The Goldfinch

The Goldfinch (2019)

Timing: 2:29 (149 min)

7.14/10
927

6.562/10
64777

6.4/10
30000

All about film

Video 21

Photo 43

Actors and characters

Release date

2019-09-12

Country

United States

Production

Warner Bros. Pictures, Amazon Studios, Color Force

Genre

Drama

Budget

$45 000 000

Revenue

$10 032 621

Website

https://www.warnerbros.com/movies/goldfinch/

Director

John Crowley

Actors

Ansel Elgort, Oakes Fegley, Nicole Kidman, Jeffrey Wright, Luke Wilson, Sarah Paulson, Willa Fitzgerald, Aneurin Barnard, Finn Wolfhard, Ashleigh Cummings
All actors and roles (10)

Scenario

Producer

Brad Simpson, Nina Jacobson, Mari-Jo Winkler, Kevin McCormick, Courtenay Valenti, Sue Kroll

Operator

Roger Deakins

Composer

Trevor Gureckis

Artist

Audition

Ellen Chenoweth

Editing

Kelley Dixon
All team (57)

• The film is based on the novel of the same name (2013) by American writer Donna Tartt, who received the Pulitzer Prize for it.
• The film features a painting of "The Goldfinch" (1654) by Carel Fabritius (1622-1654), which is housed in the Mauritshuis Royal Gallery in The Hague, Netherlands. For the film's production, the museum was able to provide filmmakers with a very realistic "double" of the painting. K.K. Barrett, the film's production designer, says: "The museum used a 3D scanner to scan the surface of the painting, and then recreated the canvas layer by layer at full size. For some shots, we enlarged the painting digitally, and then the prop artist applied a layer of paint on top to make the brushstrokes and texture look the same as on the original canvas."
• Most of the scenes set in Las Vegas were actually filmed on the outskirts of Albuquerque. To further emphasize the contrast between the city and the desert, according to the cinematographer, "most of the Las Vegas scenes were intentionally shot in bright daylight to achieve a feeling of scorching air and sun-bleached colors." In addition to lighting, a wider lens was also used "to make the space look more open, desolate, and hostile to Theo" – recalls Roger Deakins.
• The Metropolitan Museum of Art also assisted the film crew in preparing the exhibition for the film. Copies of the exhibits hanging on the walls of the museum in the film were created based on high-resolution images for which the filmmakers obtained licenses from the Metropolitan Museum of Art, the Mauritshuis, the Rijksmuseum, and other galleries. Teams of graphic artists and set designers printed the images on photographic paper and then worked on their texture to make them look like old canvases. More than 80 reproductions were created for the "museum" episode of the film, the most famous of which is Rembrandt's "The Anatomy Lesson of Dr. Nicolaes Tulp." Given the degree of destruction that would occur as a result of the explosion, it was impossible to film such museum interiors in the Metropolitan itself. Therefore, the filmmakers recreated several adjacent museum halls in a large warehouse in Yonkers, which is often used for film shoots.
• The location for the spacious home of the Barbour family, to whom the boy comes after the tragedy at the museum, was found by Barrett and his team in Haven, New York.
• Director John Crowley initially wanted to cast someone from the Russian theater in New York for the role of young Boris, but Finn Wolfhard amazed both the director and the pronunciation coach during the audition with his impeccable Russian accent.
• The film features a depiction of Carel Fabritius’s painting “The Goldfinch” (1654), which is housed in the Mauritshuis Royal Gallery in The Hague, Netherlands. For the film’s production, the museum was able to provide the filmmakers with a very realistic “double” of the painting. K.K. Barrett, the film’s production designer, recounts: “The museum used a 3D scanner to scan the surface of the painting, and then reproduced the canvas layer by layer at full size. For some shots, we enlarged the painting digitally, and then the prop artist applied a layer of paint on top to ensure the brushstrokes and texture looked just like the original canvas.”
• Most of the scenes set in Las Vegas were actually filmed on the outskirts of Albuquerque. To further enhance the contrast between the city and the desert, according to the cinematographer, “most of the Las Vegas scenes were intentionally shot in bright daylight to achieve a feeling of scorching air and sun-bleached colors.” In addition to the lighting, a wider lens was also used “to make the space look more open, desolate, and hostile to Theo” – recalls Roger Deakins.