Title: Woman of the Year
Content:  The outline for the film was developed by Garson Kanin, a close friend of Hepburn's. Hepburn then passed the outline to Joseph L. Mankiewicz at MGM, and said the price was $250,000 – half for her, half for the script. He liked it and agreed to produce the movie. Kanin was fighting in the war at the time, so the script was written by his brother, Michael Kanin, and mutual friend Ring Lardner Jr. Hepburn contributed significantly to the script – reading it, suggesting cuts and word changes, and generally providing helpful enthusiasm for the project. As a part of the deal, Hepburn had the option of selecting her co-star and director (Tracy and Stevens).
Title: Such Good Friends
Content:  in early 1971, Elaine May, his original choice for screenwriter, became available. May worked on the script for ten weeks, although Preminger found it difficult to adjust to her method of writing. The two would meet for a story conference, then May would disappear and remain incommunicado for two weeks or so, finally emerging with a substantial part of the screenplay completed. Preminger would give her notes and she would disappear again, and this routine continued until the script was finished. Not wanting her name attached to work started by others, May insisted she did not want screen credit and used the pseudonym Esther Dale, the name of a Hollywood character actress, instead of her 
Title: Glossary of Broken Dreams
Content:  The basic script was written by Johannes Grenzfurthner and Ishan Raval, supported by language consultant Chris S. Sims. Due to the fast production process, the different chapters were written while other parts were already being shot and edited. Final decisions about length and content were made in the editing room. "On the basis of [the theoretical texts], I went on to develop the characters and the plot of the movie and started filming with the actors. At the same time, I was cutting scenes that were finished and started to put the movie timeline together. Everything was happening simultaneously. Compiling, writing, filming, cutting. And sometimes not even in this order. It felt like creating a jigsaw puzzle and trying to solve it at the 
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: Something for the Boys (film)
Content:  film's running time as 78 min. According to information in the legal records and the Twentieth Century-Fox Produced Scripts Collection, the following writers worked on various versions of the screenplay: Harry Segall, Marian Spitzer, Eddie Welch, Snag Werris, Samuel Hoffenstein and Betty Reinhardt. The extent of their contributions to the completed film has not been confirmed, however. Notes from a 12 January 1944 studio conference reveal that production head Darryl F. Zanuck wanted the same writers who wrote Greenwich Village, a 1944 Twentieth Century-Fox picture starring Carmen Miranda, to write Miranda's dialogue for this film, because "they wrote especially for her, 
Title: Enough Said
Content:  Enough Said was the fifth film written and directed by Nicole Holofcener. After the release of her fourth film, Please Give (2010), she was approached by Matthew Greenfield and Claudia Lewis from Fox Searchlight, who offered to produce Holofcener's next project on the condition that it was more mainstream than her previous films. She wrote three drafts of the screenplay over six months. The premise was partly inspired by Holofcener's own life as a divorced mother of two teenagers and her "feelings and fears about what [her] life will be like when [her] kids go away". While writing the film, she said, "I was having thoughts about my ex-husband and my new boyfriend and thinking about being married and how I'm trying to have a relationship that's happier the second time." Small 
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: Die Another Day
Content:  After the success of The World is Not Enough, producers Barbara Broccoli and Michael G. Wilson asked the director Michael Apted to return to direct. Although Apted accepted, they rescinded the offer in order to ask Tony Scott and John Woo, who both declined. Scott claims to have suggested Quentin Tarantino as director, although Wilson denies that any formal negotiations were held with him. Pierce Brosnan suggested John McTiernan, Ang Lee, and Martin Scorsese as potential choices, and informally discussed the idea of directing a Bond film with Scorsese on a flight. Brett Ratner, Stephen Hopkins, and Stuart Baird were later in negotiations to direct before Lee Tamahori was hired.
Title: That Forsyte Woman
Content:  had reservations about the script and threatened to withdraw but changed her mind after further work on it. Compton Bennett signed to direct, and producing duties were taken over by Leon Gordon, who said the film would mostly concentrate on the story of A Man of Property (written between 1903 and 1906). (When the script went to credit arbitration with the Writers Guild of America, it was revealed that 13 writers had done 17 adaptations in all. The writers included James Hilton, Richard Llewellyn, Robert Nathan, Ivan Tors, Robert Lord, Lawrence Weingarten, John Balderston, Arthur Wimperis, Ann Cunningham, Franclien McConnell, John 
Title: The Thick of It
Content:  The series was written by a team of writers led by Armando Iannucci, who also directed the series, with Jesse Armstrong, Simon Blackwell, Roger Drew, Sean Gray, Ian Martin, Will Smith and Tony Roche. Some of the dialogue was improvised rather than scripted (with the cast credited as providing "additional material"), and included some very strong language. Peter Capaldi said "Fundamentally 80% of the final cut is the script that we started with. The improvisation just makes it feel more real and not written." Prior to rehearsals, the scripts were sent to a "swearing consultant" in Lancaster called Ian Martin, who added some of the more colourful language. The programme's producer was Adam Tandy, who had produced all of Iannucci's television projects since 2000. The programme was shot with hand-held cameras to give it a sense of vérité or fly-on-the-wall documentary. The documentary style was furthered by the absence of any incidental music or laughter track.

Question: Who was the screenwriter for Made for Each Other?
Answer: Joseph Bologna.