Title: Black Coal, Thin Ice
Content:  The project started from Diao Yinan's idea to film a detective story. Diao spent eight years in total writing the screenplay; the final version that was filmed was the third draft. The film was then laid out into a detective film noir. Liao Fan gained 44 pounds of weight to play the film's protagonist of an alcoholic and suspended police officer.
Title: Twilight's Last Gleaming
Content:  The writers Ronald M. Cohen and Edward Huebsch wrote the script together over six weeks. Aldrich called it "the most unlikely marriage in the world. Huebsch's a little wizened old man, sixty-two, sixty-three years old, been in the political wars for forty years, probably the most knowledgeable political analyst in town - or at least up there with Abe Polonsky and Ring Lardner. And Cohen is a loud-mouthed, extroverted, young, smart-ass guy who knows that he votes Democratic... an extraordinarily gifted writer in terms of what people say and how they say it. The script was originally 350 pages. "If that movie's anti-American so is Jimmy Carter," said Aldrich. "The most inflammatory statement in the movie is that it opts for open government."
Title: Nathanael West
Content:  as a screenwriter by RKO Radio Pictures, where he collaborated with Boris Ingster on a film adaptation of the novel Before the Fact (1932) by Francis Iles. West and Ingster wrote the screenplay in seven weeks, with West focusing on characterization and dialogue and Ingster focusing on the narrative structure. RKO assigned the film, eventually released as Suspicion (1941), to Alfred Hitchcock; but Hitchcock already had his own, substantially different, screenplay. Hitchcock's screenplay was written by Samson Raphaelson, Joan Harrison (Hitchcock's secretary), and Alma Reville (Hitchcock's wife). West and Ingster's screenplay was abandoned, but the text can be found in the Library of America's edition of West's collected works.
Title: Friday the 13th: The Final Chapter
Content:  The filmmakers wanted Joseph Zito, who had previously produced and directed The Prowler, to direct and write the screenplay for the film. He initially claimed that he wasn't a writer, but he later accepted it when the contract offered him payment for directing and writing. Zito secretly used the extra salary to hire Barney Cohen to write the script. Their process entailed Zito taking one-hour phone calls every night with Phil Scuderi to discuss the film's screenplay and story. He then met Cohen in a New York apartment to use the ideas Scuderi had offered, which then they would turn into script pages sent that day to Scuderi in Boston to be discussed again over the phone. Cohen remained credited for writing the film, but he eventually got into trouble with the Writer's Guild of America 
Title: The Evil That Men Do (film)
Content:  The movie's first draft was written by the novel's writer, R. Lance Hill (as per the terms of his contract). John Crowther was hired to rewrite the draft in the spring of 1982. Crowther was originally hired on a weekly contract, but when the producers realized the extent to which the script needed rewriting, it was drastically extended. Prior to rewriting the film's screenplay, Crowther had written the martial-arts, action movie Kill and Kill Again. Crowther had known Pancho Kohner—the movie's producer—for many years. It was Kohner who hired him to rewrite the script. In addition to this, Crowther had worked on Bronson's earlier movies. For example, he was an uncredited writer on Love and Bullets; and a casting director on 10 to Midnight. 
Title: Some Like It Hot
Content:  Billy Wilder wrote the script for the film with writer I.A.L. Diamond. The plot was based on a screenplay by Robert Thoeren and Michael Logan for the 1935 French film Fanfare of Love. The original script for Fanfare of Love was untraceable, so Walter Mirisch found a copy of the 1951 German remake, Fanfares of Love. He bought the rights to that script, and Wilder worked with this to produce a new story. Both films follow the story of two musicians in search of work, but Wilder created the gangster subplot that keeps the musicians on the run. The studio hired female impersonator Barbette to coach Lemmon and Curtis on gender illusion for the film. Monroe worked for 10 percent of the gross in excess of $4 million, Curtis for 5 percent of the gross over $2 million, and Wilder for 17.5 percent of the first million after break-even and 20 percent thereafter.
Title: Suspicion (1941 film)
Content:  In November 1939, Nathanael West was hired as a screenwriter by RKO Radio Pictures, where he collaborated with Boris Ingster on a film adaptation of the novel. The two men wrote the screenplay in seven weeks, with West focusing on characterization and dialogue as Ingster worked on the narrative structure. When RKO assigned Before the Fact to Hitchcock, he already had his own, substantially different, screenplay, credited to Samson Raphaelson, Joan Harrison, and Alma Reville. (Harrison was Hitchcock's personal assistant, and Reville was Hitchcock's wife.) West and Ingster's screenplay was abandoned and never produced. The text of this screenplay can be found in the Library of America's edition of West's collected works.
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.
Title: Die Hard
Content:  who disappears early in the novel, is present throughout Stuart's draft, supporting McClane by broadcasting rap music over the terrorists' radios. Among the script's original characters is the unscrupulous journalist Richard Thornburg. A fan of prominent Western film actor John Wayne, Stuart was inspired to carry a Western theme throughout the script, including cowboy lingo. He befriended a construction superintendent at the under-construction Fox Plaza in Los Angeles, allowing him access to the building to gain ideas on how to lay out the characters and scenes. He delivered the finished screenplay in June 1987. It was greenlit the following day, in part because 20th Century Fox needed a summer blockbuster for 1988.
Title: The Big Country
Content:  Robert Wyler and Jessamyn West wrote the first screenplay for the film based on the Donald Hamilton story that had been serialized in The Saturday Evening Post. Leon Uris wrote a second screenplay and Robert Wilder wrote another, with the final script by James R. Webb and Sy Bartlett. After arbitration, Webb, Bartlett and Wilder received screenplay credit and Wyler and West received adaptation credit. Uris was not given credit as his script deviated too much from the original story. Director William Wyler was known for shooting an exorbitant number of takes on his films, usually without explaining to the actors what to do differently except "[make it] better", and this one was no exception. Many of the actors, including Jean Simmons and Carroll Baker, were so traumatized by his directing style that they refused to speak about 

Question: Who was the screenwriter for The Thick of It?
Answer: Armando Iannucci.
Sean Gray.