OK. Here’s the scene. Identify it.

Some puzzled people scratching their heads, saying, “I know we forget something…What was it? … Lemme think…It’s something just nagging at the back of my mind…”

And suddenly one of them shrieks with alarm, “Kevin!”

Is it:

A)Catherine O’Hara in an airplane in Home Alone?

B)Matt Damon and Ben Affleck after the Oscars?

Either answer is acceptable, but in this case I was specifically referring to (B). As the two winners for the screenplay Good Will Huntingthanked a whole bunch of folks for their Oscar win, they became naggingly aware they were forgetting someone. And I was sitting there saying to the screen, “Kevin Smith. You’re forgetting Kevin Smith.”

The Clerks writer-director, you see, was responsible for taking the film to the head of Miramax, when the low-level readers had already passed on the material. (Because that’s what low-level readers are paid to do. They’re not paid actually to assess marketability or even really read if they don’t feel like it. A couple of studio readers passed on Sachs & Violens claiming that it “was just like Barb Wire” –indicating that they hadn’t even bothered to open the comic book, since the two series are nothing alike.) Without Smith, Good Will Hunting wouldn’t have been made — or at least wouldn’t have been made at this point.

You’d think that, since they were up for writing, they might have actually written something to have in front of them.

In the world of independent movies, where taking risks is the norm, Object‘s treatment of homosexuality would not seem so unusual. In fact, one of last year’s most critically acclaimed films was the low-budget ChasingAmy, in which a straight man falls in love with a lesbian.

But Chasing Amy cost $200,000; The Object of My Affectioncost $30 million. Since the financial stakes are much larger, Hollywood movies must appeal to a massive audience to make a profit. Producers play it safe and rely on stereotypes, assuming that if the gay characters behave as general audiences think they behave, no one will be offended.

Ben AFFLECK

TV work includes: Against the Grain (1993-1994)

Major movies: “Chasing Amy”, “Good Will Hunting”The Oscar-winning screenwriter (for “Good Will Hunting”) played the reluctant star quarterback in a small Texas town in this drama (above). But NBC executives took a while to warm up to the idea of Affleck in a lead role. “They really didn’t want him,” recalls cocreator Dave Alan Johnson, even though Affleck had already appeared in the film “School Ties” and, from 8 to 14, had hosted the PBS documentary series The Voyage of the Mimi. Originally, Johnson says Affleck tried out for the part of a prima donna player. “We were sold on the idea that this guy is a jerk, but he turned around and could play this hero that everyone loved,” Johnson says. “He was so convincing in both roles, yet they were polar opposites.”

Just spoke with Ben – Casey‘s on set in NYC doing ‘200 Cigarettes’. Since he’s shooting this evening, it’s a safe assumption that he’s not shuffled loose the mortal coil.

Folks, you might want to verify shit like that before you throw it into cyberspace. It just about gave Affleck cardiac arrest. Please – a little more responsibility in the future.

Short of that, there’s nothing much new to report. Same old, same old – shot some great stuff, captured some amazing performances, watched some great dailies.

Like anything else in life, it all becomes somewhat commonplace after the first few weeks. Unlike much else in life, the moment we start shooting a new scene, it’ll all take on that spring feeling of crisp, fresh renewal.

Good God – I’m starting to sound like smalls.

Anyhoo, I saw some pix of our ‘God’ in her costume. Quite nice. Abigail (the costume designer) has outdone herself yet again – no easy feat, that, as all the wardrobe in the flick’s been quite keen thus far.

Today, the Miramax folks held a photo session for the poster shoot. One by one, they’re snapping portraits of the cast, for what we’re all sure is going to be another exemplary Miramax campaign on this flick when it nears release. Jay and I won’t be shooting ours until after we wrap Pittsburgh, but mostly everyone else will be done by then.

Tomorrow, we finish what we affectionately refer to as ‘the train sequence’. After that, it’s a day down on the Lord’s day (only fitting on this picture), and back at it Monday morn.

We’re almost at the halfway mark for the shoot, folks. And while the end’s not in sight just yet, I can see a time when I’ll be able to kick back at the Stash and not worry about a 7:00am call time…

Which is what I’m doing now. G’night.