At a certain point, I became a kind of musician that has tunnel vision about jazz. I only listened to jazz and classical music.


I think I was a bit naive when I was younger. I don't know what it was: I sort of felt tunnel vision - I didn't really have peripheral vision or see the world and what was happening. I'm much more worldly, and I believe that I'm much more grounded in my body than I probably was when I was younger.

For about seven years. I really like it there. There are a lot of great musicians. The scene is very open. A lot of stuff going on. People's ears are really open, they are not closed. A lot of scenes here, people just get tunnel vision and are into one thing.

It's that one thing that you're passionate about, that you end up developing tunnel vision for and everything else tends to fall by the wayside. Passion is appealing and universal.

When I was 20 years old, I got cast in 'Spring Awakening' and got swept up in this experience where it was kind of tunnel vision. We were working - it was nonstop.

You kind of wake up in the morning, and you don't see anybody but these actors until you go home at night and pass out and do it again. So it's structured a lot like the process when you're making a film. You just kind of get in that tunnel vision. I like that. I like when the rest of the world kind of quiets.

The great ones have the ability to focus and tune everything else out and see more than the others. Average quarterbacks have tunnel vision. They see what's in front of them. The better you get, the more that tunnel expands, and the more guys on the field you see.

On a job, there's so much commitment you have to give, in regards to time, research... I like the tunnel vision of it that prevents anything else from getting in. The creativity and collaboration required there is very rewarding.