The New York Times has a story on the art adviser Fanny Periere who helped Oliver Stone, a collector of Schnabel and Basquiat and an “investor in Chinese contemporary art,” give his characters more heft through art:

SHE hopes to impart the sense of art as a metaphor. “Even if they are not conscious of it, that’s what the characters are buying,” she said. A Clifford Ross photograph of churning waves hangs in the home of Bretton James, played by Josh Brolin. It suggests “the force of turmoil,” she said. Richard Prince’s “Untitled (Cowboy)” (1999), stands in, none too subtly, for “James’s role as the big honcho, the financial cowboy. He has the house to show for it and the art that goes with it.”

Central to James’s collection — and to Mr. Stone’s efforts to invest his characters with mythic dimensions — is a Goya depiction of “Saturn Devouring His Son,” which looms like an impending tempest in his den, hinting darkly that to stand in his way is to risk being consumed.

Training a lens on that work is an obvious way of pointing up James’s exalted position, lending a gravitas to his character and, not less, to the film. As Mr. Pressman, the producer, likes to joke, “It’s the only Goya not in the Prado.”

What the Walls Say in “Wall Street” (New York Times)