- Of all of the stereotypes of people in the art world, I think my favorite has to be that of gallerists and artists.

They're always either dressed head-to-toe in black and moody and brooding, or dressed like clowns and wildly eccentric.

But those couldn't be further from the truth.

Don't believe me?

(pensive bright music) Let's find out!

I'm Julian Baumgartner.

As a fine art conservator over the past two decades working to preserve artworks, I've been fortunate enough to meet and work with some of the most talented, driven, and interesting people in the arts.

And now I want to take you into their worlds to meet them, hear their stories, and share their passions.

So join me as we go "Behind The Canvas."

As the long winter descends upon the city of Chicago, there really couldn't be a better time to head indoors and today I'll do so at the Thomas McCormick Gallery.

Nestled in the once industrial and now hip and thriving West Loop neighborhood of Chicago, this location was opened in 2000 by collector, dealer, gallerist, lover of art, and longtime friend, Tom McCormick.

And today, he's going to let me peek into his space to learn what it takes to run a successful art gallery.

- Too bad I don't know a good conservator.

- Hey, Tom!

- Hey, man!

- Well, I recognize the painting.

- What do you think?

- It looks fantastic here, Tom.

- Well, you did the work on it, so.

- Yeah, but there's a difference between the way I see them in my studio, and then when you get them, you put the frame on them, you put them here in the gallery, you light them well.

The whole gallery looks great!

- [Tom] Thanks!

- Honestly, Tom, it's probably been a decade or so since I've been here, so I figured I needed a break from my studio.

I'm going to go bug Tom and see what he's doing at the gallery.

And actually, I think I have a good idea of what you do, but I actually don't really know the nitty gritty of what you actually do during the day, so I thought maybe I'd come by and bother you and find out.

- Okay!

Good.

Let's look around some more and we'll talk.

- Please!

Is this, like, is this a show that you're doing right now, putting on?

- No, this is just material that normally lives in storage in the back room and the racks.

And in the winter in Chicago, not a lot of people are out, so I enjoy looking at them.

And when people come in, they go, "Oh, well, this is kind of nice," to see the variety of different stuff we do.

- Can we see the racks?

- Sure!

- That's where I'm most comfortable, digging through stacks of paintings.

- Yeah, I like your racks too at your- - At my studio?

- At your studio, yeah.

- Well, these are really beautiful.

- So, this is for the oversized paintings.

These are all actually estate paintings.

These are all dead artists.

- Tom, this is so well organized and so clean.

I covet storage like this.

My compliments.

My god!

- Yeah, I loved it when we designed these.

This room used to be a second exhibition gallery.

I needed more room for people to come in and- - [Julian] Storage!

- People feel the same way.

They went, "Oh, what's that?

Oh, what's that?

Show us that."

- So you do a mix of living and dead artists, I presume.

- I do!

- Is that by choice?

- Yeah, it is.

I mean, I started out in the antiques world and then one day I bought a painting by a dead artist and the antique dealers didn't know what they had, and I didn't know either.

But I went and found out and I made a whole lot of money on it, and I thought a big light went on, I go, "Oh, I should start looking for old paintings."

- Sure!

So, do most galleries work that way?

Like a hybrid of living?

- No, I don't think so.

- No?

- Maybe some in New York, but really here, people, most galleries, are contemporary galleries, you know?

- Oh, is that right?

- Yeah!

And there are fewer and fewer galleries in Chicago, period.

And when I moved here in 1992, you had Rob Adams, you had, you know, Richard Gray used to do that.

You had some galleries that did both, but really not so much anymore.

- I mean, is there a reason for it?

It seems like- - It's hard!

- Oh, is it?

- Yeah, it's hard.

But it's also, I think you have to do what you're interested in.

I mean, I think it really shows through.

I mean, I'm interested in everything we have.

- [Julian] Okay!

- And so, if I'm not interested in it, I kind of, as I've gotten older and more experienced, even though, "Oh, I could probably make some money on that," you know?

- [Julian] Yeah.

- I'd rather show things that I believe in.

- So you got to really love it.

You got to feel the artwork.

It's got to be something, like, internally important to you.

- Yeah!

Yeah!

Because I don't want to bull (beep) somebody into buying something that just 'cause I can make a buck on it, you know?

- [Julian] Sure!

- I want them to like it when they get it home.

- Is that difficult though, being like an art lover and an art seller?

