"Scary Movie" Soundtrack Lyrics

"Scary Movie (Music That Inspired the Soundtrack?)" – Album Guide to Tracks and Key Scenes

Overview

What happens when a slasher spoof steals the mixtape from the party it’s mocking? Scary Movie answers with a grin: arrival → adaptation → rebellion → collapse, driven by a high/low collision of 2000-era alt-rock, pop-rap, and a winkingly dramatic score. The soundtrack plays it both ways — music you’d actually hear at a teen house party, plus cues that parody horror’s “serious” suspense.

In the film, radio-ready cuts puncture the tension while David Kitay’s score slips in to ironize the scares — a tonal dodge that mirrors the Wayans’ joke cadence. On album, the songs sequence like a quick-hit mix: Fountains of Wayne, Bloodhound Gang, Save Ferris, Ramones, Royce da 5’9”, 2Pac, Black Eyed Peas, and Public Enemy share space with kit-bash gags and locker-room bravado.

It’s distinct because the compilation leans intentionally “obvious”: riffs you recognize, hooks that sell the punchline, and a few hip-hop curveballs. Meanwhile, the score album is short and surgical — little needles of suspense, reset for the next gag.

Genres & phases: pop-punk & ska-punk for high-school antics; alt-rock for chase-and-break beats; classic rap for swagger interludes; light horror-thriller scoring to lampoon the genre’s earnest heart.

How It Was Made

The songs compilation — officially titled Scary Movie: Music That Inspired the Soundtrack? — hit shelves July 4, 2000 under TVT/TVT Soundtrax. It’s a 16-track, rock/hip-hop blend anchored by Fountains of Wayne’s opener and Bloodhound Gang’s single. In parallel, composer David Kitay delivered a compact original score, later issued on CD as a 25-minute album (catalog STCD-886) with brisk cue titles tailored to the film’s set-pieces. As noted in trade reviews, the film’s music supervisor was Michael Dilbeck, keeping the needle-drops tight and joke-friendly.

Tracks & Scenes

“Too Cool for School” — Fountains of Wayne
Where it plays: Over the coda gag as Doofy leaves with Gail — a breezy, sardonic sign-off that lands right after the last twist; non-diegetic.
Why it matters: Credits-adjacent palate cleanser; the smirk before the lights come up.

“The Inevitable Return of the Great White Dope” — Bloodhound Gang
Where it plays: Album headliner and campaign-era cut tied to the film’s marketing rotation; non-diegetic energy in promos/edits.
Why it matters: Loud, rubbery bravado — perfect for the movie’s “we know we’re being ridiculous” posture.

“The Only Way to Be” — Save Ferris
Where it plays: Ska-spark under hallways/party bustle; used as a bright montage accent rather than dialogue bed.
Why it matters: Horns and bounce give the spoof its cafeteria-table tempo.

“I Wanna Be Sedated” — Ramones
Where it plays: Album feature that mirrors the film’s frenzy cuts and bathroom-door humor; non-diegetic needle-drop vibe.
Why it matters: Classic punk shorthand for chaos — instant comic acceleration.

“Scary Movies (Sequel)” — Royce da 5’9”
Where it plays: On the album; tied to the franchise’s end-credits aura in some edits/airings, with the Bad Meets Evil lineage hovering over fan memories; non-diegetic.
Why it matters: Rap meta-jokes meet slasher meta-jokes — perfect closing texture.

“All About U” — 2Pac feat. Top Dogg, Nate Dogg & Dru Down
Where it plays: Album inclusion that slides into party-scene DNA; non-diegetic hip-hop gloss.
Why it matters: A recognizable hook to keep the spoof grounded in actual turn-of-the-century listening.

“What What” — Public Enemy
Where it plays: Logged among the film’s licensed cuts; leveraged as brief connective tissue around school/exterior transitions.
Why it matters: PE’s bark slices through the comedy — a tonal jab between punchlines.

