My name is John Crowley, and I’m the director 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]