Like, do you fall in love with each piece?

- Well, I was, let me say this.

I was the world's worst oriental rug dealer because I would get something that I could really make a good profit on, and I'd want to take it home.

- Yeah!

- And somebody pointed out to me once that that is no way to make a living.

- No, that's not!

- So, with paintings, I do!

We do collect paintings.

My wife and I have a collection.

Sometimes some paintings just go home to kind of percolate for a while on our wall and then they eventually come back.

- On loan?

- Yeah!

But generally speaking, no, I'm a pretty good painting dealer.

- Yeah, sometimes I wish that clients would disappear on the bills after conservation and I get to take some of these things home.

(Julian clears throat dramatically) Hint, hint, hint.

- When I first started transitioning from just being a kind of an antiques picker, which is what I was, I didn't have a gallery or a shop, to paintings, we live in the Midwest, you know, which a lot of the world would see as a bad thing.

We determined it was a really, really good thing because Fly Over Country was filled with overlooked artists who'd had their careers in Des Moines or Kansas City, and they died, and their relatives had this fabulous trove of paintings.

And this was all before the internet.

You could go and meet somebody, and they were really glad that you showed up to look at Dad's paintings or Grandpa's paintings.

At the end of the day, you had found a whole trove of beautiful, beautiful art that has sat, you know, overlooked, ignored for decades.

You know, this looks familiar.

- Oh, I don't ever want to see that one again, Tom.

- [Tom] You just worked on this one for me.

- [Julian] That was- - And it looks fantastic now.

This is a Perle Fine painting from 1964, I think.

And believe this painting was rolled up for about 50 years.

- Yeah, I think you brought it to me straight out of a barn or something.

- Yeah!

- And it needed a lot of conservation work.

When you find estates, is that usually where they are?

Like, kind of just in a storage facility?

- Yeah, it depends.

I mean, you hope they're not in a barn, you know?

You hope they've been taken care of.

But sometimes it's Grandpa's paintings that are out in the shed and, you know, as you've seen over the many years we've worked together and before that, with your dad, you know, things come, they're damaged or dirty or rolled up.

Or, you know, they need some attention.

- So part of what the gallery really does when it deals with estates is take something that's, like you said, lost or forgotten to history and revisit it, breathe some new light into it, and kind of give it a second chance, a new lease on life.

- Right!

- That's kind of essential to what you're doing here.

- Right!

(wistful piano music) - [Julian] Throughout his career, Tom has salvaged hundreds of paintings and countless estates of artists that have been overlooked, undervalued, and hidden away in dusty attics, barns, or forgotten store rooms.

This work is demanding, intense, and not without risk, but Tom knows that these works of art have an important story to tell.

And by collecting, restoring, documenting, and placing them into collections, that story can be preserved for future generations and expand the larger narrative of art history.

For many artists, especially those who were not well known during their lifetimes, there may be very little information available about their work and that's why Tom and his team take great care in creating catalogs and essays that record the history of these paintings and their artists.

By doing so, they're helping to ensure that the artist's contributions to the art world are recognized and appreciated.

- Remember when you used to do posters?

Galleries made posters for a show?

I'm never sure where you were supposed to put them up.

- I don't remember that!

- But, you know?

- Maybe that predates me.

- You know, I don't even know that catalogs may not even be appropriate anymore, you know?

I almost could just do a catalog and just send it out virtually.

I don't know.

I like the just the physicality of it, you know?

- Well, the paintings are physical, they're tangible objects.

It makes sense to have something to go along with them.

But, so people get these catalogs in the mail and they open them up and they call you up and they say, "Tom, I love this painting.

I want to buy it."

- Great!

(both chuckle) - That's right.

"I'll send that out."

How do you find people?

- Well, okay, so I've been doing this 51 years.

- Okay.

- So in the mid-1980s, I started doing art fairs.

In fact, you know, one of the very first art fairs in the United States was right here in Chicago.

- I didn't know that!

- The Chicago International Art Exposition debuted in 1980.

So anyway, I started, I had my own booth in 1984 at the Chicago Fair, and I was also doing antique shows.

But you start to build up a client list.

- [Julian] All right, so- - You go to meet people, you go to New York, we'd go to Miami, you go to LA, I used to go to San Francisco every year.

- So it's really kinda like the boots on the ground, scrappy, hustle of grinding it out.

