The Russos say that they’ve been told that more than 100 million accounts watched TheGrayMan in its first 28 days.
released “Avengers: Endgame,” in 2019, the sibling directors have been asked over and over if they would ever work again with Marvel Studios. Each time, they’ve tried to politely deflect — “We’re always talking; we’d need to see what would work” — even though, as Joe put it to Variety in early October, they’ve known the truth for years. “We won’t be ready to do anything with Marvel until the end of the decade,” he says.
Over a wide-ranging conversation in Atlanta, where they’re shooting their next big sci-fi adventure film, Netflix’s “The Electric State,” with Chris Pratt and Millie Bobby Brown, the Russos — Anthony, 52, the more contemplative brother, and Joe, 51, the more voluble brother — are forthright about where they see the industry going, and where it isn’t.
The only person who seemed to enjoy “Pieces” was Steven Soderbergh, who saw a kindred anti-establishment spirit in the Russos and reached out to arrange a meeting. The brothers expected their cinema hero — the man who had all but invented overnight success in independent film — to give them sage words of advice on how best to continue following their own idiosyncratic muse.
The show’s immediate acclaim vindicated the Russos’ creative instinct to harness new technology to push the envelope of what was possible. But even as the pair thrived in TV — including directing 34 episodes of NBC’s “Community,” the gig that ultimately caught the attention of Marvel Studios chief Kevin Feige — the trappings of success, namely cushy first-look and development deals, began to feel more like a trap.
Everyone who’s worked with the Russos quickly picks up on how different they can be. “Joe’s a 500-miles-a-minute kind of person, juggling post on one movie and prep on the other movie while shooting another movie, while finding the best spots for the best food,” says Priyanka Chopra Jonas, one of the stars of Amazon’s “Citadel.” “Anthony’s more introverted, but he has immense clarity of thought.
If there’s a Platonic ideal for an AGBO production, it might be “The Electric State.” It’s adapted from a book of illustrations by Swedish artist Simon Stålenhag that screenwriters Christopher Markus and Stephen McFeely — who wrote all four of the Russos’ Marvel films and serve as the co-presidents of story at AGBO — discovered in its infancy on Kickstarter.
“I can only make original movies,” says Netflix’s Stuber. “But can I make original movies that have worlds that can be repeated organically and characters that you want to come back to? They’re thinking in those terms. They’ve learned that muscle of ‘OK, are there ways we can expand this universe?’ Always knowing that the first one has to be great.”When Zoe Saldaña was looking for a home for “The Bluff ” — a period pirate thriller from writer-director Frank E.
Take “The Gray Man.” Netflix reports that it’s the fourth-most-watched English-language film in the company’s history, and the Russos say they’ve been told that more than 100 million accounts watched it in its first 28 days, which they see as a genuine milestone for success.
With the ongoing erosion of moviegoing and the precarious decline of the theatrical business, the Russos made no secret, during their press tour for “The Gray Man,” of the fact that they see movie theaters as antiquated and increasingly irrelevant — which drew passionate rebukes from film lovers who believe cinema is tied inexorably to the theatrical experience. The Russos found the backlash both unsurprising and unpersuasive.
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