Production notes

American writer Diablo Cody was first approached to write a screenplay by film producer Mason Novick, who had previously landed her a book deal for her memoir, Candy Girl: A Year in the Life of an Unlikely Stripper, after discovering her blog about stripping. He persuaded her to adapt the book for the screen, but suggested that she first write a screenwriting sample to show studios; that sample became Juno. After deciding on an adoption storyline, Cody collected the stories of adoptees, birth parents and adoptive parents, including that of her then-husband, an adoptee who reunited with his birth parents after she wrote the film. She also found inspiration in the story of a close friend who had become pregnant in high school and used some details from her friend's experience in the film, such as mistreatment from an ultrasound technician. Much of Juno, however, was based on Cody's own high school experiences: She dated a tic-tac-loving boy similar to Paulie, she was best friends with a cheerleader like Leah, and she used a hamburger phone identical to the one that appears in the film. After writing the screenplay over seven weeks in the Starbucks section of a Target store in Crystal, Minnesota, Cody compared writing to breathing, seeing Juno as an extension of herself. Novick sent Cody's screenplay to his friend Jason Reitman; by the time Reitman had read halfway through the script, he felt that if he did not direct the film, he would regret it for the rest of his life. Initially, Reitman found it difficult to acquire the script, because his first film, Thank You for Smoking (2005), had not been released yet, so he did not have any feature film credits. Other directors, including Jon Poll, were considered, but Reitman was chosen and he interrupted work on his own spec script in order to direct Juno. Cody says she had a cynical attitude when writing Juno ("I didn't ever think this film would be produced") and, indeed, the film was delayed by financial problems. After its controversial nature scared off a number of major studios, John Malkovich's production company, Mr. Mudd, took on the project. It was later brought to production company Mandate Pictures by co-producer Jim Miller. The funding originated from the United States.

Having admired his performance in Hard Candy, Reitman cast Page in the lead role, saying that when he read the screenplay for the first time he pictured Page as Juno. Reitman visited Page on the set of a film on which he was working to offer him the role. He also handed the script to J.K. Simmons, who had featured in his previous film, Thank You for Smoking, not telling him that he intended Simmons to play Mac. Simmons says that, after reading the script, he would have been happy to play even the high school teacher who has no speaking lines. Other cast members Reitman had "in mind right from the start" were Olivia Thirlby—who had originally unsuccessfully auditioned for the role of Juno—and Michael Cera. He took them with Page and Simmons to a Panavision stage in California and shot 45 pages of the script on 35mm film against a black backdrop. He presented this footage to Fox Searchlight as the initial cast. Reitman highlighted the importance of doing a screen test instead of individual auditions, saying: "This is a movie that's all about relationships and the idea of auditioning people outside of each other, one-on-one with the casting director, didn't make sense." Jennifer Garner, who accepted a lower salary than usual to prevent the film from exceeding its budget, was confirmed by Reitman to have signed onto the project in January 2007. After working with Jason Bateman on The Kingdom, Garner recommended him to Reitman when they first met; Bateman was cast as Mark, the last cast member to be signed. Lucas McFadden, better known as Cut Chemist, a DJ and record producer, makes a cameo appearance as Juno and Paulie's chemistry teacher. McFadden was doing scoring work for Reitman when he received the Juno screenplay and asked McFadden to appear in the film; Reitman thought that it was "perfect irony" for the chemistry teacher to be played by Cut Chemist. Michael Cera stated that the film had "a lot of Canadian influence" due to the fact that he and Page were Canadian and that a lot of the other actors originated from Vancouver. Cera's comment was a response to a statement from Peter Howell of the Toronto Star: "I thought Juno was a very Canadian movie, even though it was set in the U.S."

Shooting on a budget of US$6.5 million, Juno was filmed in and around Vancouver, British Columbia, standing in for Minnesota, where production was originally intended to take place. Although films commonly use a Canada-as-America location shift for budgetary reasons, Reitman insists the choice of filming location was instead at his request. Filming locations included a house in nearby White Rock as Mark and Vanessa's home, Eric Hamber Secondary School as Dancing Elk High School, and South Surrey's Athletic Park track as Dancing Elk High School's athletics track. After minimal rehearsal, filming took place in February and March 2007 on a six-week schedule, of which 30 days were designated to filming. The crew was planning to import snow for the film's winter events, but it snowed on location, and they were able to reschedule filming to shoot the winter scenes during snowfall, which second assistant director Josy Capkun says resulted in much wider snow shots than originally planned. Although the film was shot out of sequence, the final scene was scheduled for the final day and, after a long period of rain, the crew was intending to shut down production and resume months later to shoot the scene, set in summer, but the rain stopped and they were able to shoot the scene in the sun. That final scene depicted Juno and Paulie singing the Moldy Peaches' "Anyone Else but You", and band member Kimya Dawson visited the set to speak to Page and Cera while they were practicing the song.