- Yeah!

- Which is how you find the estates.

- I had a guy call me yesterday who I met in about 1995 in Boston looking for a Roger Brown painting.

- Oh, well, that's cool!

- It was, right?

It was way cool.

I actually had one to offer to him also.

- Has the clientele changed as they've aged or as culture has changed?

Are you seeing different types of people come in and finding interest in this work?

- Some of my older clients are still buying.

A lot of older clients though, are also starting to sell their work.

They're downsizing.

They've sold the big house, the kids are gone.

And actually, this has been a big boon for me because I'm now buying things.

- You buy it back!

- I sold 20 years ago.

- Oh, that's interesting.

- Which is such an easy way to go shopping, you know?

It's like, "I can shop at Tom's!"

And so- - You already have the catalog, right?

- I can buy a painting that I sold 15 years ago for $15,000 that might be worth $115,000 now if I could find it.

Well, one place to find it is the people I sold it to back then.

- But finding paintings and selling paintings, you've got to find the right painting for the right client.

You got to make that match, right?

- I know if I can sell a painting!

I can look at a painting and I can be across the football field and I can say to you, "I can sell that painting."

- How do you know that?

- I just, I don't know.

I just know it.

I can also say, "I couldn't sell that painting in a million years."

- You kinda rely on your own internal kind of compass about what's good.

- I think if you're going to survive and prosper in this business, you got to have something going for yourself.

- I'm sure that you've missed, right?

You've looked at a painting and said "I can sell it," and you just like totally- - Oh, yeah.

Oh, no, no, no.

Yeah, I have.

I've had some real groaners, you know?

(Julian laughs) I have one I think you'll recognize.

- Oh!

- It's in the back room.

- Oh!

- [Tom] You'll remember this.

- [Julian] I like this painting, Tom.

- [Tom] It's a fabulous painting.

- [Julian] So, why is this a miss?

- It's not what I hoped it was when I bought it, and now obviously this is a real outlier.

Because this is like a 16th or 17th century painting, not a 1950s or a 2022 painting.

This showed up at a local auction.

I bid $1,000.

I got it for $1,000.

Long story short, I got a friend of mine who did the research.

He found the actual painting in a museum in Europe that this is a copy of.

- Oh, I see!

- So it's a copy.

It's probably an 18th century copy of a 17th century painting.

I mean, you know this.

Look at this thing.

This is a mahogany panel.

- [Julian] Yeah!

- From one tree.

It wasn't made to deceive.

I mean, it's really an old painting.

- And it bears a label of exceptional conservation.

- Oh, and there's a label.

Yes, that's right.

So it's just not worth what I had hoped it was.

In fact, I didn't clean it at first because if it was really a 17th century painting by the guy, probably the ultimate buyer would want to buy it as is.

- Yeah, I remember you hemmed and hawed about that.

- Yeah, 'cause a lot of collectors, they want to know what's been done to it.

- Right!

- But once I determined it wasn't that, I had you go ahead and clean it up and, you know?

- So only when it was a dud did I get to work on it?

- [Tom] That's right!

- Thanks!

- [Tom] That's the way the world works.

- Thanks, Tom!

Well, so what are you going to do with it?

- Well, I'm going to send it off to auction somewhere.

- Gotcha!

- And we'll just sell it as a decorative painting.

You know, there's still people who like this kind of thing, and it's a really good painting.

- So, you kind of fell for this painting?

- Yeah!

- Like, you know, it struck you internally and you loved it.

Which, I presume, and correct me if I'm wrong, you have to love all of these paintings that you're representing.

- Well, yeah!

I wouldn't have bought this if I thought it was a horrible painting.

I mean, it's a really good painting!

And I like really good paintings, you know?

- [Julian] Yeah!

So you have to like what you're showing.

- [Tom] I do!

- [Julian] Yeah!

- [Tom] I don't know if everybody does.

(Julian laughs) - But is that hard?

To really love the things that you have to sell?

- Well, there's some things I don't let go.

But, you know, no!

I mean, I just do.

I mean, you just, it's exciting.

- Yeah!

- There are people I can't sell to, kind of A type personality, Wall Street Tater type of, "Oh god!

No, no.

What's it going to be worth next week?"

They don't want to talk about whether they like the painting.

They want to talk about it like an investment, and I'm no good at that.

