- 1 Russo Brothers
- 2 Russo Brothers Age
- 3 Russo Brothers Avengers 4
- 4 Russo Brothers Net Worth
- 5 Russo Brothers Image
- 6 Russo Brothers Captain America
- 7 Russo Brothers Captain Marvel
- 8 Russo Brothers Ant-Man
- 9 Russo Brothers Deadly Class
- 10 Russo Brothers Letter
- 11 Russo Brothers Salary
- 12 Russo Brothers Interview
- 13 Russo Brothers Instagram
- 14 Russo Brothers Twitter
The Russo brothers Anthony Russo and Joseph Russo are American Film And Television Directors.The Russo brothers directed the superhero films Captain America: The Winter Soldier (2014), Captain America: Civil War (2016), Avengers: Infinity War (2018), and Avengers: Endgame (2019), all four part of the Marvel Cinematic Universe. Among these, Infinity War became the fourth film and the first superhero film to gross over $2 billion worldwide, becoming the highest-grossing film of 2018, and the fourth-highest-grossing film of all time.
Anthony and Joe Russo were raised in Cleveland, Ohio. Their parents are Patricia and Basil Russo, an attorney and former judge. The two attended Benedictine High School Joe graduated from The University of Iowa and majored in English and writing.
The Russos were graduate students at Case Western Reserve University when they began directing, writing, and producing their first feature, Pieces. They financed the film with student loans and credit cards.
The Russos were graduate students at Case Western Reserve University when they began directing, writing, and producing their first feature, Pieces. They financed the film with student loans and credit cards. After viewing Pieces at the Slamdance Film Festival, Steven Soderbergh approached the duo and offered to produce their next film, along with his producing partner George Clooney. This project was the crime comedy Welcome to Collinwood, starring William H. Macy, Sam Rockwell, and Clooney.
FX network executive Kevin Reilly hired the Russos to direct the pilot for the series Lucky, having liked the pair’s work on Collinwood.Ron Howard was a fan of the pilot, and he had a hand in hiring the brothers to direct the pilot for Fox’s Arrested Development. The brothers won an Emmy for their work on the episode.
Russo Brothers Age
Born on February 3, 1970, Anthony Russo is 49 Years of age as of 2019. Joe Russo Born On July 8, 1971, he is 47 years of age as of 2018.
The Russo brothers directed the Marvel Cinematic Universe films Captain America: The Winter Soldier (2014), Captain America: Civil War (2016), Avengers: Infinity War (2018), and Avengers: Endgame (2019). Among these, Endgame became the fastest film to gross over $2 billion worldwide, the highest-grossing superhero film, and the second-highest-grossing film of all time.The brothers are also known for their work on the comedy series Arrested Development, for which they won an Emmy Award, and Community.
Other Personalities; Alexanda Rabe
Russo Brothers Avengers 4
The Russo brothers are the directors of the Avengers 4.
Russo Brothers Net Worth
The Russo brothers have an estimate Net worth of 10 million $ dollars each.
Russo Brothers Image
Russo Brothers Captain America
The Russo brothers are the directors of Captain America; Civil War And Winter Soldier.In January 2014, the brothers signed on to return to direct the third Captain America film, Captain America: Civil War, which was released on May 6, 2016. In May 2014, they were announced to co-write and direct The Gray Man. In March 2015, the brothers were set to direct an all-male installment in the rebooted series of the Ghostbusters franchise, produced by Sony’s new-founded production company, Ghost Corps. However, as of March 2016, the Russos are no longer attached to the Ghostbusters project.
Russo Brothers Captain Marvel
The Russo brothers directed Avengers: Infinity War (2018), which became the first superhero movie to gross over $2 billion at the box office. They are the third directors to make a $2 billion movie after James Cameron’s films Avatar and Titanic and J.J. Abrams’s film Star Wars: The Force Awakens. Its sequel, Avengers: Endgame, was released on April 26, 2019, broke numerous box office records and became the second superhero movie to gross over $2 billion.
They join James Cameron as the only directors to make two $2B films. Joe Russo said while promoting Avengers: Endgame in Mumbai, India, “Both the films ask the question, what is the cost of being a hero? The films are about community and heroes standing up against tyranny. We certainly look at that as waves of nationalism sweeping the world.”They have also directed the post-credits scene of Ant-Man and the mid-credits scene of Captain Marvel.