The movie features several songs performed by Kimya Dawson as well as her bands Antsy Pants and the Moldy Peaches. According to director Jason Reitman, Page suggested the Moldy Peaches' work as fitting for Juno's character. Reitman recounts that Page:

went on my computer, played the songs, and I fell in love with it. Diablo and I discussed putting a Moldy Peaches song in it where the characters would sing to each other. I got in touch with Kimya Dawson of the Moldy Peaches and she started sending me her work, which was beautiful, and that became a lot of the soundtrack.

Reitman contacted Dawson, and, after reading the film's screenplay, she agreed for her songs to be used in the film, sending him a packet of CDs containing about 120 songs. The songs were almost entirely self-published by Dawson, who says she wrote nothing specifically for Juno and that all the songs had been performed and recorded before she was contacted to work on the film. Reitman asked her to additionally re-record instrumentals, which included humming over the lyrics of some of her songs. He also contacted composer Mateo Messina, with whom he had previously worked on Thank You for Smoking, to compose the film's incidental score. He gave Messina a collection of Dawson's songs and asked him to create "the sound of the film" through an instrumental score that replicated the recording quality, tone, feel and innocence of her music. Messina decided to implement an "acoustic guitar feel that was jangled and was really loose, like Juno." Experimenting with different guitars, he ended up using "Stella," a second-hand guitar belonging to guitarist Billy Katz that he described as "kind of tinny, not perfectly in tune, but [it] has all kinds of character." Katz was hired to perform acoustic and classical guitar for the movie's score, using "Stella" extensively throughout. Page also suggested Cat Power's cover of the song "Sea of Love", which Reitman was hesitant to include as it had already been featured in the 1989 film Sea of Love; however, he decided that its inclusion would mark a "new take" on the film's cinematic references. Initially, Reitman had conceived of Juno being a fan of glam rock, but rejected it as too inauthentic, and he said he wanted to construct Juno to be "into music very real and authentic", making her a fan of punk rock, including The Runaways, Patti Smith and Iggy Pop and the Stooges. He felt that the Sonic Youth cover of "Superstar" defined Juno and Mark's relationship—Juno preferring the classic 1971 version by The Carpenters while Mark preferred Sonic Youth's 1994 cover. "A Well Respected Man" by The Kinks was a song Reitman had associated with a character from another of his screenplays and says it was "heart-breaking" when he decided to include the song as an introduction for Paulie instead, despite feeling it suited the scene perfectly. He found children's songwriter Barry Louis Polisar's "All I Want Is You" after "surfing iTunes for hours on end" using different words and names as search terms and thought that the handmade quality was perfect for the opening titles, which were afterwards made to correspond to the song. The "Brunch Bowlz" jingle, Mark writes in the film, was composed by advertisement writer Chris Corley, with whom Reitman had previously worked on a set of commercials for Wal-Mart.

The film was set out in a sequence of the year's seasons, which, Reitman said, "really resonated with me when I read it, because they mirror the three trimesters of Juno's pregnancy." Because filming took place over only 30 days, fake flora was used to give the impression of different seasons while other flora was edited in post-production. Brown leaves were composited onto a fake tree outside Juno's house and cherry blossom trees outside Leah's house were touched up in a lighter shade of pink to depict autumn; a fan was used to blow leaves around in some scenes as if the leaves were falling from trees. Fake flowers were used in front of Paulie's house at the end of the film to give the impression of summer. Cody was impressed with the production design team's creation of the set from only a few sentences in her script, calling Juno's bedroom "a very emotional set for [me] because it reminded me so much of my own little habitat when I was a teenager." The walls of Juno's room are covered with posters of bands, while Leah's room includes a mural of older men she finds attractive and Paulie's room is overly childlike to indicate his innocence. Production designer Steve Saklad designed Mark and Vanessa's house with the assumption that "Vanessa has probably read every home magazine and tried to copy what's in them as best she could." Costume designer Monique Prudhomme was nominated for a Costume Designers Guild Award in the "Excellence in Contemporary Costume Design for Film" category. She dressed Vanessa in clothes that were "simple and very tasteful" but with an "anal-retentive quality" and Mark in conservative clothing to complement Vanessa's taste. It was Page's suggestion that Juno wear flannel shirts and sweater-vests. Page also had to wear two sizes of prosthetic belly fitted like a corset in the back, a third "real" belly that is seen when Juno has an ultrasound, and a variety of sizes of fake breasts. The footage displayed on Juno's ultrasound monitor is of supervising sound designer Scott Sanders's son Matthew and was embedded into the scene in post-production.