- Well, I mean, you know, to be fair with what we see in auctions happening over the past couple of years, paintings can be really great investments.

- [Tom] They can be.

- Or places to park money.

And, you know, a shrewd investor can buy a painting, three years later, can turn a really handsome profit.

So that's obviously part of the art world.

- I'm so happy that at this point in my career, I can totally ignore that.

You know?

I'm making a very good living.

I'm having a good time doing it.

I read the papers too that some unknown 28-year-old sold at Sotheby's for $13 million.

And I can just go, "Well, where's the sports section?"

You know?

(Julian laughs) - Okay!

- That's just me, you know?

Maybe I'm not a very good art dealer.

There's a high possibility to that.

(Julian laughs) - [Julian] I don't know about that.

- So, contemporary-wise, this is Ben Tinsley, who we represent.

Bill Barrett, sculptor from Santa Fe.

John Santoro.

There's a Vidvuds Zviedris.

You know Vidvuds well.

- I do, yeah!

- A couple of Vidvuds's.

Here's a beautiful Mike Hedges, a Janis Pozzi-Johnson, another Ben Tinsley.

- So you deal with a lot of living artists?

- Oh, yeah!

Well, I think we have 10 or 11 that we... Which is pretty much all I can handle.

- Hmm!

- Well for one, they all want to have a show, you know, every couple of years, and we can only do so much and I want to represent the ones we have.

I want to do a good job.

- It sounds like sometimes contemporary artists may be more difficult than the dead ones.

- It's a whole different series of joys, pleasures, and challenges.

(Julian laughs) Actually, one of the challenges I have is that Anna Kunz, who I've known longer than any of the others, I met Anna when I first moved here almost 30 years ago, I don't have any of her paintings right now and we need one for the Chicago Art Fair, which is coming up in April.

- Yeah!

- So we actually have an appointment to go to her studio and pick out a painting or two.

- [Julian] Oh, that's cool.

- So, do you want to go along?

- I'd love to!

Yeah.

- Would that be fun?

- Yeah!

I mean, is it okay?

- Yeah, we'll call her up and tell her we're coming, okay?

- All right!

Let's go.

- Let's do it!

- [Julian] My time in the Thomas McCormick Gallery made clear how centered around the art everything is.

The lighting, the placement of the pieces, and the overall narrative story of the space and how the works relate to one another are carefully considered to create an immersive and engaging experience for visitors.

It's a stark contrast to the artist's studio, which is often reclusive, idiosyncratic, and sometimes a bit chaotic.

But there's something viscerally exciting about seeing an artist at work in their studio.

It's a glimpse into their creative mind and the genesis of the transformation from raw, unrefined idea to carefully crafted and highly-focused piece of art.

And if I know Tom, I think I'm in for something truly special.

- Julian!

- Hi, Anna.

It's a pleasure.

- Thanks for coming!

- Thank you for having me.

I understand this is a precious space and we're crashing it.

- This is!

- But I really appreciate it.

- The sensation of walking from the blank hallway into here, it's kinda like the scene from "Wizard of Oz" when Dorothy- - [Julian] It is!

- Lands!

(laughs) - Yeah!

I mean, it's really intense!

- [Anna] Yes!

(wistful piano music) - [Julian] For the past two decades, Anna Kunz has been creating work that uses and misuses the fundamental elements of color, form, and surface to collapse the distance between viewer and artwork, suggesting a way of seeing and being in the world that privileges sensation over interpretation.

Anna's resume is dauntingly impressive with exhibits and pieces in collections and museums all over the world.

Thanks to Tom and some good timing, I'm lucky to be given a firsthand tour of the studio and Anna's working process.

- Love, love, love this one!

- [Anna] You can't have it.

- [Tom] I want this one.

- [Anna] You know, I really like this one too.

- Why this one, Tom?

- You remember when we were over at my gallery and I made this kind of ballsy statement about, "I can look at something from across the football field and tell you I can sell that."

- Right!

- Or, "I'll never sell that."

I can sell this!

- Okay!

- I can't hear that because if I listen to Tom, I'll only make one kind of painting the rest of my life.

- Does that happen?

You get kind of in your head and like- - I don't like when he tells me what sells and what doesn't sell.

In fact, he can even tell you, I sometimes get upset when he sells my paintings.

- Is that right?

- Yeah!

We met about 1993.

You were still a student at the Art Institute?

