Julie Bush. I write movies. And T.V. And novels. I am currently writing and directing my first film.
I just wrote a film adaptation of Robert Ludlum’s THE SIGMA PROTOCOL for Universal and thinking about a wide variety of other things. I’ve written for T.V. shows “Sons of Anarchy” and “The Dish.”
I went to Princeton. Toni Morrison was my senior thesis advisor, and I was her only student that year. Under her guidance, I wrote a novella that’s now lost somewhere in the Princeton archives. My other creative writing teachers included Joyce Carol Oates and Russell Banks.
At Princeton, I also received a certificate in Visual Arts and completed a senior thesis in art as well — it was a gallery installation with sculptures and drawings made of the sculptures all made up to look like a living room in which the sculptures were living. It was both highly conceptual and highly visual. Gabriel Garcia Marquez — a visiting professor that year — stopped by my opening reception and commented that a shag rug I made out of hundreds of surgical gloves sewn together looked like a cacophony of hands clapping. The first kind of writing I got paid for was art reviews for New York magazines. I remain a devoted art lover.
After college, I wrote my first novel, about a girl selling black market prescription drugs to pay her way through Princeton — while writing her senior thesis on HENRY IV and TWELFTH NIGHT. The plot subtly weaves together and reenacts the plays, evoking her thesis. It’s vital and urgent and raw and literary, and I’m really proud of it.
When I couldn’t find a publisher for that book, I switched to T.V. and screenwriting. My first T.V. job was writing comedy for “The Dish”, a spin-off of “The Soup.” I went on to write one-hour drama pilots about modern day pirates and female combat soldiers in Iraq and NASCAR. My experience writing about Iraq was deeply upsetting — it changed me. I am pro-soldier and against irresponsible warfare.
I then wrote for SONS OF ANARCHY, and after that, I switched to features. I wrote a conspiracy thriller about WikiLeaks that got knocked offline by Dreamworks’ competing project THE FIFTH ESTATE. However, my movie took a very different angle on the subject matter. I did a hideous amount of original research, and the film I wrote was a layered, nuanced, thinking take on extremely complex subjects. It brings together a number of issues I’m passionate about all in one crucible. I am very proud of this screenplay.