Bonus — the parody cue: “I Don’t Want to Wait” — Paula Cole
Where it plays: A Dawson’s Creek send-up moment uses the Cole anthem for a quick, unmistakable parody beat; non-diegetic gag placement.
Why it matters: Cultural shorthand — one bar and you know the joke.

Notes & Trivia

• The songs album streeted July 4, 2000 with catalog TVT 6830; runtime a lean ~55 minutes.
• A separate Scary Movie (score) CD collected David Kitay’s cues (Super Tracks STCD-886; ~25:35).
• Music supervision by Michael Dilbeck kept the joke rhythm tight between drops and score.
• The compilation leans “inspired by” — several tracks function more as marketing/transition energy than foregrounded scene beds.
• End-sequence music varies by version/airing; fans commonly cite rap cues and the Fountains of Wayne opener near the finish.

Music–Story Links

When the film lampoons a genre beat (a hall-stalk, a bathroom scare), Kitay’s short cues reset the stopwatch — tiny suspense bites that tee up the gag. When the movie swings back to teen-comedy mode, the compilation throws open the gym doors: ska-punk for hall passes, pop-punk for chase pratfalls, hip-hop for swagger and curtain calls. That alternation — serious shape, silly surface — is the movie’s rhythm section.

Reception & Quotes

Reviewers clocked the soundtrack as an era-true party mix that fit the spoof’s tone, while score fans enjoyed how Kitay’s cues play the horror grammar straight for comic effect. According to a major trade review, the film’s music team (composer + supervisor) was central to keeping jokes legible around the chaos.

“Rock/rap bangers do the heavy lifting; the score sneaks in the punchlines.” as summarized from soundtrack overviews

“Unbounded by taste… and very funny — music included.” as noted in contemporaneous reviews

Interesting Facts

• Two releases: a 16-track songs compilation (TVT) and a tight score CD (Super Tracks).
• Parody anchor: Paula Cole’s “I Don’t Want to Wait” is used for a Dawson’s Creek gag the audience instantly recognizes.
• Hip-hop thread: Royce da 5’9” contributes “Scary Movies (Sequel)” to the album; fans associate Bad Meets Evil history with the credits vibe.
• Ska-punk color: Save Ferris brings the brass — pure 1999–2000 high-school soundtrack texture.
• Label notes: TVT handled the compilation; Super Tracks issued the score on CD (catalog STCD-886).

Technical Info

• Title (songs): Scary Movie: Music That Inspired the Soundtrack?
• Year: 2000 (songs album July 4) / 2000 (score CD release)
• Type: Various-artists compilation + original score
• Composer (score): David Kitay
• Music Supervisor: Michael Dilbeck
• Labels: TVT / TVT Soundtrax (songs); Super Tracks (score)
• Key placements (album selections): “Too Cool for School” (end-gag/credits vicinity); “Great White Dope”; “The Only Way to Be”; “I Wanna Be Sedated”; “All About U”; “What What”
• Score picks: “Bye Bye Carmen”; “In the House”; “Cindy’s Ready”; “I’m a New Man” — brisk comedy-horror stingers
• Availability: CD and streaming (songs); CD (score), later digital highlights/retail listings

Questions & Answers

Is there both a songs album and a score album?

Yes — TVT’s songs compilation plus David Kitay’s short, separate score CD (Super Tracks STCD-886).

What plays during the final Doofy/Gail gag?

Fountains of Wayne’s “Too Cool for School” tags that coda before/into credits in common versions.

Who handled music supervision?

Michael Dilbeck — a frequent Adam Sandler/Happy Madison collaborator — supervised music here as well.

Is Paula Cole’s “I Don’t Want to Wait” actually used?

Yes — in a Dawson’s Creek parody beat. One bar sells the joke.

What’s the official release date and label for the songs album?

July 4, 2000 on TVT/TVT Soundtrax (catalog TVT 6830).

Canonical Entities & Relations

Sources: Wikipedia film page & soundtrack section; Variety review credits; MovieMusic (album pages & catalog data); Spotify album page; SoundtrackINFO Q&A; Muziekweb & retail listings; trailer archive.

November, 26th 2025