Over the next few months, Hollywood's hottest writer, Diablo Cody, will see her second and third scripts rushed into development. One of those, Girly Style, is a girl's version of Superbad. The other is a horror film called Jennifer's Body, starring Transformers' Megan Fox, and it's about -- wait for it -- a cheerleader that eats boys. Literally. If you want to know what kind of mind could come up with such a thing, a good place to start is with Cody's 2005 memoir Candy Girl, which chronicles her unlikely journey from teenage miscreant in a punk band called Yak Spackle to achingly ordinary office drone to topless dancer (she went by Roxanne and other names) to popular blogger to aspiring screenwriter in her late twenties.
Cody's debut script, Juno, was snapped up after the success of Candy Girl and given to indie darling Jason Reitman to direct. The result is a sweet, sharply-observed comedy about immaturity and growing pains, told from the point of view of a 16-year-old girl who, after getting pregnant accidentally, decides to have the baby and find a family to adopt it. With the film's release just last week, hopes are more than just high -- Juno has become Fox Searchlight's Oscar wing and a prayer this year. During last week's publicity jaunt, SuicideGirls was able to wrangle a few minutes with D.C.
Ryan Stewart: Can you see yourself bouncing out of Hollywood one day as easily as you've bounced into it?
Diablo Cody: I can't imagine wanting to leave. I've moved to Los Angeles and I enjoy it very much and, you know, I floundered in the real world. I failed. I was a very incompetent office worker, so I hope I never have to return to that kind of reality. If I wasn't in Hollywood, I would probably be a teacher, teaching writing. Although I don't really feel that writing can be taught. I think maybe I'd be talking more about pop culture.
RS: What observations have you made about the business so far?
DC: Many. I'm writing a book on the subject. I think Hollywood is fascinating and I enjoy Hollywood. It seems like so many people are cynical about the movie business. I really can't stand when I meet somebody from, like, Cleveland who is an armchair cynic about Hollywood. I think to myself, "What experience do you have? You don't know anything about it." It's a town full of dreamers. It's Oz. It can be a machine, but I don't think it's as sinister as a lot of people would like to believe. It's people making movies. They're making movies, not trying to take over the world. Washington is evil, Hollywood is not.
RS: If you go ahead and write a book that names names, are you in danger of becoming Joe Eszterhas?
DC: I'm not gonna name names. I'm not gonna commit career suicide before I even get a chance to live, in that regard.
RS: Earlier today, I heard Ellen [Page] respond to someone's question of, "What did Jason Reitman bring to Diablo's script?" with "I'm just glad he didn't turn it into a pseudo-contrived stab-a-fork-in-my-eye-because-I-can't-handle-this movie." I thought that was pretty funny.
DC: [Laughs] Yeah, that's how I feel about it. I did not want to write a movie about teen pregnancy that was melodramatic in any way, you know? We've all seen the after-school specials. We've all been fed the party line that women who have sex are going to descend into madness or tragedy. And I say screw that. I'm going to write a positive, uplifting movie about a girl.
RS: Ellen was responsible for bringing in some of the music that ended up in the film, right? The Moldy Peaches?
DC: Ellen is responsible for the entire Moldy Peaches vibe of the movie. Jason asked Ellen what kind of music she thought Juno would listen to and Ellen immediately answered The Moldy Peaches. She played some Moldy Peaches songs for him and some Kimya Dawson solo stuff and Jason immediately knew that that was the soundtrack for the film.
RS: Was Juno's duet with Polly in the original script?
DC: She makes reference earlier to "let's get the band back together" and originally the final scene was the same thing, she's riding her bike and she meets up with Polly, but then they join the band and they play a song. It was like this aggressive punk song, which was the kind of music I had originally envisioned in the movie. It turned into the two of them kind of serenading each other, and I think it's really beautiful.
RS: There's been a lot of talk about the underlying abortion issue, as downplayed as it is. Do you think Juno's decision, to go through with the pregnancy, is a wise one?
DC: I don't know. I think she makes a personal choice. I don't know what I would call it and I don't know if that would be my personal decision. But I think her journey is rich and valid.
RS: I like how when she first tells her parents about the pregnancy, she presents them with the problem and a solution simultaneously. I did that a lot at her age, "I wrecked the car, but here's how we'll all benefit from this."
DC: That's what I would do! You think you're going to avoid getting in trouble and you immediately have the antidote ready. I would call my parents and say, "Hey guys, I had a party and the house is trashed, and dad, somebody broke your treadmill -- but -- my buddy Ace is gonna come and fix it with his dad's tools! It's all good!"
