There was something in the bel canto, not just opera, but a certain style of Italian singing that I responded to deeply.

Quincy [Jones] is one of the greatest world figures, of all-time. I mean he's up there with Muhammad Ali, as far as I'm concerned. His humanitarian work, his contribution to the world and music - he's really an amazing man. Even political divides don't affect his humanity. So, to me, that was extremely meaningful.

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.

I studied with Stella Adler and I didn't like the representational aspect of most opera singers. Most of the opera singers had not a false, but over theatrical way of presenting.

Everyone, young and old, was responding to [Frank] Sinatra. So, the first time that I physically remember, it was as a youth. He always seemed to be there, let me put it that way. I can't remember the exact first time, but I can remember the effect his voice had on me.

You have your children and it's hard to even hold it in - emotionally.

I didn't want to become this stiffened - and that was just a personal choice, at that time. And, the idea was also to go to film first, get enough notoriety in film that I could interpret some of the opera stuff the way I would want to interpret it.