I was born in the 50s, my mom was pregnant in the 50s, [Frank] Sinatra had that big come back around then, From Here to Eternity.

It didn't feel organic and [Tito] Gobbi was one of the artists that was able to, along with Maria Callas, incorporate not just the sound, but the emotion, the technique of the singing.

That's what [Frank] Sinatra did. He was the first artist to come out in a major way against anti-Semitism and racial bigotry. And those are huge things back in the 50s and 60s and 70s - and he was doing this in the 40s.

In an Italian household, there were two figures for me growing up - you had the Pope and you had Frank Sinatra, and, of course, Tony Bennett. And not necessarily in that order.

The [Frank] Sinatra interpretation of the music, as opposed to some other music that you were listening to - where you felt like they were singing at you - you felt Sinatra was singing to you. It's a very intimate art form, and that's what I responded to - the intimacy of his performance.

Phil Ramone and Quincy Jones were very close. Phil Ramone was one of the greatest record producers of all time. I don't know if they talk about him enough in the film, but he produced [Frank] Sinatra, Barbra Streisand, all of Billy Joel, Paul McCartney - Phil Ramone was one of the major record engineers and producers.

I just sang, recently, for the Prime Minister of Bangladesh - the 34th most powerful woman in the world, according to Forbes Magazine. The United Nations had an event where her son got an award and they put me on this special program on competitiveness and sustainability, and we're talking about doing a world tour of me and the music.