Upon its December release, Reitman's dramedy found a teenage audience and scads of supporters like Ebert. How? A lot of things were working on Juno -- a combination of a great script, a talented cast, and a singular creative vision. But it was also packed with oddly specific quirks. When you think of Juno today, some probably come rushing back: the Barry Louis Polisar and Moldy Peaches songs; Diablo Cody's hilarious dialogue (shout-out to "pork swords"); Michael Cera's insane gold shorts; and, of course, "What? Can you just hold on for a second? I'm on my hamburger phone." Hands down the most iconic and unforgettable prop was that kitschy plastic phone, wielded shamelessly by Ellen Page's title character.
As random as it seemed, the hamburger phone was deliberately noted in Cody's first script. She sketched it out based on recollections of her youth, and along with Reitman, insisted it be used in the film. ("I always say I’m kind of an emotional scavenger because everything that I write about is drawn from life," Cody's said. "She used to talk for hours to her high school boyfriend on a hamburger phone," a Fox Searchlight exec said in 2008.) Finding something so specific was no easy task for Juno's prop team, which struggled for about two weeks to source one. And once they did, another obstacle surfaced. Production designer Steve Saklad detailed the phone's thorny journey to the screen in an interview for Thrillist's "100 Greatest Props in Movie History":