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“We put our choices of young Theo and young Boris together, and knew instantly in the room that we had found our guys. And they were very funny when they came in, ‘cause they wouldn’t shut up. I could barely get a word in edgewise. They weren’t two professional kids sort of auditioning. They were sort of just like locked in on each other, playing and having fun and engaging in a way that you can’t make that happen.” — John Crowley

Finn Wolfhard and Oakes Fegley in The Goldfinch special feature: The Goldfinch Unbound

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All the time, I’d known it was a mistake, keeping the painting, and still I’d kept it. No good could come of keeping it. It wasn’t even as if it had done me any good or given me any pleasure. Back in Las Vegas, I’d been able to look at it whenever I wanted, when I was sick or sleepy or sad, early morning and the middle of the night, autumn, summer, changing with weather and sun. It was one thing to see a painting in a museum but to see it in all those lights and moods and seasons was to see it a thousand different ways and to keep it shut in the dark—a thing made of light, that only lived in light — was wrong in more ways than I knew how to explain. More than wrong: it was crazy.

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ANSEL ELGORT AS THEO DECKER IN THE GOLDFINCH (2019)

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THE GOLDFINCH + CHAPTERS

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Theo wears Boris’ t-shirt 🐱🐱🐱

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THE GOLDFINCH — Part II, Chapter 5: Badr al-Dine.

THE GOLDFINCH — Part II, Chapter 5: Badr al-Dine.

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I was still babbling when Boris said: “Potter.” Before I could answer him he put both hands on my face and kissed me on the mouth. And while I stood blinking — it was over almost before I knew what had happened <…> We stood looking at each other — me breathing hard, completely stunned. “Good luck,” said Boris. “I won’t forget you.”  Later — in the cab, and afterward — I would replay that moment, and marvel that I’d waved and walked away quite so casually. Why hadn’t I grabbed his arm and begged him one last time to get in the car, come on, fuck it Boris, just like skipping school, we’ll be eating breakfast over cornfields when the sun comes up? I knew him well enough to know that if you asked him the right way, at the right moment, he would do almost anything; and in the very act of turning away I knew he would have run after me and hopped in the car laughing if I’d asked one last time. But I didn’t. And, in truth, it was maybe better that I didn’t — I say that now, though it was something I regretted bitterly for a while. More than anything I was relieved that in my unfamiliar babbling-and-wanting-to-talk state I’d stopped myself from blurting the thing on the edge of my tongue, the thing I’d never said, even though it was something we both knew well enough without me saying it out loud to him in the street — which was, of course,

                                                                      I LOVE YOU. 

The Goldfinch by Donna Tartt // The Goldfinch (2019) dir. John Crowley

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“Hobart and Blackwell… Ring the green bell.“

THE GOLDFINCH (2019) dir. John Crowley

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Aneurin Barnard as Boris Pavlikovsky in The Goldfinch (2019)

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BORIS PAVLIKOVSKY + ha!

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More than anything I was relieved that in my unfamiliar babbling-and-wanting-to-talk state I'd stopped myself from blurting the thing I'd never said, even though it was something we both knew well enough without me saying out loud to him in the street — which was, of course, I love you.

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He’s telling you that living things don’t last — it’s all temporary. Death in life. That’s why they’re called natures mortes. Maybe you don’t see it at first with all the beauty and bloom, the little speck of rot. But if you look closer — there it is.

THE GOLDFINCH — Part I, Chapter 1: Boy with a Skull.

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The Goldfinch (2019) dir. John Crowley

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And though she was too thin, all elbows, and in a way almost plain, yet there was something about her too that made my stomach go watery.

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Music in Film: The Goldfinch (2019) dir. John Crowley music by Trevor Gureckis

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The Goldfinch (2019) dir. John Crowley

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THE GOLDFINCH + LOCATIONS