He was reportedly afraid that Presley would realize that there were other managers available, contracts that did not require as much as 25% for his manager. Parker was still worried that Presley would return to nothing, that the public would have found a new star to fawn over by then, and that his golden goose would be reduced to nothing more than a "has-been." For Presley's return in March 1960, Parker had arranged for a train to take him from Washington, D.C., to Memphis, with stops along the way for fans to see their idol in person. If Parker had had any doubts about his return, they were soon gone when he witnessed the turnout along the route. Frank Sinatra, who had declared Presley and rock and roll a disgrace in the 1950s, was keen to have him appear on his show. Parker, not one to forget harsh criticism, stated that the fee would be for two songs, a total of eight minutes on screen; Sinatra himself was receiving a lower sum for the whole show, but he agreed. The show, entitled “Welcome Home, Elvis”, was Presley's first national television appearance since "The Ed Sullivan Show" in January 1957. After the Sinatra special, Parker decided that Presley's future lay in Hollywood. He envisioned him as an entertainment machine, pumping out three films and soundtracks a year, until the end of the decade. He allowed him to perform three live shows in 1961, all charity events, two in Memphis and one in Hawaii. After that, until 1968, Presley gave no live performances, and had very little contact with his fans. Parker signed long-term contracts with the film studios, possibly to guarantee work and income for both him and Presley. This was, with hindsight, a mistake on his part; if he had negotiated each deal separately based on the profits of the previous film, he could have received more money. Throughout the 1960s Parker would continually renegotiate Presley's film contracts, often paying little attention to the scripts or the thoughts of his client. These deals were sometimes so harsh on the studios that it led producer Hal Wallis to state, "I'd rather try and close a deal with the Devil." Presley had to do no more than provide RCA with three albums a year, and his film soundtracks did that for him. With no touring or public appearances to be made, Parker was able to keep costs to a minimum. For the first few years Presley's films were somewhat successful, his albums topped the charts, and any singles that were released were mostly hits.