Title: Screenwriting
Content:  naïve New York playwright who comes to Hollywood with high hopes and great ambition. While there, he meets one of his writing idols, a celebrated novelist from the past who has become a drunken hack screenwriter (a character based on William Faulkner). ; Mistress (1992)&mdash;In this comedy written by Barry Primus and J. F. Lawton, Robert Wuhl is a screenwriter/director who's got integrity, vision, and a serious script &mdash; but no career. Martin Landau is a sleazy producer who introduces Wuhl to Robert De Niro, Danny Aiello and Eli Wallach - three guys willing to invest in the movie, but with one catch: each one wants his mistress 
Title: Jane Goldman
Content:  Jane Loretta Anne Goldman (born 11 June 1970) is an English screenwriter, author and producer. With Matthew Vaughn, she co-wrote the screenplays of Kingsman: The Secret Service (2014) and its sequel Kingsman: The Golden Circle (2017), as well as X-Men: First Class (2011), Kick-Ass (2010) and Stardust (2007). Goldman also worked on the story of X-Men: Days of Future Past (2014), the sequel to First Class, in partnership with Vaughn. Both met high critical praise for their partnership works. Goldman's first solo screenplay was The Woman in Black (2012). She also wrote the script for Miss Peregrine's Home for Peculiar Children, a 2016 film adaption of the novel, for Tim Burton. She has also written the books Dreamworld (2000) and The X-Files Book of the Unexplained (1997), and presented her own TV series on the paranormal, Jane Goldman Investigates, on the channel Living, in 2003 and 2004.
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: Star Trek: The Motion Picture
Content:  hired now while he is cheap and humble." The result was a list of 34 names, none of whom were chosen to pen the script. Finally, British screenwriters Chris Bryant and Allan Scott, who had penned the Donald Sutherland thriller Don't Look Now, were hired to write a script. Bryant believed he earned the screenwriting assignment because his view of Kirk resembled what Roddenberry modeled him on; "one of Horatio Nelson's captains in the South Pacific, six months away from home and three months away by communication". Povill also wrote up a list of possible directors, including Coppola, Steven Spielberg, Lucas, and Robert Wise, but 
Title: The Faculty
Content:  In 1990, David Wechter and Bruce Kimmel wrote their first draft of the script and sent it out, but there were no buyers. It wasn't until after the success of Scream that Miramax bought the script and rushed it into production. Bob Weinstein and Harvey Weinstein brought in Kevin Williamson to do rewrites, keeping the basic story, but rewriting the dialogue and adding new characters to make it more "hip". Originally, Williamson was set to direct the film, but he chose not to so he could direct his self-penned script Teaching Mrs. Tingle. The Weinsteins brought in Robert Rodriguez to direct the film instead.
Title: Raise the Titanic (film)
Content:  The screenplay also underwent numerous rewrites. The first writer to work on it was Adam Kennedy, who wrote the script for Stanley Kramer's film for Lew Grade, The Domino Principle. He was followed by Eric Hughes, Millard Kaufman and Arnold Schulman. Kennedy was brought back to do further revisions on the script and he gets sole credit. Novelist Larry McMurtry – who disliked Cussler's novel, considering it "less a novel than a manual on how to raise a very large boat from deep beneath the sea" – claims that he was one of approximately 17 writers who worked on the screenplay and the only one not to petition for a credit on the finished 
Title: Looking for Alaska (miniseries)
Content:  The film rights to the novel were acquired by Paramount Pictures in 2005 shortly before the novel was published. The screenplay was potentially going to be written and directed by Josh Schwartz (creator of The O.C.) but, due to a lack of interest by Paramount, the production had been shelved indefinitely. It had been reported that Paramount was putting the screenplay in review due to the success of the film adaptation of John Green's breakout novel, The Fault in Our Stars. On February 27, 2015, The Hollywood Reporter announced that Scott Neustadter and Michael H. Weber, screenwriters for Temple Hill Entertainment who had worked on adaptations for The Fault in Our Stars and Paper Towns, would be writing and executive producing for the film. Paramount was actively casting the latest version of the screenplay, which was written by Sarah Polley. Rebecca Thomas was set to 
Title: Screenwriters: Words Into Image
Content:  Screenwriters: Words Into Image (1982) is a PBS documentary series produced in the United States and featuring six 30-minute episodes. Each explored the work of a single significant American screenwriter. The series was directed by Terry Sanders and Freida Lee Mock. Individual episodes featured Carl Foreman, who was blacklisted in the 1950s after being classified as an uncooperative witness by the House Unamerican Activities Committee and worked for years in Great Britain; William Goldman, Paul Mazursky, Eleanor Perry, Neil Simon, and Robert Towne. The series was nominated for the Primetime Emmy Award for Outstanding Informational Series in 1983.
Title: Eric R. Williams
Content: 1) Screenwriters taxonomy ; 2) Kortlander-Williams Theme Matrix ; 3) Triangle of knowledge Williams' first feature film, Snakes & Arrows opened the door for him to meet Peter Falk, who hired him to write a Columbo made-for-tv murder mystery for Universal Pictures / Universal Studios in 1998. He later developed and co-produced a pilot program for American Movie Classics called Don’t Try This At Home. In the 2000s, Williams worked as a freelance screenwriter and was often hired to write adaptations. Notably, he adapted Luis Alberto Urrea’s anthology "Across the Wire" in 2003; Bill Littlefield's novel "The Prospect" in 2005; and the anthology Voices from the Heartland in 2008. Williams' work on Voices received the "Ohio Arts Council Award of Individual Excellence in Screenwriting" in 2009. These scripts are shared as examples in his book Screen Adaptation: Beyond the Basics. By 2010, Williams had co-directed and co-produced two documentary television series (Redefining Appalachia and Guyana Pepperpot) as well as the documentary Breaking News (featuring Dianne Rehm, Walter Cronkite and Terry Anderson). Over the course of ten years as a professor, Williams developed three unique concepts for film and television, publishing two books on the topics: 
Title: Scriptment
Content: Writer-director-producer James Cameron delivered a 57-page scriptment that he was contracted to write during the development phase of the first Spider-Man (2002) theatrical movie, which he was also going to direct. When Cameron left the project, screenwriter David Koepp expanded it into a first draft script, which was later worked on by other uncredited writers. ; In 2005, Sony Pictures paid screenwriter Ken Nolan US $3 million for his 75-page scriptment that was an adaptation of the then-unpublished Whitley Strieber novel The Grays. Nolan had only one produced writing credit at the time, the screenplay for the military film Black Hawk Down, a project for which he had submitted three different scriptments to producer Jerry Bruckheimer and executive producers Mike Stenson, and Chad Oman for approval during the writing process. Filmmakers Kriv Stenders 

Question: Who was the screenwriter for Prime?
Answer: Ben Younger.