J UNO The movie
Director Jason Reitman s c r ip t by d i a b l o co dy
â€œIn my opinion, the best thing you can do
is find a person who
loves you for exactly
what you are
Good mood, bad mood,
u g ly, p r e t t y, handsome, what have you,
the right person NAME:
will still think
the sun shines out your ass.â€?
BIO: Mac married an woman and had Juno with her, then they divorced. He was granted full custody, and she moved away. About one or two years after the divorce, Mac and Bren got married. Five years after that, they had Liberty Bell.
JUNO MCGUFF JUNEBUG
BIO: Juno is a very outgoing individual with a strong memorable personality. Some of her interests include quenching her thirst with Sunny D, and talking to her best friend Leah on her hamburger phone.
“I don’t really
KNOW What Kind of
GIRL I am.”
“...but I’m a LEGEND . THEY CALL ME the cautionary
ess than a ye ar af te r b l owi ng pe o ple away wi th his adaptati o n of C hr i stop he r Buc k ley ’s Thank You for S m o k ing, dire cto r Jason Rei t ma n has re tur ne d, g rac e f u l ly s i d e-s tep ping the wo r r i e s o f a s op homore slump by tak ing a d i f feren t ro ute with his se co nd f i l m , en t i tle d “Juno”.
Co mi n g s o on .co m presen ts an i n te r v ie w w i th Jaso n Rei tm an . How did Diablo’s script come your way? A very good friend of mine is friends with the guy who discovered her online, so he got a copy early and he gave it to me. Did you know about her book “Candy Girl” and the buzz surrounding it already? Never heard of it. I just got a call saying, “There’s
this script you got to read. It’s a high school comedy,” and I said, “Really?” And he goes, “Yeah, but it’s really good. You have to read it today.” So the messenger arrived, I opened the script, I started reading it and I was still standing up. I was in the kitchen when I started reading it. I feel like you get that call fairly often: “This script is amazing. You have to read it,” then you read it and you go, “Oh yeah.” Sometimes, you get the scripts that are on secret spy paper that’s uncopyable and you have to sign contracts to read the screenplays.
There are all sorts of stuff that happens that’s supposed to inspire excitement, but nothing’s quite as exciting as a fresh voice, and that’s what I saw on Page One and I was just like, it was instantaneous. I was like “Oh my god, this girl can write.” Then it just becomes a question of, “Well she can write, but is there a story here?” then about halfway through, by the time we got to the ultrasound scene, I was pretty confident that if I didn’t direct this movie I would regret it for the rest of my life. Considering how much you’ve been working with her, has her writing influenced your own writing at all? It’s so different from how I write that, no it doesn’t really. My writing voice is very much like “Thank You for Smoking.” It’s a guy’s voice. It’s very masculine. Not to say that her voice is very feminine, but they’re very different. I can’t imagine any teen girl acting or talking like Juno does, so how realistic do you think this is and does it matter to you how close something is to real life or not? To be honest, I thought there was a lot of reality in the film. Even though there is some heightened dialogue, Ellen Page is very much like that, I’ve met a few young people. Above: Juno’s Purchases in the Dancing Elk Drug store scene. Far Left: Pennyroyal pills were a commonly accepted form of abortion in the 1800’s, but were also very bad for the body. Middle left: Detail shot of wood engraving, a technique used by signmakers in the 19th century. Left: Receipts were viewed more as binding contracts.
“IT ENDED W I T H A C H A I R” i ab lo Co dy o n The Fil m Th at Pu t Her On the Map, ‘Ju no’. Bac k in the days when she was workin g as a stripper and pho ne sex o pe rato r, Diabl o Cody never d ream ed she’d on e d ay b e t he to ast o f the Te llu rid e and Toron to fil m festival s, with a p roj ec t in the wo r k s wi th S teven Spiel berg, a secon d movie d eal , and O s c a r b u z z spi nni ng aro und her.
Cody got her big break when her quirky, honest writing style on her blog caught the notice of manager Mason Novick, who then helped her secure a literary agent for the blog entries she was compiling into a book. Candy Girl: A Year in the Life of an Unlikely Stripper, about her experiences as a stripper and phone sex operator, shortly followed. It was Novick who suggested that Cody had a good voice for writing a screenplay. The idea for “Juno,” Cody’s first film, directed by Jason Reitman, started with the seed of a memory of the experiences a friend of Cody’s had in dealing with a teenage pregnancy. Cody added in a healthy dose of her own personality, mixed in some tight, clever dialog, and before she knew it, “Juno” was being shopped all over Hollywood. The screenplay caught Reitman’s eye early on; fresh off the success of his freshman
as Juno, the film started shooting on Valentine’s Day, and seven months later, “Juno” was sneakpreviewed at the Telluride Film Festival to an almost overwhelmingly positive buzz. It went on to play well at the Toronto International Film Festival — and suddenly everyone wanted a piece of Cody. With “Juno,” Cody was able to be very involved throughout the production process. Reitman is not lined up to direct either her new film or her pilot, though, and I wondered if she’s feeling nervous about working with someone else. “With ‘Girly Style,’ it’s going to be very different – it’s a much bigger picture than ‘Juno’ was, bigger budget, it’s a studio film.” She pauses to munch a post-hangover, pre-workout banana. “I was gonna say, I don’t think big studio films lend themselves to collaborative effort, but maybe that’s not true.”
feature effort, “Thank You for Smoking,” Reitman
Cody herself is a California girl these days. She and
got himself attached as director, Ellen Page was cast
her husband Jonny (her right arm bears a tattoo