Ari Frenkel: From Viral Comedy Star to Feature Film Creator
Ari Frenkel is a Los Angeles-based Jewish actor, writer, filmmaker, and artist whose work effortlessly bridges creativity and authenticity. He is the creator and star of the acclaimed comedy digital series Sorry, Ari, which IndieWire hailed as one of the best web series. It was also featured in Funny or Die’s Best of the Web and has over 20 million views. This year, Ari will begin filming his debut feature film, a milestone that reflects his dedication to storytelling and craft.
In an era dominated by fleeting TikTok fame and short attention spans, Ari stands out with his old-school approach: grounded, sophisticated, and committed to hard work. His acting style is deeply authentic, showcasing a rare blend of wit and depth, making him a force to watch in the industry.
PG: Let’s talk about your acting journey – what inspired you to pursue acting as a career?
AF: As a kid, I wasn’t into sports—surprise, a Jewish kid terrible at sports—but my brother did community theater, and I’d watch his rehearsals. I developed a sense of what worked before I even started acting. By the time I began auditioning, I knew what made others successful and quickly started landing roles in community theater, high school plays, and later, college at Montclair State, where I studied acting.
I loved theater, but I knew I wanted to pursue film after seeing Good Will Hunting. I worked professionally in theater, writing and making films before moving to LA, where I transitioned to television. I’ve been working in TV for over 10 years while continuing to create my own projects online.
PG: How do you handle rejection? I know you can’t take it personally. Are you just used to it by now because you’ve been doing it for so many years?
AF: It always sucks, but my 2025 goal is to stop taking things personally. With acting, I’ve learned not to, especially after working behind the camera. Acting is about presenting yourself as a great option; after that, it’s just a matter of taste.
Every time I’m on stage or set—whether it’s a big production or my own project—I love it, and that passion helps me push through rejection. I’ve also had enough successes to keep me going. Without those wins or the positive attention I’ve received, I’m not sure I’d still be here.
PG: You were in I’m a Virgo on Amazon, FX’s American Crime Story, and HBO’s Silicon Valley. Which was your favorite role, and which was the most challenging?
AF: I loved working on I’m A Virgo—spending a month in New Orleans, improvising, and trying things in different ways was a blast. Silicon Valley was incredible, too. As a show fan, being on set with such talented actors felt surreal. I had to remind myself not to be an audience member in the moment.
One challenge people rarely mention is working with difficult co-stars, even on the best jobs. Film and TV work is romanticized, but it has its challenges. Now, I approach every project positively, making the most of it because you never know when you’ll be on set again. The ultimate goal is consistency.
PG: Would you rather act in someone else’s show or your own? If it were me – and I’m not an actor -I’d love to create and act in my series because it gives you total control. But I get that it’s not always the most lucrative option. Still, it could lead to other opportunities, so it’s all connected.
AF: Auditioning is like a lottery—you must play to win. But I’ve found that creating my own projects leads to more work, and I reinvest that back into my work, which is incredibly rewarding. I dream of making feature films—writing, directing, or starring in them, though I don’t always need to lead or take on every role. At the same time, I want to act in projects by artists I admire. It’s not about fame or money; it’s about collaborating with the best.
PG: You have a digital series that you create and star in called Sorry Ari, which is very funny. It was recognized as one of the best web series by IndieWire and featured in Funny or Die’s Best of the Web, accumulating over 20 million views. What inspired this series?
AF: I had a lot of disastrous dating experiences—so bad they were hilarious. I kept a Word document of crazy stories, almost like a modern-day Charlie Brown, and thought, “I should be the lead of a show like this.” So, I created four mini-scenes, which got such a great response that people wanted more. I ended up making 18 episodes. Some are better than others, but failure doesn’t matter on the internet. It’s an incubator. Failing publicly was valuable—it let people see my growth, which was a huge learning experience.
PG: Writing versus acting. Which do you prefer?
AF: Writing is solitary—you get feedback, but it’s just you. Acting, on the other hand, is collaborative. It’s about reacting, listening, and responding to others, whether on stage or in front of a camera.
The theater offers instant gratification, while acting on set feels more disconnected. By the time I see the final product, I’ve already moved on emotionally. Theater, however, is visceral and immediate. I love writing, and being a good writer has made me a better actor—and vice versa.
PG: You’re making a full-length film this year called See You On The Other Side. Is this your first feature film?
AF: Yes, I’m producing a feature film I wrote, directed, and will star in. Technically, I made my first feature at 21 with $25,000 from my parents—who weren’t wealthy but incredibly supportive. It wasn’t great, but it gave me the confidence to create over 30 short films over the past two decades.
This new feature, my first professional one, is a comedy about the year of grief after my dad died. It was inspired by Susan Cain’s Bittersweet, which suggests turning unresolved grief into a creative offering.
PG: I love that.