- I think so.

- Yeah!

- [Anna] Just about done.

- And I started showing her work and, you know, at the art fairs and everything, and I would sell, hold your ears, I would sell every bloody thing she brought us.

And then she did our inaugural show at the gallery we've just visited, and it's the only time I've ever sold an entire show out before the doors opened.

- Wow!

- Never done that again.

Let's get back to the reason we're actually here today.

- Yeah!

- Is we need to find a couple of paintings for me to take away and promise not to try and sell.

- Okay!

- [Tom] Okay?

(Anna laughs) I saw something over here I'd like to look at.

- [Anna] Okay!

No problem.

- Okay?

So I love red paintings!

- Okay!

- And I don't think this is quite finished.

- Well, it's not quite done, but the approach is going to be these parts that are whited out, they'll be also red hue.

I'm doing color on color, just like the blue one up there.

- Now, if you put a little bit of red or something in that blue painting, would you put a little bit of blue in a red painting?

- I don't know.

I might hit it with an, like- - [Tom] Something?

- It's compliments.

So, like, I'm trying to play complimentary things, so I'm thinking green.

- So is this how you guys work together?

- Yeah!

- A little bit collaboratively?

Kind of?

- Only on a bad day.

- I wouldn't go that far.

He won't tell me, you know, "Put a little green there and I can sell it."

I wouldn't do something like that.

But, you know, it's fun to indulge him sometimes.

And he also has the bigger plan 'cause he knows what other artwork is going to go into the booth.

So I will continue to work on this and put this on reserve so that we have something nice.

- Okay, so we've got this picked out, we've got that one on the floor picked out.

- But what I wanted to show you, and if I can just move this.

- She just ignored me on that.

- Something!

Well, I didn't, but I know.

Don't judge me on that.

But I want to tell you that I have a wonderful stretcher maker and sometimes she makes these so beautiful, I don't even know what to put on them.

So it's the old Frank Stella thing, like, "What can look better than the blank canvas?"

- Right!

- Can I show Tom something if- You mind if I take?

- Sure!

- Yeah, yeah!

Absolutely!

- Lead on!

- Okay!

So Julian, sometimes what I do in my process, in fact not only sometimes, all the time, the reason why this studio is so crowded with works is because I like to work simultaneously on the floor and I work in a very performative way where I traverse my paintings with this plank.

And I can also use it to sort of sit down and work on top of them.

- [Julian] As a conservator, Anna, seeing you get on that plank just made my pulse skyrocket.

- I'll bet!

Look, Julian.

- Oh, I can't!

(Tom laughing) I can't, I can't.

- [Anna] Yeah!

- This gives me so much nerves.

- I like to too and fro them.

I like to juxtapose them and move them around and start to see what kind of idea for that painting I can get from the periphery of whatever's else is going on.

- So when you work, do you have ideas ahead of time or is it an organic process?

- [Anna] Yeah, there's a lot.

- You kind of feel your way through it?

- Everything is generative in here, so depending on where I'm working, what kind of space I have, these are little tiny oil paintings that are like palm size and they're sort of- - Oh, I love those!

- My doodles.

- [Julian] Yeah!

- These are scaled proportionately exact, and then this scaled to my body space.

- [Julian] Okay.

Yeah!

- And so, they're all specifically related to my frame.

- So it sounds like you've developed a framework, a rubric for creating artwork.

- [Anna] Yeah!

- That seems to go hand-in-hand with the content.

Like, it's important not only the practice, the content, these things aren't separate, they need to be together.

I presume you developed that over time?

It didn't just come to you.

- These are sort of symbolic.

This is like a vocabulary, a visual vocabulary, and vocabulary of color that I've worked with repeatedly for many, many years.

So there's like this muscle memory that's involved.

- Your lexicon, right?

- Yeah!

Exactly!

And then there's a Robert Irwin quote, which I love, which is, "If you do something you must do it all the way through."

So I just took that quite literally and started to be really all the way through to make sure there was like some through line, but that one work would work for me and generate another work and another work, another.

So it's like an endless possibility.

- Okay!

I see three more paintings I want.

- [Anna] Okay, good.

Well, point them out, but I don't know.

- Okay.

I want!

I want this one, this one, and that one.

- You like those bleedy ones?

- I like these bleedy ones!

- [Anna] Really?

- Yeah!

