When you’ve collaborated with someone as long as I have with Gregory Kasunich, there’s a certain amount comfortable unspoken understandings that take place.  After all, our journey began as students at Temple University in Philadelphia, PA.  Quite often, Gregory has already been collecting data well before shooting.  A loose concept of musical direction may be in place by the time I enter the picture.  However, there has always been room for these ideas to filter through my own lens, and often take very different shapes.  

 

Heart of Texas was conceived in such a manner.  We knew we wanted to stay away from Americana tones, to leave room for the song to shine.  We also knew it wasn’t going to be classical in nature.  Something else that was important to Gregory in this project, that the music didn’t try to overwork the audience emotionally.  The performances are strong and we didn’t want to get in the way.

 

An important aspect that was on the menu almost from day one was percussion.  We had early talks about how the kitchen scene would play out, and it finally time for me dispatch a secret weapon, Anthony DiBartolo.  Anthony and I had known one another since my days as a young lad scrapping through the thankless bar music scene of south Jersey.  Anthony can play anything and his aptitude for the experimental would make him a standout in any region.  I visited his home studio for an early discussion and was dazzled by an array of pings and tings of all shapes and sizes.  Anthony’s creativity spilled into an unplanned cue, the music you hear underneath the cop sequence.  You hear traditional drums mixed with car parts and who knows what else.  I’ll never shy away from a great idea that originates outside of my mind!  

    

Heart of Texas is an encapsulation of raw emotionally power.  It is humanity at it’s best and worst, a true gift of a musical vessel for any composer.  

 

 

- Gene Micofsky