RS: Given how Mark, the adoptive father, and Juno are both struggling from immaturity, is that the theme of the film?
DC: Yeah, well, I think maturity is the theme of the film. I personally am an immature adult. I relate to Mark, probably more than any other character in the film besides Juno. And being in a state of perpetual adolescence, the idea of maturity and the idea of being a decent adult is something that kind of haunts me and tortures me and intrigues me.
RS: Are you naturally sympathetic to people who don't get their shit together until their thirties?
DC: Absolutely. I'm sympathetic to people who don't get their shit together until their fifties. If you're the kind of person who retains a rebellious spirit throughout life, it's difficult to fall into line. I don't know how to say it, but I can't help being the way that I am. I'm a big woman-child. And it's obviously who I am in my core, because I've been fed so much propaganda in the world about how a 30-year-old woman should be maternal and nurturing and sort of rolling her eyes at the immaturity of men. I consider immature men to be my peers and my homies.
RS: The cast of Juno seems to gel with your writing very easily. During the writing stage, you never imagined any of these actors in it, did you?
DC: Absolutely not -- I'm a dreamer, but not that much of a dreamer. I didn't envision that the film would be made, let alone that there would be a certain cast.
RS: Did you work with them on the set, tweaking stuff here and there? Can you give an example?
DC: You know, they wanted another scene with Michael Cera at some point, so I sat down and wrote a scene where they meet each other in the hallway and briefly discuss going to see that movie about the guy with twelve kids or whatever. I think I wrote that right there. And that's awesome as a writer, for someone to say 'go write a joke' and then you get to go do it, and then they shoot it. I think that's one of the reasons that working in TV appeals to me. It's that fast turnover.
RS: Are you taking offers to punch up scripts these days?
DC: You know, I think that was something people expected me to do, because it's a great way to make money. I'll answer your question -- no. I'm completely open to the idea and I've gotten the offers, but I seem to just gravitate toward writing original spec scripts.
RS: And now's the time for that, obviously. You've got to strike while the iron's hot.
DC: Yeah, exactly. And I haven't really had time in the last couple of years to do any punch-ups, because I really have kept busy with my own stuff and I've been fortunate enough that my stuff is being well-received.
RS: You've written that you see the blogosphere as just another outlet for talent, meaning you feel that the talent will rise to the top.
DC: I do, I think it's a great opportunity to self-publish. It's difficult now because there's such a glut of blogs. It was easier for me, even just a few years ago. But yeah, I know for me, I had difficulty being published, so when I started blogging, for me it was a wonderful opportunity. I thought, "Now people can read what I've written and I don't have to deal with rejection and I don't have to deal with The Man. I'm just gonna put it out there." The instant something pops into my brain, I can publish it. That's pretty freeing. There's a spontaneity to blogging that we've never seen in literature prior.
RS: So you're not dealing with The Man at all now? Are you protected in some kind of a celebrity-screenwriter bubble?
DC: [Laughs] I'm kind of in a bubble right now, to be frank. But I deal with The Man from time to time. But I'm good. I'm good with The Man. Just bat your eyes and blow in his ear.
RS: By the way, like you, I'm a huge horror fan and always have been. I'm really looking forward to Jennifer's Body -- the premise is hilarious. Is there anything you can tell me about it that nobody knows yet?
DC: That nobody knows? Okay, good. Let's see. I don't want to give away anything crucial. I feel like I've already said too much about that movie and everybody knows exactly what happens. I don't want to give anything away! Sam Raimi is an influence -- I haven't really said that, have I? I don't think so. I'm digging really deep here, trying to think of something specific in the movie that would be good, because I want to make a horror fan happy. There's a character that has a prosthetic hand.
RS: There's my big exclusive.
DC: There you go.
RS: You've said before that your ambition is to specifically become a horror director -- is that for real? That's a goal of yours?
DC: Yes. That is a dream of mine. I want to be a director and I think I should be directing horror movies. That occurred to me this year, though, so it could just be some wild Diablo flight of fancy.
RS: Are those common?
DC: Yes. Although they sometimes happen! So I try not to abandon those ideas.
For more information on Juno, check out the official site at www.foxsearchlight/juno.
Cody's debut script, Juno, was snapped up after the success of Candy Girl and given to indie darling Jason Reitman to direct. The result is a sweet, sharply-observed comedy about immaturity and growing pains, told from the point of view of a 16-year-old girl who, after getting pregnant accidentally, decides to have the baby and find a family to adopt it. With the film's release just last week, hopes are more than just high -- Juno has become Fox Searchlight's Oscar wing and a prayer this year. During last week's publicity jaunt, SuicideGirls was able to wrangle a few minutes with D.C.