Russo Brothers Ant-Man
In 2006, the Russo brothers returned to film, directing the Owen Wilson comedy You, Me, and Dupree. The film grossed $130 million worldwide. For the 2007–08 TV season, the Russos joined the crew of the ABC series Carpoolers as executive producers and directors. The brothers served as executive producers and directors on the first several seasons of the NBC sitcom Community and the ABC series Happy Endings.
When it comes to analyzing fan theories here at Nerdist, we make no buts about it. Unless, of course, you’re talking about the deeply silly, surprisingly popular fan theory about Avengers: Endgame that involves Ant-Man, Thanos, and the deeply gross way that Earth’s Mightiest Heroes could defeat their big purple nemesis.
No strangers to wild speculation about their movies, Avengers: Endgame directors Anthony and Joe Russo have heard it all by this point. From theories about Doctor Strange creating time loops to tinfoil hat-worthy ideas about the real reason Nick Fury paged Captain Marvel, Avengers: Endgame has inspired more fan theories than most. But all of these pale in comparison to the current memetic theory du jour: that Ant-Man will be the one to defeat Thanos by shrinking down to minuscule proportions, crawling into Thanos’ butt, then growing to a massive size in order to turn Thanos into the aftermath of a Gallagher show.
At a recent Los Angeles press day for Avengers: Endgame, I sat down with the Russo Brothers to pick their brains about where they’d like to see the Marvel Cinematic Universe go from here, which up-and-coming directors should tackle a Marvel movie next, and, yes, this truly bonkers fan theory.
As for whether or not it’s accurate? Well, our own Kyle Hill did the ass-rithmetic on this week’s Because Science and came to some startling conclusions. But is it canon? Well, according to the Russo Brothers, in spite of all the fan speculation, no one has actually guessed what’s going to happen.
“Joe and I spent our entire lives as fans, so the idea that the audience can participate in these stories is important to us,” explained Anthony Russo. “The idea that they’re out there using their own imaginations and creativity to think about where these characters can go, where these stories can go… it’s magnificent. Sometimes, you know, people will say things that’s kind of next door to something we’re doing, but oddly enough nobody ever, no one ever thinks of it exactly. There’s so much variation and so many odds in terms of how these things unfold that the specific narrative, nobody actually guesses that.”
Then again, given their penchant for using fake footage in trailers, this could be an elaborate smokescreen to distract us from the truth: that the “end” in Endgame is a thinly veiled reference to Thanos’ rear end. We’ll just have to wait and see for ourselves.
Russo Brothers Deadly Class
Avengers: Infinity War and Avengers 4‘s Joe and Anthony Russo are producing a TV series. If the first trailer is anything to go by, Deadly Class should be loads of fun. Deadly class is a Tv series based on the graphic novel of the same name comes to an unlikely coming-of-age story set against the backdrop of unsanitized 1980s counterculture. A homeless, disillusioned teen named Marcus is recruited into Kings Dominion, a secret academy for the Deadly Arts, where he struggles to find his place among a community of the deadliest characters in the world — literally fighting every day for survival. It is in this struggle he tries to find purpose and family in an unlikely group of outcast misfits who plan to use their skills to really change the world for the better… by breaking every rule there is.
Russo Brothers Letter
In their letter, the Russo brothers made a plea to fans about “Avengers: Endgame,” the final movie in the Infinity Saga. “Because so many of you have invested your time, your hearts, and your souls into these stories, we’re once again asking for your help,” the Russo Brothers said.
The movie’s directors, Anthony and Joseph Russo, tweeted a letter on Tuesday written to their fans.
“This is it. This is the end,” the brothers said. “The end of an unprecedented narrative mosaic spanning eleven years and eleven franchises.”
Marvel’s Infinity Saga began in 2008 and “Endgame” is the 22nd film in the Marvel Cinematic Universe, which features characters such as Iron Man, Captain Marvel and Black Panther.
In their letter, the Russo brothers made a plea to fans about “Avengers: Endgame,” the final movie in the Infinity Saga.
“Because so many of you have invested your time, your hearts, and your souls into these stories, we’re once again asking for your help,” the Russo Brothers said. “When you see Endgame in the coming weeks, please don’t spoil it for others, the same way you wouldn’t want it spoiled for you.”
And, of course, the directors had to reference last year’s rollout of “Avengers: Infinity War,” when they started the hashtag #ThanosDemandsYourSilence.
“Remember, Thanos still demands your silence,” they said.