AF: In real life, I promised my dad I’d find his ex from the IDF and let her know he had passed, but he wouldn’t let me contact her while he was sick. The movie follows my journey to find this woman while, at the same time, my ex-girlfriend reenters my life. So, as I search for my father’s ex, I’m also reconnecting with my own, all framed within the stages of grief.
Each morning, I’d wake up and write a scene based on what was happening in my life. By the end of the year, I had all these scenes, which I then shaped into a narrative, elaborating and embellishing to create the film.
PG: As a Jew, how did October 7th affect your work?
AF: After October 7th, I applied the same method of working through grief as a creative outlet, making the 18th episode of Sorry Ari called The Jews. It went super viral, and I hit the nerve of the Jewish community. This new audience is excited about my feature film, and I’m hoping they can help me make it. We’re running a tax-deductible fundraising campaign to make it happen. I plan to start filming this year and couldn’t be more excited. The film has also reconnected me to Judaism and Israel, celebrating both in a universal, human way. It’s a story for everyone, inviting people of any faith to reflect on spirituality, grief, and the inevitable loss we all face.
PG: How do you feel about how social media has affected actors?
AF: People invest so much into TikToks to gain followers, but many do it just for attention, which feels misguided. Long-form content like movies, TV shows, and books have a lasting impact—you forget TikToks instantly, but a great film can stay with you for decades or be rediscovered years later. TikToks lack that kind of longevity, and who knows if they’ll even matter in 10 years?
PG: I like to joke that I’ma 50-something Gen Zer. I’m on TikTok all night – it’s my TV. None of my friends are on TikTok, though. I’ll send them a video, and they will say, “I’m not on TikTok.” And I’m like, “Stop worrying about China, just fucking download TikTok!”
AF: I found that my stuff was being repressed there. And what’s crazy about that is it was getting flagged saying that it was pro-Jewish stuff. I’m not posting anything violent or negative. I’m celebrating our community because, to me, that’s the stuff I want to make.
PG: You’re not the first person I’ve talked to that that’s happened to. It’s terrible.
AF: Yeah, it’s a real problem. Jews and Israelis are a mixed bag of people. But the ones I know are amazing and full of love. There’s nobody in the world who doesn’t know that anti-Semitism is an issue right now, and anti-Semitism, to me, is the act of dehumanization of Jews. I believe the way to combat that is to humanize Jews, and the best way to humanize people is through stories. I think this is where art is so beautiful, where you can express something to another side.
PG: What advice would you give aspiring actors or filmmakers trying to break into the industry?
AF: Everyone should learn AI because you should understand what people use. Learn the basics because your competition is using it.
PG: Agreed. I told a friend the other day that AI wrote me a letter, and they said, “Well, I don’t want to use it.” And I was like, “Well, you’re stupid. Why spend 25 minutes writing something AI can do in 10 seconds?” I’m not talking about a personal letter to a friend -just a generic one. Why waste your time?
AF: Adapt or die. For actors or filmmakers, the advice is simple: create. Make as much as possible, build an audience, and keep learning. Take classes, surround yourself with supportive, like-minded people, and eliminate anyone who brings you down—even if it’s family. If that’s the case, stop sharing with them.
As a young artist, don’t get caught up in the pressure to succeed because your friend’s a TikTok star—that fame likely won’t last. Consistency matters more than a big break. Some years will be challenging, but zoom out and look at the bigger picture: are you on an upward trajectory over three to five years? If so, keep going. If not, change your approach.
PG: Solid advice. You’re very optimistic and encouraging, and I love that. I struggle with it, too – honestly, I think every creative person does. Some days, I’ll look at something I wrote and think, “That’s so good.” Then, the next day, I’m like, “You need to delete that entire thing.”
AF: I get caught up in that, too, all the time. But I do think the biggest lesson of that is nobody fucking cares. I’ve put cringe videos online, and you know where they are; they have been deleted. Or if someone saved them, then 10 years from now, when I’m doing well, maybe they’ll put it out there and be like, look at this idiot. Who cares? God forbid I try and fail. It’s really about how you approach things.
When it comes to AI, think about this: if you told a farmer 150 years ago that their descendants would be yoga teachers or graphic designers, they’d be like, “What the heck is that?” We can’t even imagine what future jobs will look like. And ironically, even roles like a yoga teacher or graphic designer could one day be taken over by AI.
PG: And they might do it better. I love putting something through ChatGPT and getting feedback like, “You’re very witty and funny, but maybe you could add this or that. ”I’m like, “Thank you!” Now ChatGPT is complimenting me, and I love that.
AF: Complimenting you? I don’t get complimented. It must not like me.
PG: Keep trying!
AF: I saw ten subway posters recently, likely AI-generated. If I were the company, I’d use AI too—it saves money on a photo shoot for an insurance ad. But for film and TV, it’s challenging as an actor since those could have been jobs.
That said, it makes you appreciate real artistry—working with a talented photographer or seeing an image created by a person. Ultimately, the best will still rise to the top, maybe even more so.