Title: The Awful Truth
Content:  a contract with Columbia. He ran into McCarey on the street, and told McCarey he was free. In February 1937, he signed a non-exclusive contract with Columbia Pictures in which he agreed to make four films over two years, provided each film was a prestige picture. He was paid $50,000 ($0 in dollars) to appear in The Awful Truth. Grant was eager to work with McCarey, McCarey wanted Grant, and Cohn assigned Grant to the picture. For Ralph Bellamy, a contract player with Columbia, the film was just another assignment. Delmar's draft script, sent to Bellamy by his agent, originally described Dan 
Title: Orson Welles
Content:  RKO Radio Pictures president George Schaefer eventually offered Welles what generally is considered the greatest contract offered to a filmmaker, much less to one who was untried. Engaging him to write, produce, direct and perform in two motion pictures, the contract subordinated the studio's financial interests to Welles's creative control, and broke all precedent by granting Welles the right of final cut. After signing a summary agreement with RKO on July 22, Welles signed a full-length 63-page contract August 21, 1939. The agreement was bitterly resented by the Hollywood studios and persistently mocked in the trade press.
Title: Citizen Kane
Content:  Citizen Kane was the only film made under Welles's original contract with RKO Pictures, which gave him complete creative control. Welles's new business manager and attorney permitted the contract to lapse. In July 1941, Welles reluctantly signed a new and less favorable deal with RKO  under which he produced and directed The Magnificent Ambersons (1942), produced Journey into Fear (1943), and began It's All True, a film he agreed to do without payment. In the new contract Welles was an employee of the studio and lost the right to final cut, which later allowed RKO to modify and re-cut The Magnificent Ambersons over his objections. In June 1942, Schaefer resigned the presidency of RKO Pictures and Welles's contract was terminated by his successor.
Title: The Brigand (film)
Content:  There is no producer credit on the film but the movie was produced by Edward Small just before he left Columbia to return to United Artists. In May 1949 it was reported that Small had hired Robert Libott and Frank Burt to write the script in 1949. In December 1949 Small signed a two-year contract with Columbia to make "two to six" films, which would include Lorna Doone and The Brigand, "projects he had been developing for some time." This contract was separate to one Small had signed with Columbia to distribute Valentino. In August 1950 Small announced that he would make two films starring Anthony Dexter, who had made Valentino for the producer. The films would be The Brigand and a remake of The Sheik. In May 1951 Jesse Lasky Jr was reportedly writing the script. The same month Phil Karlson was announced as director. Ron Randell had appeared in Lorna Doone for Small. In August 1951 he signed to appear in The Brigand; he was to do it at the same time as appearing in Broadway Bill at the Pasadena Playhouse''. Filming started 9 July 1951.
Title: Screenplay for Citizen Kane
Content:  signed the contract it was again made clear that all credit for his work belonged to Welles and the Mercury Theatre, the "author and creator". Welles hesitated to officially agree to give Mankiewicz credit. His contract with RKO stated that the film would be produced, directed, performed and written by Welles, and his "boy wonder" persona had great publicity value for the studio. Welles's attorney, Arnold Weissberger, did not want to give RKO any cause to break Welles's contract should they wish to promote the film as solely his work. The contract with Mankiewicz left the matter of his receiving credit open; Welles's correspondence with his lawyer indicated 
Title: Joseph L. Mankiewicz
Content:  In 1961, 20th Century Fox was producing Cleopatra starring Elizabeth Taylor and hired Mankiewicz to replace director Reuben Mamoulian. Mankiewicz accepted a lucrative contract, which he came to regret. The film consumed two years of his life and ended up both derailing his career and adding to severe financial losses for the studio, Twentieth Century-Fox.
Title: Star! (film)
Content:  According to extensive production details provided in the DVD release of the film, when Julie Andrews signed on to star in The Sound of Music, her contract with Twentieth Century-Fox was a two-picture deal. As The Sound of Music neared completion, director Robert Wise and producer Saul Chaplin had grown so fond of her that they wanted to make sure that their team would be the one to pick up the studio's option for the other picture "before anybody else got to her first". Wise's story editor Max Lamb suggested a biopic of Lawrence and, although Andrews previously had rejected offers to 
Title: Roger Corman
Content:  Corman said "for ten years as an independent I could get financing for $100-$200-$300,000 pictures. Everything had been interesting, artistically satisfying, economically satisfying. But I decided I was going nowhere and wanted to move directly into the business. So I accepted a contract with Columbia." In August 1965, Corman announced he had signed a contract with United Artists to make two films over three years. He also signed with Columbia to make a Western, The Long Ride Home, based on a script by Robert Towne. He was announced for a number of other projects at Columbia: the biopic of Robert E. Lee, an adaptation of Portrait of the Artist as a Young Man, an adaptation of Kafka's The Penal Colony, and a script by novelist Richard Yates about the Battle of Iwo Jima. He intended to make The Deserters for UA, from a script by Wright, but that was not made either. He later reflected "Every idea I submitted was considered too strange, too weird; every idea they had seemed too ordinary to me. Ordinary pictures don't make money."
Title: Howard Hawks
Content:  Jack London and Zane Grey. Hawks worked on the scripts for all of the films produced, but he had his first official screenplay credit in 1924 on Tiger Love. Hawks was the Story Editor at Famous Players (later Paramount Pictures) for almost two years, occasionally editing such films as Heritage of the Desert. Hawks signed a new one-year contract with Famous-Players in the fall of 1924. He broke his contract to become a story editor for Thalberg at MGM, having secured a promise from Thalberg to make him a director within a year. In 1925, when Thalberg hesitated to keep his promise, Hawks broke his contract at MGM and left.
Title: Eye of the Devil
Content:  had been discovered by Ransohoff when she went to audition for Petticoat Junction; he was impressed and put her under a seven-year contract. Tate had spent months studying and playing small roles at Ransohoff's expense before making her debut. "Everybody should make an effort to show a new face in every major picture," Ransohoff said. The original director was Sidney J. Furie, who had signed a three-picture deal with Ransohoff. In August 1965, shortly before filming was to begin, Furie was replaced by Michael Anderson. When Anderson fell ill, he was replaced in turn by J. Lee Thompson. Shortly before filming started, the title of the movie was changed to 13.

Question: Who was the director of The Contract?
Answer: Bruce Beresford.