Title: Eyes of Laura Mars
Content:  The film's source story was written by John Carpenter, as was the earliest version of the screenplay. Producer Jack H. Harris had worked with Carpenter on the latter's feature-film directorial debut, Dark Star, and it was Harris who optioned Carpenter's 11-page treatment, then titled simply Eyes. Harris planned to make the film independently of the major studios with privately raised finance and Roberta Collins in the lead. But Harris's friend Jon Peters read the treatment, and upon reading it, he became enthusiastic about its potential as a vehicle for Peters's then-girlfriend Barbra Streisand. Peters got interest from Peter Guber at Columbia and they agreed to finance the project's development. Streisand pulled out of the film, but Columbia were sufficiently enthusiastic about the script to move forward with another actress, and 
Title: Karl Tunberg
Content:  than five years before the start of principal photography, Christopher Fry and Gore Vidal contributed to the screenplay during filming. Maxwell Anderson and S.N. Behrman are also mentioned as contributing writers in the film's commemorative booklet. The film's final onscreen writing credits created controversy when, in October 1959, the Writers Guild of America (WGA) awarded Tunberg sole screenplay credit, despite the objections of the film's director, William Wyler, who, in the film's commemorative booklet and elsewhere, claimed that Christopher Fry was more responsible than any other writer for the final screenplay. In response to Wyler's public outcries against their ruling, the WGA took out trade paper ads on November 20, 
Title: Taste of Fear
Content:  Jimmy Sangster stated that he originally wrote the film for Sidney Box who assigned him to produce it. According to Sangster, Box became ill and stopped his work temporarily, leading his work to be taken over by his brother-in-law Peter Rogers, who was busy working on the Carry On series. Sangster then bought the film back from Rogers and sold it to Michael Carreras on the condition that Sangster would be allowed to produce.
Title: Barbara Turner (screenwriter)
Content:  Me and the Arch Kook Petulia. Turner wrote the original adaptation, which became the film Petulia. Turner, Vic Morrow and Reza Badiyi were close friends and collaborators with the director Robert Altman, who later directed Leigh in Short Cuts (1993) and Kansas City (1996). Morrow directed his and Turner's 1965 screen adaptation of the Jean Genet play Deathwatch. In 1973, she wrote the screenplay for the TV movie The Affair, starring Natalie Wood and Robert Wagner. Her teleplay for the TV movie Freedom (1981) was based on her daughter Carrie's experiences in the 1970s as a teen runaway, played by family friend 
Title: Tea and Sympathy (film)
Content:  Robert Anderson, the author of the play, was also the screenwriter of the film. Due to the Motion Picture Production Code, homosexuality is not mentioned in the film version. In 1956, Bob Thomas of the Associated Press wrote that "many said [the play] could never be made into a movie." Deborah Kerr, the leading actress, said that the screenplay "contains all the best elements of the play. After all, the play was about the persecution of a minority, wasn't it? That still remains the theme of the film." In the film, the story's climax is written as transpiring in a "sylvan glade", while in the original play the scene takes place in the dormitory room of the student.
Title: Fear and Loathing in Las Vegas (film)
Content:  Cox started writing the screenplay with Tod Davies, a UCLA Thompson scholar. During pre-production, Cox and producer Laila Nabulsi had "creative differences" and she forced Rhino to choose between her and Cox. She had an arrangement with Thompson to produce the film and the studio fired Cox and paid him $60,000 in script fees. Thompson's disapproval of the Cox/Davies script treatment is documented in the film Breakfast with Hunter. The decision was made to not use the Cox/Davies script, which gave Gilliam only ten days to write another. Gilliam has stated in an interview "When we were writing the script, we really tried not to invent anything. We sort of cannibalized the book." The 
Title: Alex Cox
Content:  In 1996, producer Stephen Nemeth employed Alex Cox to write and direct an adaptation of Hunter S. Thompson's Fear and Loathing in Las Vegas. After creative disagreements with the producer and Thompson, he was sacked from the project, and his script rewritten when Terry Gilliam took over the film. (Cox later sued successfully for a writing credit, as it was ruled that there were enough similarities between the drafts to suggest that Gilliam's was derivative of Cox's. Gilliam countered that the screenplays were based on the source book and similarities between them were a consequence of this.) In 1997, Alex Cox made a deal with Dutch 
Title: Never Say Never Again
Content:  Mankiewicz, who had rewritten Diamonds Are Forever, to work on the script; however, Mankiewicz declined as he felt he was under a moral obligation to Eon's Albert R. Broccoli. Semple Jr. ultimately left the project after Irvin Kershner was hired as director and Schwartzman began cutting out the "big numbers" from his script to save on the budget. Connery then hired British television writers Dick Clement and Ian La Frenais to undertake re-writes, although they went uncredited for their efforts despite much of the final shooting script being theirs. This was because of a restriction by the Writers Guild of America. Clement and La Frenais continued rewriting during the 
Title: Prayers for Bobby
Content:  Executive producers David Permut, Daniel Sladek, and Chris Taaffe initiated and championed the project over a period of thirteen years. The film was directed by Russell Mulcahy. Screenwriter Katie Ford based the teleplay off the noted best-selling book Prayers for Bobby: A Mother's Coming to Terms with the Suicide of Her Gay Son by Leroy F. Aarons, a journalist who interviewed Mary Griffith about her experiences that led to the suicide of her son as well as her work advocating for the rights of the Lesbian, Gay, Bisexual, and Transgender community. Griffith and Aarons are credited as co-producers on the film. Produced by Once Upon A Times Films, Ltd in association with Permut Presentations and Sladek Taaffe Productions, the other executive producer was Stanley M. Brooks. The final scene of the film features "Here I Am" by Leona Lewis.
Title: Vertigo (film)
Content:  There were three screenwriters involved in the writing of Vertigo. Hitchcock originally hired playwright Maxwell Anderson to write a screenplay, but rejected his work, which was titled Darkling, I Listen, a quotation from Keats's Ode to a Nightingale. According to Charles Barr in his monograph dedicated to Vertigo, "Anderson was the oldest (at 68) [of the 3 writers involved], the most celebrated for his stage work and the least committed to cinema, though he had a joint script credit for Hitchcock's preceding film The Wrong Man. He worked on adapting the novel during Hitchcock's absence abroad, and submitted a treatment in September 1956." A second version, written by Alec Coppel, again left the director dissatisfied. The final script was written by Samuel A. Taylor—who was recommended to Hitchcock due to his knowledge of San Francisco— from notes by Hitchcock. Among Taylor's creations was the character of Midge. Taylor attempted to take sole credit for the screenplay, but Coppel protested to the Screen Writers Guild, which determined that both writers were entitled to a credit, but to leave Anderson out of the film writing credits.

Question: Who was the screenwriter for Tears?
Answer: Im Sang-soo.