Diablo Cody

When I was a kid, I attended a small Catholic school in a south suburb of Chicago.

Somebody asked me earlier if I thought it was really important to tell stories about women's struggles. And I said yes, but at the same time, it's also important to tell stories about women's triumphs, women being slackers, women being criminals, women being heroes.

In the past, I'll admit, I've enjoyed being compared to the protagonists in my screenplays.

I myself identify as a recovering Blockhead. You'd be surprised how many twenty- and thirty-something hipster chicks have the NKOTB skeleton in their closet, albeit artfully concealed by stacks of Ksubi skinny jeans and ironic Judas Priest T-shirts.

But here is the single greatest thing about the 'Vanity Fair' party: There are uniformed In-N-Out Burger employees circulating the room with trays of cheeseburgers all night long.

The fashion industry isn't merely content to encase my meaty flanks in skintight denim. Oh, no! That denim also has to be white, a color that attracts ketchup, wine, garlic aioli, and any other foodstuffs I might otherwise be able to enjoy if I wasn't wearing ridiculously tight pants.

I've always been a writer, I've always been a storyteller, but I never thought about screenwriting.

You make a first impression and people never forget it. If people want to think of me as the wacky 'Juno' lady forever, I could think of worse ways to be labeled.

People are more interested in being visible than they are in loving other people.

I don't think coolness used to be such a commodity among adults. And now it is.

I absolutely relate to being alone in squalor, trying to come up with something adequate. I relate to that, and I've been known to crawl out of bed and drink out of a 2-liter bottle of Diet Coke.

I am actually able to do other things. I'm not just this writer.