Title: Production of Ben-Hur (1959 film)
Content:  Wyler, like Zimbalist, was also unhappy with the script. He felt Tunberg's draft was too much of a morality play overlaid with current Western political overtones, and that the dialogue was too modern-sounding. Zimbalist brought in playwright S. N. Behrman (who also wrote the script for Quo Vadis) and then playwright Maxwell Anderson to write drafts. Behrman spent about a month working on the script, but how much he contributed to the final version is unclear. Both a contemporary account in the British magazine Films and Filmmaking as well as Vidal biographer Fred Kaplan claim that Anderson was ill and unable to 
Title: The Iron Petticoat
Content:  The original screenplay, Not for Money, was written by Ben Hecht from a story by producer Harry Saltzman. The two men formed a company called Benhar to produce the film. Hecht wrote the film specifically as a vehicle for Katharine Hepburn. Hepburn was pleased with the original script and personally selected Ralph Thomas as the director because she liked his film Doctor in the House (1954). She contacted Thomas and Doctor in the House producer Betty E. Box while they were making Doctor at Sea, and they agreed to take part. "I had no idea what dramas were to descend on 
Title: Ben Hecht
Content:  picture went out and cleaned up – made a bundle for Hughes... And if old Ben really outsmarted himself on that one... he didn't care. He was on to something else. Ben was always on to something else." For his next film, Twentieth Century, he wrote the screenplay in collaboration with Charles MacArthur as an adaptation of their original play from 1932. It was directed by Howard Hawks, and starred John Barrymore and Carole Lombard. It is a comedy about a Broadway producer who was losing his leading lady to the seductive Hollywood film industry, and will do anything to win her back. It 
Title: Ben-Hur (1959 film)
Content:  cornpone [the crew's nickname for Heston] really threw himself into your 'first meeting' scene yesterday. You should have seen those boys embrace!" Film critic F. X. Feeney, in a comparison of script drafts, concludes that Vidal made significant and extensive contributions to the script. The final writer on the film was Christopher Fry. Charlton Heston has claimed that Fry was Wyler's first choice as screenwriter, but that Zimbalist forced him to use Vidal. Whether Fry worked on the script before Vidal or not, sources agree that Fry arrived in Rome in early May 1958 and spent six days a week on the set, writing and rewriting lines of dialogue as well 
Title: Charles Bennett (screenwriter)
Content:  Charles Alfred Selwyn Bennett (2 August 1899 – 15 June 1995) was an English playwright, screenwriter and director probably best known for his work with Alfred Hitchcock.
Title: Charles Bennett (screenwriter)
Content:  Bennett's work with Hitchcock had made him perhaps the most highly regarded screenwriter in England (one paper called him "Britain's best known blood curdler" ) and attracted the attention of Hollywood. In 1937 he accepted a contract with Universal Studios at $1,500 a week. Universal loaned himself out to Sam Goldwyn, and did some uncredited writing on The Adventures of Marco Polo (1938) and The Real Glory (1939), then worked on Universal's Good Girls Go to Paris (1939) and Hidden Power (1939). After six months Universal dropped Bennett's contract. His agent Myron Selznick got Bennett a job with Myron's brother David. Bennett got his first Hollywood credited on the comedy The Young in Heart (1938); he did the construction and Paul Osborne the dialogue. Bennett then signed a contract to MGM where he worked on Cause for Alarm, an adaptation of an Eric Ambler novel which ended up not being made, and Balalaika (1939), a Nelson Eddy musical. He wrote a short novel, War in His Pocket, which was published in 1939. Hitchcock moved to the US and hired Bennett to do some work on Foreign Correspondent (1940). Bennett was nominated for an Oscar for Best Script.
Title: Production of Ben-Hur (1959 film)
Content:  Lew Wallace's 1880 novel, Ben-Hur: A Tale of the Christ, ran to about 550 pages. Zimbalist hired a number of screenwriters to cut the story down and turn the novel into a script. According to Gore Vidal, more than 12 versions of the script had been written by various writers by the spring of 1958. Vidal himself had been asked to write a version of the script in 1957, refused, and been placed on suspension for his decision. Karl Tunberg was one of the last writers to work on the script. Zimbalist had initially chosen director Sidney Franklin to helm the 
Title: Charles Bennett (screenwriter)
Content: Hitchcock's Partner in Suspense (2014) ; The Rise of the Modern Thriller (2020) Barr, Charles. "Blackmail: Charles Bennett and the Decisive Turn" in Palmer, R Burton & Boyd, David, Hitchcock at the Source: The Auteur as Adaptor, 2011, New York: SUNY Press. ; Belton, John. "Charles Bennett and the typical Hitchcock scenario", Film History, (1997) 9(3), 320–332. Bennett has been the subject of two biographies, both written by his son John. He has also been the subject of biographical articles: He was interviewed by Arnold Schwartzman for the British Entertainment History Project in 1992.
Title: The Story of Ruth
Content:  In 1957, Simon Windelburg was announced as the film's screenwriter. Michael Kanin and his wife, Fay Kanin, who were later hired to write the screenplay, wrote treatments for the film. Frank G. Slaughter wrote a screenplay based on his 1954 novel The Song of Ruth: A Love Story From the Old Testament. Norman Corwin wrote an entirely new screenplay after summer 1958. Corwin submitted his final draft of the script on September 1, 1959. Production began in late November 1959 and ended in mid-February 1960.
Title: Buchanan Rides Alone
Content:  Although the screenplay is credited to Charles Lang, his script was deemed unsuitable, so Boetticher asked his regular writer, Burt Kennedy, to rewrite the script. Because Lang's wife was gravely ill and he needed the money, Kennedy generously allowed him to take the salary and screen credit. In a 2001 interview at the Cinecon Film Festival, Boetticher confirmed that the script was Kennedy's work, noting that such lines as "This sure is a $10 town." and "Don't just stand there, Amos, get a shovel!" could only have been written by him. A number of music score stock cues used in the production are the same as those used in the 1958–1961 TV series Sea Hunt, with stock music credits to Mischa Bakaleinikoff, George Duning, Heinz Roemheld, and Paul Sawtell.

Question: Who was the screenwriter for The Bench?
Answer: Per Fly.
Per Fly Plejdrup.