Aubrey Plaza opines that she, Scorsese and Spielberg are the Avengers of real cinema

Martin Scorsese, Aubrey Plaza, and Steven Spielberg
Martin Scorsese, Aubrey Plaza, and Steven Spielberg

It’s a bleak world out there for film these days: streaming is ripping a hole in creatives’ traditional revenue streams, and the Thanksgiving Weekend box office did the worst numbers in, well, ever. But when it comes to the defense of classic cinema, three brave riders still remain, soldiers of justice ready to die on the hill of passion projects and classic cinema: Martin Scorsese, Steven Spielberg, and Aubrey Plaza.

At least, that’s how Plaza sees it. In a new interview with Deadline, the White Lotus star addresses the state of cinema at large in her signature absurdist, deadpan bite. According to Plaza, it’s her, Scorsese and Spielberg out there fighting for real film. (If this is the case, it’s at least anecdotal evidence of the existence of three pretty best friends.)

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“I’m one of the last people that’s kind of waving that theatrical flag. Me, Martin Scorsese and Spielberg, just the three of us,” Plaza asserts.

The question of the “theatrical flag” came up as Plaza discussed whether or not she feared her latest indie project, Emily The Criminal, would struggle to get off the ground without blockbuster-level eyes on it.

“I’m romantic about it,” she continues. “I just believe with all my heart that if you make a movie that’s undeniably great, people will hear about it and want to see it.”

When it comes to a “great” project, Plaza’s upcoming slate reflects some diversity of definition. She’s slated to star in the MCU series Agatha: Coven Of Chaos, Guy Ritchie’s Operation Fortune: Ruse de Guerre, and Francis Ford Coppola’s Megalopolis. If that weren’t a hefty enough schedule, Plaza also says she’s working on writing, directing, and producing an upcoming feature in the vein of Tim Burton.

Whether or not you ever pictured Plaza, Spielberg, and Scorsese as a trio before, it seems more than plausible that the veteran directors’ takes on the state of cinema would align with the esteemed Janet Snakehole’s. Class and taste have no generation, after all.

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