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: D. M. Marshman Jr.
Content:  In 1946, Marshman collaborated with T. O. Cole on Poets Corner, a comedy in three acts. In 1948, Marshman was recruited by Charles Brackett and Billy Wilder to help write the screenplay of Sunset Boulevard. He suggested that a gigolo be introduced to the story as a romantic interest for the heroine. Characteristics of the main character can be attributed to Marshman, such as name similarity, personality, and identical birthday. He shared a screenwriting credit with Wilder and Brackett. The trio won an Academy Award for Best Original Screenplay. Marshman has two other films to his credit, the 1953 productions Taxi (screenplay) and Second Chance (story). He chose to return to the East Coast in 1953, where he pursued a career in advertising for Young & Rubicam and other agencies, including one he started himself. From 1974 to 1979, he conducted a fund-raising campaign for Yale University, and spent later years as a freelance consultant, writing speeches for corporate CEOs, and doing other business writing.
Title: D. M. Marshman Jr.
Content:  Donald McGill Marshman Jr. (December 21, 1922 – September 17, 2015) credited as D. M. Marshman, was an American screenwriter known mainly for his contribution to the film script for Sunset Boulevard.
Title: Ma (film)
Content:  Ma came together as a result of Tate Taylor's desire to direct a film about "something fucked up", and a conversation he had with Octavia Spencer in which she told him that she was "sick of only being offered the same role and never getting to be a lead." The two are longtime friends, having worked together in films such as The Help and Get on Up. Jason Blum and Taylor, who have been friends for a few years, knew each other socially. Taylor went to Blum's office, reiterating, "I want to do something really fucked up." He read Scotty Landes' script of the film, which Blumhouse Productions had bought the day before. Although the original draft was written 
Title: The Upturned Glass
Content:  Red Cross. Kellino and Monaghan worked on the story together, and Monaghan appeared in a small role as an American military truck driver. In the original draft of the script, Mason was to play a detective and the film was to focus around a school mistress. However after Mason was unable to secure the services of the actors they wanted, Celia Johnson and Phyllis Calvert, the script was rewritten. The new script had nothing to do with an upturned glass but they decided to keep the title because it had received considerable publicity. James Mason co-produced the film with Sydney Box, with whom he had previously worked on the Academy-Award-winning The 
Title: Shane Meadows
Content:  Meadows is known for his frequent collaborations with various actors and film crew members. Though he writes and directs all his work, for many of his films the splits the writing credits with another party, with the two credited jointly as writers. He has worked twice with Toby Kebbell, Frank Harper, Bob Hoskins, Ladene Hall, Jimmy Hynd, Mat Hand, Dominic Dillon and Darren O. Campbell. He has worked three times with Stephen Graham, Joe Gilgun, Rosamund Hanson, Andrew Ellis, Danielle Watson, Chanel Cresswell, Perry Benson, Kriss Dosanjh and Michael Socha and at least four times with Paddy Considine, Vicky McClure, Andrew Shim (who also had cameo roles in Dead Man's 
Title: M*A*S*H (film)
Content:  The screenplay, by Ring Lardner Jr., is different from Hooker's original novel. In the DVD audio commentary, Altman describes the novel as "pretty terrible" and somewhat "racist" (the only major black character has the nickname "Spearchucker"). He claims that the screenplay was used only as a springboard. Despite this assertion by Altman, however, while some improvisation occurs in the film and Altman changed the order of major sequence, most sequences are in the novel. The main deletion is a subplot of Ho-Jon's return to the 4077th as a casualty (when Radar steals blood from Henry, it is for Ho-Jon's operation under Trapper and Hawkeye's scalpels; when the surgeons are playing poker after the football game, they are resolutely ignoring Ho-Jon's corpse being driven away). The main deviation from the script is 
Title: Jamie Linden (writer)
Content:  In 2004, he pitched the story to Warner Bros. with film producers Basil Iwanyk and Mary Viola. When Warner Bros. bought the script, Linden and other film crew met with many family members of the plane crash victims including Keith Morehouse, whose father was killed in the crash, to collaborate on the honesty of the script and the dignity of the victims. The film became We Are Marshall, released in 2006 and directed by McG (Joseph McGinty Nichol), founder of Wonderland Sound and Vision. In 2006, it was reported that Linden was writing a biographical film about Olympic gold medalist downhill skier Bill Johnson to be produced by Basil Iwanyk, as well as an adaptation of The Dogs of Babel to be produced by David Heyman and a television pilot titled Flash Back to be directed by McG.
Title: The Quatermass Xperiment
Content:  The first draft of the screenplay was written by Richard Landau, an American who had worked on six previous Hammer productions, including Spaceways (1953), one of the company's first forays into science fiction. Landau made significant changes in condensing the action to less than half the length of the original teleplay. The opening thirty minutes of the television version are covered in just two minutes in the Hammer film. In the process Landau played up the horror elements of Kneale's original teleplay. Aware that the film would be co-funded by American backers, Landau added a transatlantic dimension to the script: Quatermass's "British Rocket Group" became the "British-American Rocket Group" and the character of his assistant, Briscoe, 
Title: She's All That
Content:  On June 17, 2013, Jack Lechner (who served as Miramax's head of development in the late 1990s) confirmed that technically both Shyamalan and Fleming contributed to the script: Fleming wrote the initial script that Miramax bought while Shyamalan did an uncredited rewrite (doing more than "a polish") that got the film green-lit. Lechner reiterated that content from both writers was included in the final cut of the film. Producer Richard N. Gladstein said that the script "was pretty much done" already, but that Shyamalan's changes "helped enormously with the relationship with Kevin Pollak [who played Laney's father, Wayne]". Iscove attributed the performance 

Question: Who was the screenwriter for Mash-Up?
Answer: Ian Brennan.