Q; Have any skills or traits you’ve picked up in the industry shaped your life beyond filmmaking or vice versa?
A: If left to my own devices, I’m a reluctant leader in the industry. It takes a lot of energy for me because I’m more of an introvert, and stepping into leadership roles can be draining. Interacting with people and taking on that leadership mantle doesn’t come naturally, but it’s part of the job—voicing concerns and guiding others. I have to push myself to do it. Outside of work, I tend to be more passive and sometimes just want to be left alone. However, the demands of my work have encouraged me to be more proactive and take greater control of my life, which has been a positive shift.

Q: You've been instrumental in several Netflix hits, including "Extraction" and "Mosul." What do you find most challenging and rewarding about producing films of this scale?
A: With Mosul, the challenge and reward were in telling a different story. It’s a perspective we hadn’t seen before—local heroes, an Iraqi SWAT team protecting their own during the fall of ISIS. It’s all told from the Iraqi point of view, in Arabic. Talking to the actors and hearing how personal this story was to them made us realize how important it was to bring this to the screen. Many had never had the chance to tell their side of the story, so it felt like we were doing something significant.

On Extraction, the challenge was bringing a well-crafted genre story to life. It’s an action movie with morally complex characters, practical stunts, and a global adventure—shot in India, Thailand, and other locations. The timing was key—released during the early days of the 2020 lockdown when people were craving an escape. But there’s also a level of sophistication to the film, especially in the relationship between Chris Hemsworth’s character and the boy, Ovi. The audience really responded to that dynamic.

Q: "All Fun and Games" marks your directorial debut. What inspired you to step into directing, and how has this experience changed your perspective on filmmaking?
A: For a long time, I was focused on producing others’ work, while secretly writing prose and fiction—not necessarily in screenplay format. After spending time on set and observing various directors, I decided to give it a shot myself. I made a short film during the second or third season of Community with several cast members, and it turned out pretty well. It even got optioned to Universal as a web series, which gave me the confidence to pursue it further.

While working with the Russo brothers, I did short films, web series, music videos, and commercials. I thought it might be a conflict of interest, but they saw my experience as valuable because I understood both sides of the equation. I could speak to what it was like to be a director or writer, having been on both sides as a producer.

All Fun and Games was a natural evolution for me, and though it was a challenging experience, it’s helped me in my role as a producer. I now have a deeper understanding of what directors go through, which allows me to communicate with them in ways that other producers might not.

My first film after that was The Bluff, and I hope the director felt my empathy and understanding of what he was going through, as I’ve truly been in his shoes.

Q: Who are some directors, actors, or writers who have had a significant influence on your work and creative vision?
A: A lot of the usual names—Kubrick, Scorsese, P.T. Anderson, Tarantino. I’ve always been drawn to those pivotal '70s films, whether it’s a blockbuster like Jaws or something like The Godfather.

But the most influential film for me growing up was Back to the Future. It’s my favorite movie of all time. All three films in the trilogy have this perfect blend of magical realism, sci-fi, and pure escapism. Even if you're not familiar with script structure, you can just sense that it's such a well-told story. That kind of storytelling has always stuck with me.

More recently, I love what Ari Aster, Jordan Peele, and Zach Cregger are doing.

Q; Beyond technical aspects like editing and VFX, do you see AI playing a role in storytelling or creative decision-making?
A: I see AI being utilized as a tool. Some people will kick the tires on enabling AI tools to tell 90min stories, but I still believe there's something wholly human about storytelling that AI can't quite replicate.

That said, it’s important to acknowledge AI’s presence—it can be incredibly useful for efficiency, but the danger comes when we let it take over creative decision-making. At AGBO, we’re focused on using it as a tool rather than a replacement. If you bury your head in the sand and pretend AI isn’t here, you’ll fall behind. I think we’ll see it integrated into most workflows moving forward, but the hope is that it enhances creativity rather than replaces anyone.

Q: How do you see AI being used for extras in film and TV, and what implications does that have for actors' pay and work schedules?
A: The industry will need to develop new pay models to accommodate the use of AI for things like extras. For instance, if an actor comes on set for 20 days and AI is used for the rest of the shoot, do they get paid the same way they previously worked for coming out for 75 days, or should they be paid less since their time is now free for other projects? These are important questions that need to be reexamined as we navigate this new territory. It’s a bit scary if we view it as a threat, but there’s also potential for it to create new opportunities for actors to work on multiple projects at once.

Q: Was there a particular moment or experience that first sparked your passion for producing and directing?
A: It was a long road figuring out what I wanted to do in this industry. My love for film started early—my dad introduced me to influential movies, and my grandfather and I had a tradition of seeing a movie every Monday night. We watched everything—the good, the bad—and I learned a lot along the way. But I never saw it as a viable career path until high school, when I started weaseling out of projects and essays by making movies instead. That’s when I realized how much fun the creative process was—and that people actually made a living doing this. Initially, for me, it was just an appreciation and love of films and television, a form of escapism.

At Emerson College, I met lifelong friends and started producing their projects, though it took me longer to find my own voice as a writer and director. I didn’t go in with a clear vision of being a filmmaker—it was something I grew into by observing others on set and gradually becoming more confident in expressing myself.

