Title: Terminal Station (film)
Content:  The film is based on the story Stazione Termini by Cesare Zavattini. Truman Capote was credited with writing the entire screenplay, but later claimed to have written only two scenes. The film was an international co-production between De Sica's own company and the Hollywood producer David O. Selznick, who commissioned it as a vehicle for his wife, Jennifer Jones. The production of the film was troubled from the very beginning. Carson McCullers was originally chosen to write the screenplay, but Selznick fired her and replaced her with a series of writers, including Paul Gallico, Alberto Moravia and Capote. Disagreements ensued between De Sica and Selznick, and during production, Selznick would write 40- and 50-page letters to his director 
Title: The Possessed (1965 film)
Content:  The Possessed was based on the 1962 novel La donna del lago by Giovanni Comisso. Giulio Questi was hired to write the screenplay. Along with directors Luigi Bazzoni and Franco Rosselini, a fourth uncredited writer was added to work on the film: Ernesto Gastaldi. For their contributions to the script, Gastaldi, Bazzoni, and Rosselini received 700,000, 500,000 and 250,000 Italian lire respectively. Questi received the highest pay, earning 3 million lire.
Title: Keoma (film)
Content:  a script by Mino Roli and Nico Ducci, neither of whom were experienced writers of Spaghetti Westerns. Roli and Ducci's screenplay arrived three days after shooting began and was quickly thrown out by Castellari and Nero, unanimously believing that it was not appropriate for a Western. Castellari proceeded to rewrite the script on a daily basis throughout filming, taking suggestions from cast and crew members, as well as being influenced by the works of Shakespeare and Sam Peckinpah, among other sources. Most of the dialogue as it appears in the film was written by actor John Loffredo, although Nero also contributed a substantial amount of his own lines, including his final exchange with 
Title: Lasciate ogni speranza
Content:  Raffaele Colamonici hired Riccardo Freda as the screenwriter for the film, adapting the play L'agonia di Schizzo by Athos Setti. Freda would later dismiss the film and his other works of the era as "small comedies without any importance" Freda stated he wrote the film with his friend Edoardo Antonelli.
Title: Kamchatka (film)
Content:  According to the Internet Movie Database, the screenplay was written by Marcelo Figueras, based on an original story written by Figueras and Marcelo Piñeyro. When the time for the nominations came, the Argentine Film Critics Association credited the authorship of the final script to both of them.
Title: The Bellboy and the Playgirls
Content:  in him being reprimanded by the producer after he saw the completed film. Hill received $25 for his work on the film and Coppola received $250. Coppola was a student at the University of California, Los Angeles film school and his classmates did not agree with his choice of going into exploitation films. Coppola said, "I was called a cop-out, because I was willing to compromise". The film print was believed to be lost after the film's initial release in 1962 and subsequent release on videotape but a collector of Coppola memorabilia had a print of the film. The book Godfather: The Intimate Francis Ford Coppola states that "Coppola's color footage is easily identifiable in the finished film" and that "the five Coppola sequences add up to nearly fifty minutes of screen time". A short time after the film's release, Coppola started working under Roger Corman.
Title: Spirit: Stallion of the Cimarron
Content:  Writer John Fusco, best known for his work in the Western and Native American genres (such as the films Young Guns and Young Guns II), was hired by DreamWorks Animation to create an original screenplay based on an idea by Jeffrey Katzenberg. Fusco began by writing and submitting a novel to the studio and then adapted his own work into screenplay format. He remained on the project as the main writer over the course of four years, working closely with Katzenberg, the directors, and artists.
Title: Michael Cimino's unrealized projects
Content:  In September 1982, Cimino approached Raymond Carver and Tess Gallagher to re-write a screenplay based on the life of Fyodor Dostoevsky. According to Carver, Cimino presented him an existing screenplay with no author credit, commissioned by the veteran Italian film producer, Carlo Ponti. The first draft had been written by a Russian writer, and then translated to English by two Italian writers. Carver and Gallagher opted to re-write the entire script, delivering a 220-page draft to Cimino in November 1982. The director was impressed with the results, but the producer returned to Europe shortly thereafter, halting further script development.
Title: Estudantes
Content:  The film was a co-production of Waldow Filmes and Cinédia studios, directed by Wallace Downey and based on a script by musicians João de Barro and Alberto Ribeiro. The setting is at a student residence within a university. The Mimi character was Carmen Miranda's debut acting role on film. She also sings in the movie. The crooner romantically pursuing her is played by Mário Reis. Two other students, played by Mesquetinha and Bárbosa Júnior, also vie for her affections, giving rise to a wealth of comic incidents. Although the film's soundtrack featured well-known carnival "marchas" and sambas, it was not 
Title: Kathryn Scola
Content:  adaptation of the Dashiell Hammett novel, with writer Kubec Glasmon. In 1937, Scola and Darrell Ware collaborated to write the script for the film Second Honeymoon, directed by Walter Lang. In 1943, at the outset of the Second World War, Scola and Julien Josephson wrote the script for Happy Land, a 20th Century Fox production that was meant to prepare audiences for the losses of the war. During 1946, Scola wrote a screenplay for the Max Ophüls 1949 American film noir Caught, which would eventually be rejected by the censorship board due to what was deemed questionable material. Scola’s script was revised by various writers and eventually abandoned, leading to the final screenplay by playwright and screenwriter Arthur Laurents. Scola and Julien Josephson also worked together on the original screenplay for “In Times Like These” in 1956, a teleplay included in the anthology series The 20th Century Fox Hour.

Question: Who was the screenwriter for Compagni di scuola?
Answer: Carlo Verdone.
Carlo Gregorio Verdone.