Russo Brothers Salary
Joe Russo’s net worth is $10 million, according to Celebrity Net Worth. Considering how closely they’ve worked together over the years, Anthony Russo’s fortune is probably similar. However, that might be a very low estimate of the Russo Brothers net worths. They were the top-grossing directors of 2016 with $1.15 billion at the box office, according to Forbes. If they earned even 2% of the box office total after the fact, that’s a cool $23 million total and $11.5 million each.
Russo Brothers Interview
In 2014, the Russos made Captain America: The Winter Soldier, a well-liked entry that placed the star-spangled hero in a story with the air of a ’70s conspiratorial thriller. From there they moved on to 2016’s Captain America: Civil War, which brought the title character into conflict with Iron Man and introduced the Black Panther. The directors’ skill for coordinating such an extensive cast got them tapped to make Avengers: Infinity War (2018) and Avengers: Endgame (2019), a two-part mega-epic that was shot simultaneously and features just about anyone who has ever showed up in a Marvel film. I talked with the Russos about the way they planned the grand story arcs for the series, the pressure of managing so many performers, and whether large-scale “event” movies will define the theatrical experience going forward. This interview has been edited for length and clarity.
David Sims: You joined Marvel for the first time with Captain America: The Winter Soldier. When you came aboard, how much of the broader story arc was already on the map?
Anthony Russo: We entered the universe right before The Avengers came out [in 2012]. So [the Marvel movies were] working well enough for the studio to want to make a second Captain America movie, but the environment we came into was Kevin Feige trying to keep things fresh and surprising. Marvel had conceived of perhaps doing a Captain America movie as a political thriller, but it was a tentative concept. Our big thing to figure out was, how do we modernize the character and toughen him up? He can’t possibly be the same human being he was in World War II as he is 70 years later, with none of his old friends around him.
Sims: This is ludicrous to say, because it’s a very big movie, but Winter Soldier was so much smaller than Endgame because you’re dealing with one character’s arc rather than 20. That early on, were you thinking about the four more movies you wanted to do with this character?
Joe Russo: No. You try to imbue the film with the richest storytelling that you can because, if you do that, there’s always somewhere to go. There’s some interesting corner you’ve painted yourself into that will provide dramatic propulsion moving forward. If that movie doesn’t work, you’re not making another one.
Sims: Did you immediately move on to Captain America: Civil War? Was that where the bigger arcs come in?
Joe: We were working on it almost overlapping with Winter Soldier.
Anthony: Marvel is very disciplined in its process. They did not invite us to do another Captain America movie until they had seen the edit for Winter Soldier.
Joe: And they also didn’t want us to take our focus away from that [first] movie. Feige is very good about doing one movie at a time. As soon as you hand the movie in, there’s a phone call, and literally while we’re working on press for Winter Soldier, we’re also dreaming up ideas for Civil War.
Sims: Endgame is all about these endings that feel so natural for the characters. Were you trying to think of an ending for Captain America at that earlier point?
Anthony: We wanted to go right to the heart of what we care about in these movies: the relationships between these characters. Once we came out of the edit of Civil War, we realized that we’d succeeded in divorcing the Avengers, destroying the relationship between Tony Stark and Steve Rogers. We’ve set the table for Thanos; we’re ready for him.
Sims: Was [setting the table for Thanos] totally intentional, or was it born out of the idea of Tony and Steve’s conflict?
Anthony: It was really just us running at the conflict. How do we tell the most wrenching family drama we can?
Read: What Avengers: Endgame’s historic box office means for the future
Sims: When you were on set for Infinity War and Endgame, you had all these arcs to manage at once. How do you separate the signal from the noise for the actors?
Joe: You have to have a very cohesive plan. You’re making thousands of decisions a day. There are multiple filming units, there’s a whole visual-effects team, we have actors coming to us, saying, “I wouldn’t say it this way, I’d say it that way.” Our job is to collect all this information and be the arbiters of taste and provide focus for the entire process. You have to leave room for everyone else to be empowered and assist in making creative decisions.
Sims: Infinity War has so much action and wrenching chaos. Endgame is a lot slower, more deliberate on the character stuff, and I appreciate that viewers got the chance to slow things down and sit with the team for a while. Is there a scene that exemplifies that new approach that you particularly enjoyed doing?
Anthony: The scene that Joe was in, Cap’s counseling session [with other survivors of Thanos’s decimation].
Sims: A scene about which a studio would immediately ask, “Do we need this? Can this go?”
Anthony: You are very right [Laughs]. But it was very important to us! If you have a story point where you kill half of all living things, you have to move beyond the experience of the Avengers. To have an everyman in the story at that moment, and see Cap in a sensitive moment that spoke to his history as a character and the reality he’s living in now—that was an important thing for us.