Juno's opening title sequence, depicting a rotoscoped Juno walking through her town while drinking a bottle of SunnyD orange drink, was put together over 7–8 months by a small design studio, Shadowplay Studio, based in Los Angeles. Reitman had met the studio's co-founder Gareth Smith in Japan on the short film festival circuit where they each had shorts screening. Shadowplay created the opening title sequence for Reitman's previous film, Thank You for Smoking, and he contacted them again when he found out he was going to direct Juno. With vintage 1970s punk-rock posters as inspiration, Smith and artist Jenny Lee decided to create a sequence that "had texture and a little bit of edge, but also imparted the warmth and heart of the screenplay". In the last days of filming in Vancouver, Page was photographed with a high speed camera from a number of angles walking on a treadmill and drinking SunnyD. 900 still images of a walking and drinking Page were printed out and repeatedly run through a Xerox machine to degrade their quality until the pictures appeared hand-drawn. The pictures were cut out and scanned back onto the computer, then layered onto the background drawn by Lee with compositing software to create a stop motion animation sequence that corresponded to "All I Want Is You" by Barry Louis Polisar, the song Reitman had chosen. Shadowplay also designed the titlecards for each of the seasons for the film, hand-made a custom typeface for the opening title sequence and the closing credits, and collaborated on the design of the soundtrack and the DVD.

In limited release and playing in only seven theaters in Los Angeles and New York City, Juno grossed $420,113 over its debut weekend, averaging $60,016 per screen. Juno earned back its initial budget of $6.5 million in twenty days, the first nineteen of which were when the film was in limited release. When Juno became Fox Searchlight's first film to surpass $100 million at the box office, the company's president Peter Rice issued the statement: "This is an astonishing feat for us and the film has surpassed all our expectations. We knew this film had crossover potential and it has resonated with audiences all across the country." The film has grossed $143,495,265 in the United States and $88,877,416 in other territories for a total worldwide gross of $232,372,681. It was also the highest-grossing of the five Best Picture nominees for the 80th Academy Awards.

Juno received highly positive reviews from critics. On the review aggregator Rotten Tomatoes, the film has a 93% approval rating from critics based on 215 reviews, with an average rating of 8.10/10. The site's consensus states, "One of the brightest, funniest comedies of the year, Juno's smart script and direction are matched by assured performances in a coming-of-age story with a 21st-century twist", making it the best reviewed comedy film on the website in 2007. On Metacritic, the film had an average score of 81 out of 100, based on 38 reviews. Roger Ebert of the Chicago Sun-Times gave the film four stars and called it "just about the best movie of the year. ... Has there been a better performance this year than [Elliot] Page's creation of Juno? I don't think so." Ebert placed Juno at number one on his annual "best of" list. The film also ranks at number 463 in Empire magazine's 2008 list of The 500 Greatest Movies of All Time. Juno MacGuff also ranked number 56 on Empire's list of The 100 Greatest Movie Characters of All Time. Paste Magazine named it one of the 50 Best Movies of the Decade (2000–2009), ranking it at number 15. In June 2010, Entertainment Weekly named Juno one of the 100 Greatest Characters of the Last 20 Years. In 2025, it was one of the films voted for the "Readers' Choice" edition of The New York Times' list of "The 100 Best Movies of the 21st Century," finishing at number 171. However, not all critics share the positive view towards Juno. David Edelstein of New York magazine felt that the film was desperate to be "a movie that confers hipness on teens, that makes kids want to use the same slang and snap up the soundtrack". Music reviewer Jim DeRogatis criticized the film's stylized dialogue and what he saw as a casual take on abortion and Juno's naïveté in becoming pregnant, claiming: "As an unapologetically old-school feminist, the father of a soon-to-be-teenage daughter, a reporter who regularly talks to actual teens as part of his beat and a plain old moviegoer, I hated, hated, hated this movie."

