Our latest guest on soundtracking is John Crowley, the Irish film and theatre director,

who previously brought us critical successes in Termition, Boy A, and Brooklyn, which I absolutely adored.

His new offering is The Goldfinch, based on Donna Tart's novel of the same name.

The narrative centres on Theo, a young man who takes a painting from a museum after his

mother dies in a terrorist attack. Now, whilst the cinematography is provided by undisputed

master of the art Roger Deacons, John went for a relative novice in Trevor Goricis for the score.

And it's with Trevor's Q, Goldfinch Reveal that we begin. The

...their... I'm Ombudsman

Ombudsman Oh John, it's a real pleasure to have you on the soundtracking.

Delighted to be here. Thank you for having me.

So much to talk about. But let's start with the goldfinch. And music plays a part in this film

narratively, as well as for the purpose of creativity.

I love the tone that you set with the film, with the score.

But let's talk about music and this story, first of all.

Was it easy to find how it would sound for you?

No.

No, it was extremely difficult.

And I decided on a composer very, very late in the day.

And that's because the tone of the piece is so particular and tricky to land.

And it's got such an odd mix of elements that, you know, I mean, I'm not a big fan of using temp scores anyway.

I find it very difficult.

And, of course, then you, you know, I'm sure.

...