Q;  How did you meet the Russo brothers?
A: My first job in the industry was as an NBC Page—if you’ve seen 30 Rock, think Kenneth the Page. It’s basically a paid internship at NBC. I ended up shadowing comedy development and later became a coordinator in that department. I worked on 30 Rock, The Office, Parks and Rec, and Friday Night Lights from the studio/network side. Around that time, we were developing Community internally, and that’s when I first heard the Russo brothers on the phone.

I was already a big fan of Arrested Development and admired their work. They seemed like smart, decent people, and I was really drawn to their approach. So, I took their former assistant out for drinks—repeatedly—for about six months until she got promoted. When she moved up, I slid into her role as their assistant. That became my second job in the industry, and from there, it’s been a ride.

Ari Costa, Senior Vice President of Physical Production at AGBO, has carved out an impressive career that blends his extensive production experience with a newfound passion for directing. Recently, he stepped behind the camera for his directorial debut, All Fun and Games, which he co-wrote and co-directed with Eren Celeboglu. Produced under the Gozie AGBO banner, which champions emerging filmmakers, the film marks a significant milestone in Ari’s journey.

With a career spanning over a decade, Ari has made key contributions to some of the biggest blockbusters in recent memory. He was a Co-Producer on Mosul for Netflix and an Executive Producer on the Extraction films, both massive hits for the streaming platform. His work with the Russo Brothers, which began in 2010, includes work on Captain America: Civil War, Avengers: Infinity War, and Avengers: Endgame, three of the highest-grossing films of all time.

Before diving into physical production and blockbuster films, Ari was in comedy development at NBC, working on beloved shows like The Office, 30 Rock, and Parks and Recreation. With a BA in Film Studies from Emerson College, Ari’s career has been shaped by his diverse experiences both behind the scenes and on set, giving him a well-rounded understanding of storytelling and production.

ARI COSTA:  A Journey from Comedy Development at NBC
to Producing & Directing at AGBO

Q: Are there any collaborations or projects that challenged or inspired you in unexpected ways?
A: My directorial debut challenged me in unexpected ways. It's a strange position to go from being a producer at the company you work for to having them produce for you. While they were incredibly supportive, nurturing and protective folks, it was still a strange and challenging position to be on the other side of the table with people you’ve worked with for 15 years. Beyond that, every new production brings its own set of challenges—whether it’s working with a new team or managing new spaces. It can be stressful and tough, but it also keeps things interesting.

A few life lessons the Russo brothers shared with me have stuck with me. One is their rule: ‘No assholes on set,’ which I carry with me throughout my career. It’s crucial to work with people who bring positive energy. The other is ‘Best idea wins.’ A good idea can come from anywhere, and I embrace that collaborative mindset, always open to hearing everyone’s point of view.

Q: Can you recall a moment in your career that was particularly challenging but ultimately led to significant personal or professional growth?
A: One of the most challenging moments in my career happened during the first Extraction movie. It was the biggest movie I had managed at that point, with a large second unit that had almost its own run of show. When the second unit director got sick and had to be hospitalized, I was asked to step in. I was a DGA director, having done commercials, but I didn’t feel prepared for this. It was the day before we were set to shoot, and I didn’t have a shot list, storyboards, or even a clear sense of the second unit director's vision. I had to jump in, figure it out on the fly, and make it happen. It was scary. I barely slept that week, feeling incredibly anxious, but I did get through it, and the footage made it into the movie. It was an intense learning experience that taught me how to think quickly and handle pressure.

Q: AGBO is known for championing emerging filmmakers. How do you navigate the balance between supporting new talent and managing blockbuster projects like “Extraction"?
A: At AGBO, we’ve launched several initiatives to support emerging filmmakers, such as the Russo Brothers’ Italian American Film Forum, the Slamdance Russo Brothers Fellowship, and collaborations with many film schools. AGBO also has a Storytellers Collective, where they host monthly panels with up-and-coming filmmakers.

However, there’s a difference between offering mentorship and actually giving new filmmakers their first big opportunity, and AGBO has a strong track record in this area. For example, we produced Natalie Erica James’ first feature Relic, as well as The Daniels’ second feature Everything Everywhere All at Once. We also produced The Legend of Ochi, which was Isaiah Saxon’s directorial debut coming out in the next few weeks.

When it came to Extraction, we had a great relationship with Sam Hargrave, who started as Chris Evans' stunt double on Captain America. He transitioned to stunt coordination, then became a second-unit director, and Extraction marked his directorial debut. Though it had a blockbuster budget, it was his first time directing. We made sure to surround him with the right resources and support, offering advice based on our years of experience, and worked with him to tackle any challenges that came up. Our goal is to give new filmmakers all the tools they need to succeed on their first go-round.

Q: Looking back at your own journey, what do you wish you had known when first stepping into the industry?
A: I think everyone is kind of faking it to some degree—we all have that inferiority complex. If there’s one thing I wish I had known, it’s that it’s OK to not know everything and to ask questions when you need help. A lot of people are afraid to ask, but as long as you’re respectful, most people genuinely want to give others an opportunity and help them succeed.

The Russos always say, 'If you want to be a carpenter, you’ve got to build a lot of tables. If you want to be a filmmaker, you’ve got to make a lot of films.' It’s all about experience and learning through doing. So, if you’re sitting around feeling jealous of others, pick up your computer, write a script, grab your camera, and make your own movie.

I don’t envy those just starting out because I remember how hard it was. The constant hustle, networking, and side gigs—it’s a grind. But honestly, I often think about it, and I’m not sure what else I would do.