Ryan Stewart: Can you see yourself bouncing out of Hollywood one day as easily as you've bounced into it?
Diablo Cody: I can't imagine wanting to leave. I've moved to Los Angeles and I enjoy it very much and, you know, I floundered in the real world. I failed. I was a very incompetent office worker, so I hope I never have to return to that kind of reality. If I wasn't in Hollywood, I would probably be a teacher, teaching writing. Although I don't really feel that writing can be taught. I think maybe I'd be talking more about pop culture.
RS: What observations have you made about the business so far?
DC: Many. I'm writing a book on the subject. I think Hollywood is fascinating and I enjoy Hollywood. It seems like so many people are cynical about the movie business. I really can't stand when I meet somebody from, like, Cleveland who is an armchair cynic about Hollywood. I think to myself, "What experience do you have? You don't know anything about it." It's a town full of dreamers. It's Oz. It can be a machine, but I don't think it's as sinister as a lot of people would like to believe. It's people making movies. They're making movies, not trying to take over the world. Washington is evil, Hollywood is not.
RS: If you go ahead and write a book that names names, are you in danger of becoming Joe Eszterhas?
DC: I'm not gonna name names. I'm not gonna commit career suicide before I even get a chance to live, in that regard.
RS: Earlier today, I heard Ellen [Page] respond to someone's question of, "What did Jason Reitman bring to Diablo's script?" with "I'm just glad he didn't turn it into a pseudo-contrived stab-a-fork-in-my-eye-because-I-can't-handle-this movie." I thought that was pretty funny.
DC: [Laughs] Yeah, that's how I feel about it. I did not want to write a movie about teen pregnancy that was melodramatic in any way, you know? We've all seen the after-school specials. We've all been fed the party line that women who have sex are going to descend into madness or tragedy. And I say screw that. I'm going to write a positive, uplifting movie about a girl.
RS: Ellen was responsible for bringing in some of the music that ended up in the film, right? The Moldy Peaches?
DC: Ellen is responsible for the entire Moldy Peaches vibe of the movie. Jason asked Ellen what kind of music she thought Juno would listen to and Ellen immediately answered The Moldy Peaches. She played some Moldy Peaches songs for him and some Kimya Dawson solo stuff and Jason immediately knew that that was the soundtrack for the film.
RS: Was Juno's duet with Polly in the original script?
DC: She makes reference earlier to "let's get the band back together" and originally the final scene was the same thing, she's riding her bike and she meets up with Polly, but then they join the band and they play a song. It was like this aggressive punk song, which was the kind of music I had originally envisioned in the movie. It turned into the two of them kind of serenading each other, and I think it's really beautiful.
RS: There's been a lot of talk about the underlying abortion issue, as downplayed as it is. Do you think Juno's decision, to go through with the pregnancy, is a wise one?
DC: I don't know. I think she makes a personal choice. I don't know what I would call it and I don't know if that would be my personal decision. But I think her journey is rich and valid.
RS: I like how when she first tells her parents about the pregnancy, she presents them with the problem and a solution simultaneously. I did that a lot at her age, "I wrecked the car, but here's how we'll all benefit from this."
DC: That's what I would do! You think you're going to avoid getting in trouble and you immediately have the antidote ready. I would call my parents and say, "Hey guys, I had a party and the house is trashed, and dad, somebody broke your treadmill -- but -- my buddy Ace is gonna come and fix it with his dad's tools! It's all good!"
RS: Given how Mark, the adoptive father, and Juno are both struggling from immaturity, is that the theme of the film?
DC: Yeah, well, I think maturity is the theme of the film. I personally am an immature adult. I relate to Mark, probably more than any other character in the film besides Juno. And being in a state of perpetual adolescence, the idea of maturity and the idea of being a decent adult is something that kind of haunts me and tortures me and intrigues me.
RS: Are you naturally sympathetic to people who don't get their shit together until their thirties?
DC: Absolutely. I'm sympathetic to people who don't get their shit together until their fifties. If you're the kind of person who retains a rebellious spirit throughout life, it's difficult to fall into line. I don't know how to say it, but I can't help being the way that I am. I'm a big woman-child. And it's obviously who I am in my core, because I've been fed so much propaganda in the world about how a 30-year-old woman should be maternal and nurturing and sort of rolling her eyes at the immaturity of men. I consider immature men to be my peers and my homies.
RS: The cast of Juno seems to gel with your writing very easily. During the writing stage, you never imagined any of these actors in it, did you?
