Title: The Lodge (film)
Content:  The original screenplay for The Lodge was written by Scottish screenwriter Sergio Casci, which had been sold to Hammer Films. Hammer offered the screenplay to be directed by filmmaking duo Veronika Franz and Severin Fiala. The two agreed, though they rewrote a significant portion of the script, including the ending, which Franz felt "didn't work."
Title: The Horror Show
Content:  Director David Blyth was replaced by James Isaac a week into shooting. Allyn Warner is credited as writer for the film as Alan Smithee. The Horror Show was originally intended as an entry into the House series of films, but was marketed as unrelated, as the producers felt it was too intense compared to the more comedic earlier installments, House and House II: The Second Story.
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: The Holcroft Covenant (film)
Content:  Edy and Ely Landau bought the film rights to the novel along with The Chancellor Manuscript. The first draft of the script was done by John Hopkins before Edward Anhalt was brought in to do rewrites. However, when John Frankenheimer became attached as director, he got George Axelrod to rework most of the screenplay. Frankenheimer called the film "a conspiracy movie" about "a man's search for his father". The director added, "I love Ludlum. I'm a great fan of Ludlum. I buy Ludlum's books. I mean, I pay bookstore prices for Ludlum". "The script I worked from was relatively humorless," says Axelrod. "When John and I suggested adding much more humor, the producers said they didn't want a Walter Matthau romp. But John told them he could take the script of Some Like It Hot and turn it into a social documentary on the effects of gang warfare on the music business in Chicago during Prohibition and how that affected women's liberation - and that they needn't worry about him being too funny." Axelrod admitted he did not read the novel because he didn't have time.
Title: Ben-Hur (1959 film)
Content:  cornpone [the crew's nickname for Heston] really threw himself into your 'first meeting' scene yesterday. You should have seen those boys embrace!" Film critic F. X. Feeney, in a comparison of script drafts, concludes that Vidal made significant and extensive contributions to the script. The final writer on the film was Christopher Fry. Charlton Heston has claimed that Fry was Wyler's first choice as screenwriter, but that Zimbalist forced him to use Vidal. Whether Fry worked on the script before Vidal or not, sources agree that Fry arrived in Rome in early May 1958 and spent six days a week on the set, writing and rewriting lines of dialogue as well 
Title: The Haunted Strangler
Content:  The film was originally going to be called Stranglehold and was written by Jan Read, a friend of Boris Karloff's. He gave the script to producer Richard Gordon, who was looking to make a horror movie in the U.K. Gordon set up Amalgamated Productions with Charles Vetters and had started providing U.S. funding and talent for eight pictures shot in Britain. Amalgamated went into partnership with British producer John Croydon and negotiated a deal with distributor Eros Films who agreed to guarantee 70% of the film's budget after delivery of the final product. The remaining 30% of the budget was provided by the National Film Finance Corporation. The agreement with Eros was conditional on Amalgamated providing a second film, so Gordon arranged to make Fiend Without a Face back to back with 
Title: The Hidden (film)
Content:  Director Jack Sholder was drawn to the film because of the script. Writer Jim Kouf has originally expressed interest in directing, but when the studios refused, he lost interest in the script. Sholder, who saw the potential to turn it into more than an action film, did a rewrite to heighten the themes of what it means to be human. Casting for the film was difficult; they used auditions and could not cast Agent Gallagher until several days before shooting began. Sholder later called MacLachlan "an inspired choice", though he clashed with Nouri. Nouri and McLachlan both liked the script, and, during auditions, agreed to do the film if the other was involved.
Title: Fear and Loathing in Las Vegas (film)
Content:  Cox started writing the screenplay with Tod Davies, a UCLA Thompson scholar. During pre-production, Cox and producer Laila Nabulsi had "creative differences" and she forced Rhino to choose between her and Cox. She had an arrangement with Thompson to produce the film and the studio fired Cox and paid him $60,000 in script fees. Thompson's disapproval of the Cox/Davies script treatment is documented in the film Breakfast with Hunter. The decision was made to not use the Cox/Davies script, which gave Gilliam only ten days to write another. Gilliam has stated in an interview "When we were writing the script, we really tried not to invent anything. We sort of cannibalized the book." The 
Title: Lemony Snicket's A Series of Unfortunate Events
Content:  Silberling signed on to direct in February 2003. He was not familiar with the series when he was first approached. He quickly read the first three novels and was excited that "Hollywood was taking a chance to put over $100 million to adapt these inventive children's books onto screen". Handler, who wrote eight drafts of the script for Sonnenfeld, was replaced by Robert Gordon in May 2003. Handler approved of the changes that were made to his original screenplay. "I was offered credit on the film for screenwriting by the Writers Guild of America," Handler continued, "but I didn't take it because I didn't write it. I felt like it would be an insult to the guy who did."
Title: The Amityville Horror (1979 film)
Content:  Producer Samuel Z. Arkoff purchased the rights to the novel by Jay Anson, which was a commercial success upon its publication in 1977. Anson himself wrote a screenplay based on his work, but the script was rejected by Arkoff, and screenwriter Sandor Stern was assigned to write an entirely new script. Initially, the film had been conceived as a made-for-television film.

Question: Who was the screenwriter for The Host?
Answer: Chris Carter.
Christopher Carl Carter.