A Quote by Tony Visconti

Pop was initially ignored as a moneymaker by the recording industry. In the seventies they were still relying on Frank Sinatra and Tony Bennett for their big hits. You know, most of the budget for the record companies in those days went to the classical department - and those were big budget albums.
I heard Tony Bennett say that when you're a big deal early on, you have to maintain that level forever, and it's very scary. You have to keep hitting those home runs, turning out hits.
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.
Look, I've done some low-budget movies and I've done some big-budget movies, and the big-budget movies were always kind of disorganized.
I don't know what the misconceptions are, but I approach a small budget, artsy, independent movie in the same way as a big budget, commercial Hollywood movie. I don't get into those [details]. I have to get into my character and I concentrate on that, on the story, on researching, and on certain training if I have to be prepared physically. I think that's the most important thing.
Towards the end of the seventies pop was gaining the momentum and respectability was very high with groups like Yes and Queen who were making "classical" rock records. They were also bringing in big bucks. So the eighties became the "bottom line" decade.
It can have an enormous effect because big budget movies can have big budget perks, and small budget movies have no perks, but what is the driving force, of course, is the script, and your part in it.
When you're involved in those big-budget movies, there's a lot of hype: 'Oh this is gonna be a big hit!' And 'A Christmas Story' wasn't. It came and went and was a big disappointment at the box office.
The budget enforcement rules of the 1990s were an important part of getting the budget back into balance. It was done on a bipartisan basis. Those pay-as-you-go rules were tested and they worked. We are now in a one-party system, and we have thrown them out.
As far as entertainers, I know I'll sound like a cliché but they don't make 'em, like they use to. Barbra Streisand is one of them, also Frank Sinatra and Tony Bennett. The first theater voice I heard on a record was Ethel Merman and again, they just don't make them like that anymore.
My parents, the effect that [Frank Sinatra] had on the Italian community, in terms of all our friends at the house were multicultural. We weren't just Italians. My dad's close friend was a black gentleman - this was back in the early 50s when Tony Bennett was reprimanded for having lunch, when he was in the military, with a black man.
[Frank] Sinatra, to everyone, even Tony Bennett, was such a huge influence because he had mastered not only music, but film and radio.
I prefer the smaller budget versus the bigger budget because the mentality that goes along with big budget filmmaking doesn't really suit me; the mind-set that money is the answer.
The bigger the budget, the less an audience is trusted, and that's the difference between a big-budget film and a small-budget film.
It's a 'Doctor Who' budget. A BBC budget, although a very good one. But you know you can't do dinosaurs endlessly for 45 minutes, so there has to be a big 'other' story going on.
There's no big budget Canadian movie. Whatever movies are big budget in Canada come from the States. Or also have States financing. Everything's pretty small.
I respected Ella Fitzgerald, Nat King Cole and Frank Sinatra. Those were my heroes, and they were 10 years older than I was.
This site uses cookies to ensure you get the best experience. More info...
Got it!