DC: Absolutely not -- I'm a dreamer, but not that much of a dreamer. I didn't envision that the film would be made, let alone that there would be a certain cast.
RS: Did you work with them on the set, tweaking stuff here and there? Can you give an example?
DC: You know, they wanted another scene with Michael Cera at some point, so I sat down and wrote a scene where they meet each other in the hallway and briefly discuss going to see that movie about the guy with twelve kids or whatever. I think I wrote that right there. And that's awesome as a writer, for someone to say 'go write a joke' and then you get to go do it, and then they shoot it. I think that's one of the reasons that working in TV appeals to me. It's that fast turnover.
RS: Are you taking offers to punch up scripts these days?
DC: You know, I think that was something people expected me to do, because it's a great way to make money. I'll answer your question -- no. I'm completely open to the idea and I've gotten the offers, but I seem to just gravitate toward writing original spec scripts.
RS: And now's the time for that, obviously. You've got to strike while the iron's hot.
DC: Yeah, exactly. And I haven't really had time in the last couple of years to do any punch-ups, because I really have kept busy with my own stuff and I've been fortunate enough that my stuff is being well-received.
RS: You've written that you see the blogosphere as just another outlet for talent, meaning you feel that the talent will rise to the top.
DC: I do, I think it's a great opportunity to self-publish. It's difficult now because there's such a glut of blogs. It was easier for me, even just a few years ago. But yeah, I know for me, I had difficulty being published, so when I started blogging, for me it was a wonderful opportunity. I thought, "Now people can read what I've written and I don't have to deal with rejection and I don't have to deal with The Man. I'm just gonna put it out there." The instant something pops into my brain, I can publish it. That's pretty freeing. There's a spontaneity to blogging that we've never seen in literature prior.
RS: So you're not dealing with The Man at all now? Are you protected in some kind of a celebrity-screenwriter bubble?
DC: [Laughs] I'm kind of in a bubble right now, to be frank. But I deal with The Man from time to time. But I'm good. I'm good with The Man. Just bat your eyes and blow in his ear.
RS: By the way, like you, I'm a huge horror fan and always have been. I'm really looking forward to Jennifer's Body -- the premise is hilarious. Is there anything you can tell me about it that nobody knows yet?
DC: That nobody knows? Okay, good. Let's see. I don't want to give away anything crucial. I feel like I've already said too much about that movie and everybody knows exactly what happens. I don't want to give anything away! Sam Raimi is an influence -- I haven't really said that, have I? I don't think so. I'm digging really deep here, trying to think of something specific in the movie that would be good, because I want to make a horror fan happy. There's a character that has a prosthetic hand.
RS: There's my big exclusive.
DC: There you go.
RS: You've said before that your ambition is to specifically become a horror director -- is that for real? That's a goal of yours?
DC: Yes. That is a dream of mine. I want to be a director and I think I should be directing horror movies. That occurred to me this year, though, so it could just be some wild Diablo flight of fancy.
RS: Are those common?
DC: Yes. Although they sometimes happen! So I try not to abandon those ideas.
For more information on Juno, check out the official site at www.foxsearchlight/juno.
VIEW 14 of 14 COMMENTS
Cassiel said: She's a terrible writer, and did not deserve the Oscar. I hope her career dies.
I couldn't agree more. She's a one-trick pony who got lucky with "Juno" in having insanely good casting. If one sits down and reads the script of "Juno," it's quickly apparent how terribly overwritten and unreal it is. It was saved by the brilliance of the four main actors Page, Cera, Bateman, and Garner, the last of whom showed that she has an amazing ability with subtlety and has been underutilized in most of her roles.
If anyone has ever read Diablo Cody's columns in Entertainment Weekly, it's clear that she is a complete and utter moron. She professes a love for shows from the morally abhorrent "Gossip Girl" to the vacant "Sweet Valley High." She tries to pass this off as a sort of funky intellectual kitsch, but it's not. No posing in the guise of intellectual slumming can justify an affinity for "Gossip Girl"; it's the moral equivalent of being titillated by "Triumph of the Will."
More to the point, her writing is abysmal and her taste is obscene. "Jennifer's Body" was one of the worst movies I have seen in the last decade. It was merely an exploitation vehicle for Megan Fox to once again distract people from her wooden acting by revealing her body. Unlike "Mean Girls" or "Heathers," a group into which Cody so desperately and transparently wants to insert this work, there is no commentary, satire, or irony to be found. The film is a piece of utter trash; "a tale told by an idiot, full of sound and fury, signifying nothing."