And kind of this one.

I think I love that one too.

It's different, but.

- Well, the problem I'm having with these is I- - They have a green edge, that's- - I put the green.

No, it's tape.

- Oh, okay.

- Because I want to keep it clean.

- Oh, okay!

- That's for Julian.

- As an artist, do you think about that?

Like, materials and longevity of your work and how they're going to exist after you don't exist?

- Not as a rule.

Not as a rule.

But I'm very well aware because I've had a great number of residencies and I've had, like, some really good materials and techniques classes when I was a student, like I'm very aware of the chemistry.

- Sure!

- In fact, I even pay attention to the different behaviors of the pigment's chemistry.

- [Julian] Yeah!

- So I know the sort of story and pretty acclimated with all that stuff.

But when I don't have everything and I still want to work, I still work.

You know what I mean?

- Yeah!

Right!

- If I have to use OMS or if I have to use turpentine, for example, and I know I shouldn't, I'm still going to use it.

Because if that's all I have, I'm going to still do it.

And then that idea will still serve me for another work that maybe be more conscientious about those things.

- Right!

The art is paramount, and that's the most important thing.

Obviously, there are best practices and ideal practices, but at the end of the day, it's all about the art.

- Yeah, I think so.

And also, I don't know if I need them to live 100 years after I'm 40 feet under.

- Ah!

You're killing me!

- [Tom] They're going to be!

- You're like, you're tearing the conservator in me apart.

I mean, you know, between walking on top of them, raw canvas, and, you know, "They don't need to live forever."

- Right!

It's too much work.

It's too much work.

- Keeping them alive that long?

- Yeah!

But... - It's another person's problem.

- Well, that's what Tom's for too.

- That's what I'm for.

Have I ever given you the lecture about signing, dating, and everything?

- [Anna] Yes!

- Because as someone who has gotten a lot of cool old paintings from the flea market that are 100 years old, but you don't know who did it, I always say "Sign them, date them, title them!"

- The titling.

- Put where you live!

Put what you had for breakfast because you're going to be gone someday and the painting's going to be, someone is going to have it and they want to know who made this thing.

- Okay, so I think I have a pretty good understanding.

You start with those little oil sketches, they evolve into bigger pieces and then evolve into bigger pieces.

- [Anna] Right!

- The ideas kind of evolve, they generate themselves here, there's a dialogue.

And then at some point you bring Tom in, or Tom brings himself in, to start looking at what is going to leave the studio and become a gallery piece or go on to sale.

And then the pieces kind of take a life of their own, and that's kind of the whole life cycle of a painting.

I got it.

All right!

Sounds like a lot of work, but I think it makes a lot of sense.

(dreamy piano music) It has been a privilege to visit Anna's studio and talk with her about the art making process.

The space is filled with vibrant energy and the intense and deliberate atmosphere is a testament to Anna's creative vision and her dedication to work.

And in this space, in Anna's process, it's evident that these are the requirements to be a successful artist.

Every brush stroke, every color choice, every mark on the canvas must be carefully considered and executed with precision and purpose.

And while being in the studio has been enlightening, I still have one question that I wanted to ask.

Is there anything that you wish you knew years ago when you were becoming who you are now that would've been great?

- Not to let the voices of doubt shut you down too much.

It's a hard thing to have the confidence to just simply believe in yourself.

And then the importance of just developing a strong work ethic and discipline, and always going for quality.

Even when I'm asked to put work in auctions, I never put something that's like under my flat file.

I see artists do that all the time.

And then the third thing, be ready!

When the knock comes on the door again, you know, if you only have three works that are really awesome, but there's not a whole lot going on, it's not such an impressive presentation, you know?

- When opportunity knocks, you've got to show up and be ready for it.

- Just to wrap up today's visit.

- [Anna] Yeah!

- You're promising me this painting?

- Well, I'm not promising that.

- The red painting.

You're promising me this painting.

The red painting.

- [Anna] No.

No!

- And maybe that one?

- I'll see what I finish that I feel great about, but I think it could be really exciting to put the red painting and that, or the red painting and this.

So, yes.

I'll figure it out.

- This is how it always goes.

- [Anna] I'll figure it out.

- Okay.

Just don't let any of your fan dealers sweep in here.

- No, no, no!

- Okay.

- No, no.

(cheerful brooding piano music) (cheerful brooding piano music continues)