of "The Goldfinch."

So in the scene, we have young Theo

who is played by Oakes Fegley, who

is in Hobie, who is played by Jeffrey Wright,

in Hobie's basement workshop, which is a place that

restores antiques.

Here, at this moment, he is literally passing on

in a tactile fashion--

how to recognize what is real or authentic piece

of period furniture, as opposed to a reproduction

one.

"If it's too even, like, here.

then it's reproduction."

It's the kid learning in action

and being surprised and slightly delighted

that his hands actually feel what Hobie's pointing out

to him.

Jeffrey Wright brought such a gorgeously tactile quality

to this scene, which I think he spotted

in the expert who came in to talk

to him about the antiques.

So this idea of touching the antiques.

And using his spittle to bring up the grain on the mahogany

is very much what he learned hands-on himself.

"So this one is fake."

"Well, no, it's only fake if you try to pass it off

as an original."

The idea of the doubles is very important in the scene.

That's why we set up that shot between those two chairs

and end with the pair of them framed between

them.

And moving from there around to the side

was all about which is the key piece of information that's

moving forward.

So you come around on Hobie when

he is actually beginning to handle the furniture

and touch it.

"That glow-- that's hundreds of years

being touched, used."

We also have added in a piece of music,

which is embedded into the background there--

a piece by a Zydeco accordion player called Boozoo

Chavis which has a sort of warmth to it and is not

like the musical identity of any other part of the film.

[INSTRUMENTAL MUSIC]