving towards, given your pioneering role in revolutionizing independent filmmaking for television in the 2000s, your contribution to the Marvel phenomenon, and the current battle over streaming platforms?
JOE: We’re witnessing significant shifts in the realm of traditional visual storytelling, which is unprecedented in its magnitude. Predicting where it’s headed right now is challenging since much will depend on the preferences of Generation Z when they become the primary consumers. However, their tastes are still somewhat unclear as they have been educated in a unique pattern of consumption unlike anything we’re accustomed to. I foresee drastic changes, increased immersion, and a fusion of virtual and linear elements, gaming and traditional narratives.
In more casual language, the question could be: “You were instrumental in the short-lived boom of big-budget streaming films with ‘The Gray Man’ and now ‘The Electric State.’ Do you believe streamers will keep investing such large sums of around $250-$300 million?
Joe They seem to give equal importance to projects based on how much money is invested rather than their actual value. Following this approach, one might assume that an average investment would be optimal. However, it doesn’t make practical sense to keep investing in this manner because ambition still holds significant appeal for executives and consumers. The branding, prestige, and allure associated with ambition are still highly valued. Therefore, while we may continue to see some projects that embody this approach, I believe it’s not a sustainable part of the business model.
ANTHONY The movie “The Electric State” serves as a significant trial run for our approach. The challenge lies in turning a streaming film into an event, without establishing a unique setting or atmosphere that traditionally marks an “event” movie. Moreover, they haven’t publicly announced it as an event. However, they have employed various strategies to make this film feel like an event, and we’ve made our best efforts. So, we’ll observe the outcome, see how this impacts Netflix, and watch where it leads us.
Did Citadel demonstrate for Amazon the strength of a franchise in the style of James Bond movies? Would you consider taking on the role of director for an authentic Bond film now that Amazon controls the rights to the property?
Joe is concentrating on the upcoming two Avengers movies, but he holds a deep affection for Bond. He enjoys collaborating with Amazon. There are several projects in the works at AGBO that they plan to direct after they complete the Avengers films.
Is there a place for artificial intelligence in movie production? How can we discuss this subject in depth while acknowledging the concerns and appreciating the advantages it presents?
ANTHONY We should handle AI much like any other technological advancements. It could prove beneficial, but it’s a tool that artists must always maintain control over. There will likely be a significant part for it in the artistic and cinematic process.
AGBO has its headquarters in the heart of Los Angeles, where you’ve seen a lot of productions taking place. There’s been much discussion about reviving filming in LA. In your opinion, what steps might be necessary for this to happen?
JOE The refund. Larger productions can potentially save vast amounts of money – up to tens of millions – by filming in the U.K. or Australia instead. The only method to keep projects here is by offering a competitive refund. It’s unfortunate, as this town was established around the industry, and now it appears the industry is disappearing.
What’s the impact on a production level when it comes to the first MCU film you and AGBO are making, titled “Doomsday,” compared to your past MCU projects?
JOE It primarily encompasses the in-house infrastructure developed by AGBO, including our staff resources, and the cutting-edge technology innovations of our tech team, which aid us filmmakers.
ANTHONY We’re thrilled to apply the narrative strategies and resources we’ve honed at AGBO during the last few years to our projects with Marvel.
A recent leak revealed some Avengers concept art. Typically, the finished film doesn’t match this initial design. So, is there a reason to worry about potential spoilers without intending to see them?
JOE No, because that artwork was not from Avengers: Doomsday or Secret Wars.
ANTHONY Nothing spoiling in there. That’s not our concept art.
In your previous Avengers films, a popular series of baseball cards was released, featuring one card per Marvel actor and detailing the number of movies each actor was signed on for. Do similar cards exist for these specific movies? How can you determine who stars in these films?
Were there collectible cards like the ones from the Avengers movies that showed which actors were in these particular films? How do we know who’s in them?
ANTHONY Yes, we continue to use the baseball cards.
JOE Now, there are magnets attached for easy attachment to a board. This method allows us to manage and monitor the number of characters we’re handling more effectively.
ANTHONY In terms of selecting actors for our movies, it’s essentially a lengthy creative journey about figuring out where we want the story to go. We’re always on the lookout for the most intriguing and exhilarating directions to explore, and the characters that can aid us in this endeavor.
ANTHONY When it comes to casting our films, it involves a lengthy creative exploration of where we want the story to unfold. We’re constantly seeking out the most captivating and thrilling directions to venture into, and the characters that can help us achieve this goal.
Are these latest blockbusters like “Avatar 2,” “Deadpool,” “Wolverine and Spider-Man: No Way Home” proving that audiences still flock to cinemas for big-screen spectacles? Given the shifts in the movie theater landscape since “Endgame,” are you adapting your approach to making Avengers films differently now?
JOE Given that we have no say over economic conditions, global events at our film’s release, or audiences’ inclination to stay home, all we can focus on is crafting an exceptional movie. Our aim is to captivate the audience and make it a worthwhile experience for them despite these external factors.
I’m thrilled to share with you that I just read an intriguing story featured in the March 19 edition of The Hollywood Reporter magazine. If you haven’t already, consider subscribing to this captivating publication to stay updated on all the latest industry news!
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2025-03-14 16:56