Diablo Cody is an American screenwriter, producer and director. She first became known for her narrative blog “The Pussy Ranch”, and her memoir Candy Girl: A Year in the Life of an Unlikely Stripper both discussing in detail her year working as a stripper. Later, Cody achieved critical acclaim for her debut script Juno , winning awards such as the Academy Award for Best Original Screenplay, the BAFTA Award for Best Original Screenplay, the Independent Spirit Award for Best First Screenplay and the Writers. He success was almost like an instantaneous Cinderella story that skyrocketed her to celebrity status; something unseen for many Hollywood writers, especially women.
Juno made her an in-demand writer in Hollywood, and she followed it up with two more films (Jennifer’s Body, Young Adult), a TV show (The United States of Tara), and much uncredited rewriting work. She is currently working on her next film, called Paradise, which will be her directorial debut.
Her film Juno dealt with the controversial topic of teenage pregnancy, and was actually her first screenplay. She claims that when she wrote it, she didnt know how to write a movie, which adds to the charm and appeal of the film overall. "I thought, I’m going to enjoy myself as much as I can. I was just having fun, and you can hear I was having fun. And in a way, I was having too much fun, if that makes any sense. I needed to be pulled back a little. When I watch it now, the dialogue seems very self-indulgent and undisciplined. But that’s one of the things people like about the film, so I can’t argue."
Although she did not direct this film, she was also able to be heavily involved in the filmmaking process of it, which is also a rarity for many writers. She has not yet fully taken on auteur until production of her film Paradise. Cody has said that she writes from both personal experience, and in ways that reflect real life and people. She also uses her writing and films as a platform for women and feminism. “I like talking about women’s issues in film, and feminism. I think a lot of women don’t like to do that. It’s usually, “Can we please turn the conversation back to my work?” For me, it’s an important part of who I am. I feel like so much of the reaction to my work and to me is connected to the fact that I’m a woman, so I can’t avoid that conversation. A part of my career is that I am a woman and I’ve committed myself to writing roles for women. I cannot separate myself from that and say, “Oh, can we please just talk about my work?” That is my work”