Steven Spielberg knew what he was doing when he cast David Lynch as John Ford in The Fabelmans; already, in 2022, the director had become, like Ford, bigger than his movies, a living monument to cinema.
Seeing Lynch in conversation back in 2007 at London’s BFI Southbank, before the release of Inland Empire, I was very mindful of that fact, writing that “seeing him speak to a packed house, with that silver pompadour, that black suit and buttoned-up, tie-less shirt, made me feel like a witness to history, like seeing Picasso, Churchill or Fred Astaire.” The Elephant Man producer Mel Brooks later went one better when I spoke to him in 2008.
Describing their first meeting at Bob’s Big Boy Diner in Burbank—because Lynch only ever ate there, usually for a late lunch at 2.30pm—Brooks said, “He looked just like Charles Lindbergh when he flew over the Atlantic.
He had a white shirt, buttoned at the top, and a leather jacket, like the one Jimmy Stewart wore when he played Lindbergh in The Spirit of St.
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