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Not sure if this has come across the board before, but I was watching the Mallrats DVD, listening to the commentary which included Kevin Smith and Ben Affleck. This commentary was recorded in about 1999. If anyone has the special edition DVD, play the movie with the commentary and go to the elevator scene. At the end of the scene, some dramatic music plays and Affleck, watching himself onscreen and commenting, imitates the music played and says how it sounded like Danny Elfman. Probably no big for everyone here, but I got real excited when I heard Ben Affleck willingly acknowledge Danny Elfman’s existence. He has to know who he is, considering he scored the movie for which Affleck won an Oscar (Good Will Hunting, for those of you who may not know).
While on the subject of Good Will Hunting, I turned on my TV today and the 2003 version of The In-Laws was on, so I watched the final five minutes and was surprised to hear the Main Titles from GWH playing during the wedding scene. That topic has been on the board before, but I just wanted to bring it up again. It was cool. It dawned upon me that it would be totally awesome to make a movie and use previously-composed cues throughout the whole thing. Okay, I’m done. Goodnight.
If you listen to the commentary track on the Dogma DVD Kevin Smith talks about how he went over to Elfman’s house to talk to him about doing the score, but because of some scheduling conflict Elfman couldn’t do it and Howard Shore stepped in.
Just FYI
Nat
Dear sweet irony…Shore has twice taken Danny’s place. First he does Dogma (good movie, by the way), then he wins Danny’s Oscar?! I’m not the biggest fan of Shore. His music seems to be generic and repetitive. That’s my input, which has been on this board before.
Howard Shore’s small, quiet dramatic scores are excellent, but I get tired of his Lord of the Rings music very quickly.
Maybe because it played so much at the last Academy Awards.
I adore Fellowship of the Ring . . . it’s easily in my top 5 scores ever. Then, like the movies, the second in the series was a little iffy . . . wonderful in spots, but not quite as solid as a whole, and then the third felt totally cheap overall, with a lot of wtf-type decisions made.
And I love love LOVE Ed Wood. Beyond that, Howard Shore hasn’t given me reason to notice his music one way or another, which could be considered good (from the standpoint that it does its job in the movie) or bad (that someone whose favorite thing about movies is the music doesn’t notice his music 95% of the time)
My two favorite Howard Shore scores are NOBODY’S FOOL and MRS. DOUBTFIRE, although BIG and ED WOOD are up there as well.
After seeing FELLOWSHIP, my sister — who could not give a rat’s ass about film music — commented about how “bullocks” the music was! That’s not a good sign for how well Shore’s music plays with non-film music fans.
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