Our artists are very good technicians. They have sensibility and artistic balance. But quite often they lack in creation. I have one artist here in my studio in New York. She's a good painter, but she has problems of creating her own stuff, of inventing. She can copy from a postcard, but when she has to do other things she has a tough time. She knows it. Not everybody can do great things.

I don't expect you to have any leniency or even believe a word I say. I have to stop lying to myself.

It was a catastrophe, of course. We had no clients, no nothing. Nobody understood the idea of doing reproductions.

Collectors say, 'I hate reproductions. It's awful. Why would anybody do that?,' ... That's what they say officially. But behind the scenes they use our copies. On the walls they have our copies. All their paintings are in vaults.

The African-American Freedom Trail: From Slavery to Freedom in New York City.

Gallery owners know me, but they never say, 'Hello,' because they don't want other people to know they know me, ... I have a little flag on my head saying, 'I'm the guy doing the fake things.'

In the movie, the painting is supposed to be worth $100 million. No painting is worth $100 million. But for the movie, $100 million is a number that any person can understand as expensive. If you say $50 million nowadays, it's not enough.

I did the one with the big butt. They said they want something that looks like a Renoir with the face of a 19th-century painting, so we had to do a grotesque painting. It was done in four days.