In 2008, after 17 students under 16 years of age at Gloucester High School in Massachusetts became pregnant, Time magazine called it the "Juno Effect". Time stated that some adults dismissed the statistic as an outlier while others accused films such as Juno and Knocked Up for glamorizing teenage pregnancy. Kristelle Miller, an Adolescent Psychology Professor at University of Minnesota-Duluth stated that "[t]he 'Juno effect' is how media glamorizes pregnancy and how [...] pregnancy is also redemptive of any past problems". After Senator John McCain named Alaska Governor Sarah Palin as his running mate on the Republican presidential ticket, it was revealed in September 2008 that Gov. Palin's daughter, Bristol, age 17, was pregnant with the child of another teenager. News reports and editorials termed Bristol Palin's pregnancy as the latest episode in the debate over teen pregnancy of which Juno was a part, while conservative commentators made comparisons between Bristol Palin's pregnancy and the film. Noted New Republic literary editor Leon Wieseltier, "The Republicans wanted a new conversation, and they got one. Juno in Juneau!" Fox News' Roger Friedman wondered, "Juno at once violated and vindicated conservative values. The question is, will the public rally 'round Bristol Palin the way it did Juno? Or will it reject her for getting in this situation in the first place?" Juno actor Jason Bateman defended the film. "Unfortunately," he said, "we've had these instances where guys kill people because of what they hear in rock 'n roll lyrics or some garbage like that. Look, if you're going to blame a movie or song for your actions, whether they be good or bad, I think you're looking at the wrong things to influence your life. I think people should look to other areas of their life for lessons and guidance, mainly parents, or teachers, or friends, or whomever. That should probably be where you should point your eyes and ears." Amy Benfer of Salon.com wrote in 2010 that, according to figures released by the Centers for Disease Control and Prevention, pregnancy rates for all teenagers dropped 2 percent between 2007 and 2008, meaning that "the slight uptick in teen pregnancy rates between 2005 and 2006 were probably just an anomaly and not some heinous trend brought about by pop culture", and that if there had been such a thing as a "Juno effect", it would have caused pregnancies to go down, not up. She criticized proponents of the theory, stating that they believed that teenagers "somehow lose all ability to evaluate any nuance or context in that woman's particular situation, and instead make some sort of primitive cause-and-effect connection" and that "by talking about pregnant girls, and most of all, by daring to portray some of them as ordinary, even likable, we'd get way more babies having babies." She concluded that "depicting teen parents may not glamorize them, so much as humanize them. You know, that thing that happens when one person recognizes that someone else is a person too? So, now that we can firmly state that realistically depicting the lives of the tiny percentage of girls who do become pregnant won't necessarily contaminate the rest of them, it's time to stop worrying and ask what we can do to help." In light of Georgia's anti-abortion law, Diablo Cody said in 2019 she would not have written Juno now that people perceive it as an "anti-choice" film. In 2022, she said, "Back in 2008, I got a letter from some administrator at my Catholic high school thanking me for writing a movie that was in line with the school's values. And I was like: 'What have I done?' My objective as an artist is to be a traitor to that culture, not to uplift it," but also, "I have no regrets about writing the movie. I do think it's important that I continue to clarify my feelings about it because the last thing I would ever want is for someone to interpret the movie as anti-choice. That is a huge paranoia of mine. I've never really thought about revisiting the film — it kind of feels like something that should stay preserved in amber. But I would rather have this account be out there than [my] silence being misinterpreted".

The film appeared on critics' top ten lists of the best films of 2007:

Juno received nominations at the 80th Academy Awards for Best Picture, Best Director for Reitman, Best Actress for Page, and won Best Original Screenplay for Cody. In 2021, members of Writers Guild of America West (WGAW) and Writers Guild of America, East (WGAE) ranked its screenplay 24th in WGA’s 101 Greatest Screenplays of the 21st Century (so far). Reitman expressed disappointment that Juno was ruled ineligible for the Genie Award nominations:

It's a Canadian director, Canadian stars, Canadian cast, Canadian crew, shot in Canada—how are we not eligible for a Genie when David Cronenberg's film [Eastern Promises] about Russians living in London shot in England with a British crew and British cast is eligible? I'm sorry, but somebody is going to have to explain that to me. Sara Morton, the head of the Academy of Canadian Cinema and Television, issued a statement explaining that the film had never been submitted for Genie Award consideration by its studio. The Hollywood Reporter explained that Genie rules define Canadian films as financed at least in part by Canadian sources, and because American companies Mandate Pictures and Fox Searchlight were the sole funders, Juno was ineligible. Nonetheless, Genie spokesman Chris McDowall said that while the film was not evaluated for eligibility since it was not submitted, "Financing is one of the criteria, but it's not everything." Despite this, the film was eligible for the 2008 Canadian Comedy Awards, receiving two wins from three nominations.