Title: The Arrangement (novel)
Content:  The Arrangement is a 1967 novel by Elia Kazan, narrated by a successful Greek-American advertising executive and magazine writer living in an affluent Los Angeles suburb who suffers a nervous breakdown due to the stress of the way in which he has lived his life – the "arrangement" of the title. In 1969 Kazan made it into a film. The Arrangement was a best-seller and garnered generally favorable reviews but it has been out of print since the 1980s.
Title: The Arrangement (novel)
Content:  The novel served as a basis for Kazan's 1969 film The Arrangement. It had to be cut to fit into 129 minutes and it used flashbacks heavily.
Title: The Arrangement (novel)
Content:  The novel was seen by some as being partially autobiographical; the narrator, like Kazan, is a Greek-American and a political liberal who had briefly been a member of the Communist Party USA in the 1930s before becoming disillusioned with it. Arness is also familiar with many lower-tier figures in the Hollywood film industry, which is where Kazan had achieved his greatest fame. Kazan decreed that the work was entirely fiction; the character was some 15 years younger than Kazan, who had not fought in World War II. Critical reaction was largely favorable, although some critics expressed surprise that Kazan would launch a 
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: My Dear Miss Aldrich
Content:  The film was written by Herman J. Mankiewicz. It was one of a number of scripts written by Mankiewicz early in his career which film historian Charles Higham called "hackwork" and "manufactured...written without enthusiasm". The director was George B. Seitz, a director best known for the gentle and bland "Andy Hardy" series of family comedies which starred Mickey Rooney.
Title: McCabe &amp; Mrs. Miller
Content:  Maddow, a well-known poet and screenwriter. In 1969, Altman was in post-production on M*A*S*H and sneaked Foster into the screening; Foster liked the film, and signed Altman to direct a film based on McCabe. They agreed to wait until M*A*S*H became a box-office hit to take the pitch for McCabe to a studio for funding. A second screenplay – independent of Maddow's – was commissioned from Brian McKay, who completed it in only five weeks. A revised version of that screenplay dated July 1970 became the "shooting script" for the film. Altman and McKay are listed in the film's credits as its screenwriters; Maddow 
Title: Hoffman (film)
Content:  Producer Ben Arbeid optioned the screen rights to the novel and hired Gebler to write the script for a fee of £21,000. The film was one of the first greenlit by Bryan Forbes while he was head of EMI Films. Forbes arranged for Peter Sellers to star. Sellers met up with Rakoff, and the star decided he did not want to work with the director. However, Forbes insisted that Rakoff stay on the film and Sellers agreed to work with him. "Then we got on like a house on fire," said Rakoff.
Title: Alex Cox
Content:  In 1996, producer Stephen Nemeth employed Alex Cox to write and direct an adaptation of Hunter S. Thompson's Fear and Loathing in Las Vegas. After creative disagreements with the producer and Thompson, he was sacked from the project, and his script rewritten when Terry Gilliam took over the film. (Cox later sued successfully for a writing credit, as it was ruled that there were enough similarities between the drafts to suggest that Gilliam's was derivative of Cox's. Gilliam countered that the screenplays were based on the source book and similarities between them were a consequence of this.) In 1997, Alex Cox made a deal with Dutch 
Title: Such Good Friends
Content:  Through his son Erik, who was working as his story editor, producer Otto Preminger heard about a manuscript by Lois Gould that was rumored to be a hot property. He negotiated with the author and purchased the film rights for $200,000 in February 1970, three months before the book was published. The novel, narrated in stream-of-consciousness mode by Julie Messinger, proved to be difficult to adapt for the screen. Joan Micklin Silver initially tackled the project, but Preminger found her to be too much of a feminist who was more psychologically attuned to the character than he thought was necessary. He then hired Joan Didion and John Gregory Dunne and worked with them for several months. 

Question: Who was the screenwriter for The Arrangement?
Answer: Elia Kazan.
Elias Kazantzoglou.