How ‘The Goldfinch’ Seeks Authenticity | Anatomy of a Scene

How ‘The Goldfinch’ Seeks Authenticity | Anatomy of a Scene
How ‘The Goldfinch’ Seeks Authenticity | Anatomy of a Scene
My name is John Crowley and I’m the director of The Goldfinch. So, in the same we have young Theo is played by Alex Wiley, who is in Hobie, Whose Bed by Jeffrey Wright in Hobee’s wash up, which is the place that restores antiques here at this moment of fashion. How to recognize one is a real or authentic piece. Of. Furniture as opposed to a reproduction one just to even like here and its reproduction, the kid learning in action, slightly delighted that his hand actually feel what I hope he’s pointing out to him. Jeffrey Wright, but such a gorgeously tactile quality to this scene, which I think he’s bought heads in the expert talk to him about the Enticer. This idea of touching that takes from using his little to bring up the grain on the mahogany is very much what he he learned hands on himself, so this one is fake if you try to pass it off as an original. This is important in the scene and that’s why we set up that shot between those two chairs with end with paraffin framed between them and moving from there around to the side with all about which is the key piece of information is moving forward. So you come around on hubby when he is actually beginning to handle furniture and touches. He was riding a piece of music which is better than to the back on that piece by the Zydeco accordion player called boozoo Chavis, which has a certain warmth to it. And it’s not like the musical identity parts of the film
This scene from “The Goldfinch” starts with a pair of chairs that look mighty similar. But only one is an antique with a long, rich history. The other merely replicates that history. In a film where the primary characters are trying to parse truth from fiction, authentic from impostor, the chairs are an apt metaphor.

Oakes Fegley plays the young Theo Decker, struggling to make sense of what’s real after surviving a bombing that killed his mother. He finds solace at an antique shop run by Hobie (Jeffrey Wright) and, in this scene, gets a lesson in authenticity.

Narrating the sequence, the director John Crowley explains how Wright met with art experts trained in spotting replicas and how that encounter helped him bring a tactile approach to his performance. Here he teaches Theo what to look for, and feel for, to recognize a reproduction.

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