I Penned 'Dude, Where's My Car' 25 Years Ago. It Would Never Get Greenlit Today.

Back in 1998, I was a hopeful screenwriter living in a modest Hollywood apartment. Across the street, a liquor stores red neon sign flickered, casting reflections that I imagined were cinematic. Instead of channeling a Bukowski-like despair, I spent my evenings smoking weed, eating takeout Chinese food, and writing a screenplay about two guys doing exactly that. My aim was to merge the chaotic humor of the Marx Brothers with the stoner comedy of Cheech and Chong, all wrapped in a single, wild night narrative. The story was packed with ridiculous elements that entertained my 25-year-old self: spoof rap videos, high dogs, and aliens with exaggerated features.

After gaining a writing credit on the first season of South Park, I landed a job on That 70s Show and sent the script to my TV agent. By Monday, I had a call from a new feature agent who loved it and was confident it would sell. At that moment, it still felt like just a fun, silly idea targeting a teenage audience. The late 1990s were an ideal era for such comedies: studios were eager for inexpensive, broad humor that could attract teens with disposable income. Hits like Meet the Parents and Scary Movie thrived, while stars such as Adam Sandler and Jim Carrey dominated comedy features. Writers had ample opportunities to pitch high-concept, physically comedic films that could generate both box office and home video profits.

Dude, Wheres My Car? premiered on December 15, 2000, exceeding expectations. Its title became part of popular culture, inspiring fans to even get matching dude and sweet tattoos. The film starred Ashton Kutcher and Seann William Scott, boosting their already rising careers. It recouped its production costs in the opening weekend and ultimately turned a solid profit. The path from script to screen was far from smooth, involving producer notes, script rewrites, and multiple drafts. At one point, we experimented with adding a third main character before returning to the original duo-focused script, and then director Danny Leiner joined, bringing the project to life.

During production, my input was welcomed on set, allowing me to contribute creatively, from designing tattoos to creating scenes for cameo appearances. Collaborating with a talented cast and crew resulted in a highly enjoyable, chaotic process. Following the films success, I sold several more features, including projects involving Jack Black and Jamie Foxx, all while continuing to write for That 70s Show, which enjoyed an eight-season run and ongoing syndication.

However, comedy has shifted dramatically since then. On revisiting Dude, Wheres My Car?, I realized much of the humor now feels outdated or offensive, targeting minorities, women, and other groups. While it seemed acceptable at the time, cultural sensibilities have changed. The broader movie market has also evolved: comedies once considered low-cost, high-profit ventures have been largely replaced by horror films, and traditional theatrical distribution faces ongoing challenges due to streaming and post-COVID audience habits.

On a personal level, my career trajectory shifted too. After initial successes, my projects stopped selling, and I began questioning my happiness and future in the industry. Ultimately, I returned to graduate school, earned a masters in psychology, and became a licensed therapist. Today, I continue writing, but focus on self-help works rather than stoner comedies. My practice often explores transitions in careers and relationships, and how clinging to the past can hinder embracing the present and futurelessons that parallel both personal growth and the evolving entertainment landscape.

Twenty-five years is a long span, yet it feels fleeting. What Hollywood and life will look like in another 25 years remains uncertain, but I plan to be here to witness it.

Author: Olivia Parker