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RSA Films' Luke Ricci on the Evolving Production Scene and Helping Directors Thrive
Don't sit around waiting for an opportunity
If you direct or produce commercials and music videos, you want to get on Luke Ricci’s radar. Ricci is the president of Ridley Scott’s RSA Films U.S. operations, where he leads RSA, Black Dog Films and The Directors Bureau. Across each of those properties, he is passionate about supporting talented creatives.
Here, Ricci reflects on his early days in production and how the industry has changed through the years. He also offers advice for filmmakers who are starting their careers and dream of landing a spot on the RSA roster.
MUSE: How did you get into the business, and why did you gravitate toward producing?
Luke Ricci: I went to AFI for screenwriting and realized fairly quickly that I wasn’t a writer. So I started producing everything and anything I could put my hands on. That revealed my biggest strength was helping creative minds realize their visions. My true passion is assembling the ingredients and working through the processes to empower the voices I believe in.
Did you have a mentor, and is that something you pay forward?
Michael Sagol from Caviar gave me my first shot and was a generous teacher. I try to help people I believe in and feel strongly about helping the next generation grow into the biggest shoes they can fill. Everyone benefits when we all get better at what we do. So it’s valuable to help others and foster the best creative community.
Did you ever imagine you would run a company with a legacy like RSA, and how does it feel to be in that role?
Ridley Scott has always been a hero of mine, and I’ve long admired the company. It was always a dream to lead a legacy company like RSA, but I can’t say I had the foresight to imagine such a role. I’ve always felt capable of making the most of anything thrown at me and pride myself on making the most of any opportunity that comes my way. Having this kind of opportunity is unique and extraordinary, and it’s been a perfect confluence of timing, experience and ambition. It makes me feel grateful for the role every day. I love this job, the team we’ve built and our directors.
What is the secret to the company’s success?
One foot after the other. Building foundational blocks one at a time. Sticking to the fundamentals of great production. Great work. Great directors. Great producers. Exceptional client service. Solving any creative challenge that comes through the door. Preserving the legacy of the company while evolving it as the world around it changes.
What does it take for a director to earn a spot on your roster?
Being an exceptional storyteller, a master of film craft and having a voice. Being a relentless hustler.
Any advice for directors who want to break into the industry?
Truly understand how to tell a story. Make as much content as possible. Every day. Directors can’t sit around, waiting for an opportunity. You have to make your own hustle, and the tools have been democratized for all of us. As a director, you are a part of the sales process. If you’re not, you’re done. Learn about AI. It’s going to allow you to execute much bigger scope and scale with fewer resources. Understand how to deploy emerging tech in the filmmaking workflow, so you can control more of your ability to make projects on a regular basis. Use every tool to get your work in front of the people who hire directors. Build your creative brand and social presence. Ingest as much inspiration from different art forms and formats of artistic expression: literature, science, technology and nature. Be curious. Listen, read, explore. Learn to tolerate discomfort in all of its shapes and sizes. Keep pushing.
How has commercial production changed since you began your career?
I feel like I could write a very long essay on this because there’s so much that has changed. But here’s a stab at some of the answer. The shift from terrestrial TV to streaming and the dominance of digital media and social channels have influenced a lot of the changes. What this has impacted is the sheer volume of advertising content and many different budget levels. [Today, there’s a need for] more deliverables on countless media channels. At the same time, there’s more competition as content creation has become more accessible to the masses. And content is consumed much faster—that has made all content more disposable. Despite challenging conditions, I do think that there’s never been more opportunity. But staying ahead of the curve will require being vigilant, flexible and creative.
What’s one of your favorite creative projects you’ve worked on?
Allstate Mayhem. Since the initial launch of that character, I’d wanted to work on that campaign. Our work with the brand here was my first opportunity, and it was incredible. I love Mayhem and what he represents. Making that campaign with Jake Scott and our team was so much fun. The Allstate team is par excellence and comes up with the greatest scenarios. We got to smash a car with a giant rock, crash a Mustang through a fruit stand, flip it on a ramp on the Paramount backlot and then blow it up with a ton of explosives. It was awesome.
Working on the Pepsi x Gladiator II “Make Your Gameday Epic” campaign with the Pepsi client and Paramount Brand Studio was also a highlight. And we just won a Gold Clio for that project, which I’m looking at on my desk right now!
What do you do to recharge your batteries?
Read, spend time with family, get outside—snowboard, bike, hike with my dogs.