Sims: For 11 years, these movies have been stand-alones that tell their own stories, but they’ve all been aimed toward Endgame. Do you think Marvel will continue that storytelling style, or will things get more diffuse now that you’ve done the big conclusion where everyone’s together?
Joe: You have to find a new path forward. That was always our [pitch], which is why I think they allowed us to make these really disruptive choices. You can’t keep giving people chocolate ice cream.
Sims: You have to blow up S.H.I.E.L.D. immediately after giving people S.H.I.E.L.D, in The Winter Soldier.
Joe: Exactly. So I think [Marvel has] to find a new path forward in this next mega-story they’re going to tell, and I think they’re going to make some very different and surprising choices. The thing we’re most proud of is how diverse the Marvel universe will be, moving forward. The first gay hero is coming, characters of different nationalities are going to be introduced—it’s going to pull the entire world into the story.
Sims: Do you have to get to the level of success that Marvel is at now to make those riskier choices that a studio might balk at earlier on in the process? In 2008, if Feige had [proposed] an African hero, a gay superhero, maybe a studio would have wavered. Is that how Hollywood always has to work—that you build up capital to spend it on “riskier” stuff?
Anthony: When we were in the edit room on The Winter Soldier, I remember Kevin walking in one day and putting a hand on us and saying, “Can you believe that we’re getting away with making a political thriller as a superhero movie?” Because of the success of the series, we’re all empowered to make decisions that you may not have been able to before. There’s a cycle happening there, because when you make those choices, it surprises audiences worldwide, if you tell the stories well. You’re being very noisy as a storyteller, and that feeds the beast even more.
Joe: Black Panther was perhaps one of the more significant cultural events in movie history. That only emboldens the studio to keep moving forward. You’d hope that decisions would be made irrespective of the financials, but ultimately it is called show business, and things are driven by dollars and cents. What’s great about audiences today is that voices can be heard, and people can collectively ask for things from their storytellers and receive them.
Read: What the ‘Hollywood Jim Crow’ looks like today
Sims: I know you guys worked with Steven Soderbergh when you were coming up in the industry. I talked to him when his Netflix movie High Flying Bird came out about how we both perceive this widening gap—there are the little movies, there are the big movies, and there are fewer of the middle-sized movies like rom-coms and dramas. Is there ever going to be space for that again?
Joe: Here’s where it’s all headed, and I think social media was the driver for all of this: There’s a very clear metric between generating conversation and box-office revenue. With all of the quality content you can get in your home and given that [streaming companies are] only going to increase what they’re spending on that content, getting people out of the house requires a special experience. That’s why movies are becoming more event-sized. Marvel is creating this emotional connection with its audience—it has done so over a decade, and there’s emotional capital invested. This generation is more invested in serialized storytelling than they are in two-hour narratives.
Sims: Which is what you both started out doing.
Joe: We’re children of the ’70s and ’80s, the golden era of auteur filmmaking. We love it, but at some point the impressionists have to step aside, and the next group of artists has to show up and paint in a different way. I think this generation of viewers is going to change the way that we perceive narrative because audiences are so facile in the way they consume content. Whether it be on Twitter in 30 seconds, on YouTube in five minutes, on Netflix, at the theater, they all value different experiences, but they value a connection and, above all, a conversation. That’s why I think movies in the middle have sort of disappeared, because they don’t drive conversation the same way that event movies do, and they don’t drive it on a global scale the way event movies do.
Sims: Do you want to keep working on this global scale? Or do you want to trend back to a smaller thing?
Anthony: Look, our next movie is a smaller thing: We’re going to make a movie with Tom Holland based on a book called Cherry. We’ve made movies for as little money as you can make a movie for, and for as much money as you can possibly make a movie for. We’ve done television, comedy, drama, cable, network—we love the entire variety of what you can do. By changing the format, you change the creative possibilities for what you can do. But we definitely have a taste for, and a skill set for, these big event films, so I know we’ll return to them at some point.
Russo Brothers Instagram
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Just because the spoiler ban is lifting, doesn’t mean you shouldn’t treat your fellow humans with respect and dignity during discourse. Or that you should run around intentionally trying to spoil the movie for people who haven’t seen it. Be courteous and give folks fair warning… #BeKindOutThere #NuffSaid
Russo Brothers Twitter
— Russo Brothers (@Russo_Brothers) May 13, 2019
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