Title: Your Ticket Is No Longer Valid
Content:  The film was based on a novel by Romain Gary which was optioned by producer Robert Lantos. His assistant Leila Basen wrote a draft of the script. She later recalled: "If the book was totally sexist, the first draft screenplay written by an American writer was even more misogynist... There never was a script contract. Robert continued to pay me my executive assistant salary of $350 a week. I sat in my usual desk in a room with the other four secretaries. But instead of writing lunch orders, I was writing what was to become the biggest-budget Canadian film of that time... In lieu of money, I got an IBM Selectric II, a free trip to Paris, where some of the film was shot, and tons of experience screenwriter-wise. I 
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: I Witness
Content:  Originally entitled "God's Witness," the script by Colin Greene and rock star Robert Ozn found its way on to many Hollywood executives' "best un-produced screenplays" lists. While it was set up multiple times with a variety of film stars, directors and producers, the film fell apart repeatedly over a period of eight years. Finally, executive producer Paul de Souza was able to get the screenplay in front of David Bixler, then Senior VP of Promark Films. Bixler and Promark's founder, Jonathan Kramer, procured tax credit financing in Puerto Rico and brought producer/casting director Julia Verdin on board along with director Rowdy Herrington. The project got its green light when both Jeff Daniels and James Spader read the material and signed on. Greene and Ozn won the 2003 Method Fest Best Screenplay Award.
Title: Tourist Trap (film)
Content:  The screenplay for Tourist Trap was written by David Schmoeller and J. Larry Carroll, the latter of whom pitched the film to producer Charles Band. Initially, Schmoeller intended for John Carpenter to direct the film, but Carroll was unsatisfied with the financial arrangements, and opted instead that Schmoeller should direct. Carroll and Schmoeller had previously pitched the film to producers Samuel Z. Arkoff and Bruce Cohn Curtis, but were unable to secure a production arrangement. The original screenplay did not feature the telekinetic powers; according to Carroll, the idea was proposed by Band, who insisted it be implemented into the script.
Title: Larry Tucker (screenwriter)
Content:  Tucker was from Philadelphia and began his career with humorist Mort Sahl at San Francisco's Hungry i club. After the Hungry i, Tucker became a television writer, working on The Danny Kaye Show. Tucker acted in the films Blast of Silence (1961), Advise and Consent (1962), Shock Corridor (1963) and Angels Hard as They Come (1971). Tucker and Mazursky were also responsible for the development and production of The Monkees eponymous television series and the 1968 romantic comedy I Love You, Alice B. Toklas!, which starred Peter Sellers. In the early 1980s Tucker was executive producer and one of the writers of the sitcom Jennifer Slept Here (1983), Mr. Merlin (1981–82), Teachers Only (1982–83) and Stir Crazy (1985). Tucker died of complications from multiple sclerosis and cancer in 2001.
Title: Brian Tucker (screenwriter)
Content:  Tucker began writing an unsolicited screenplay for Broken City (2013), which was bought by Mandate Pictures. The script became part of the film industry's 2008 black list of "best, albeit unproduced, screenplays." Speaking about the finished film, Emily Helwig of The Hollywood Reporter said "Tucker's screenplay might have been the problem and that it may have been a better story told as a period piece." Michael Phillips of the Chicago Tribune had issues with the "coincidence and improbability" of Tucker's script. In November 2019, it was announced that Tucker would serve as a screenwriter on a remake of The Fugitive. In August 2021, it was revealed that Tucker had been hired to rewrite Todd McFarlane's screenplay for the upcoming Spawn reboot. Tucker was also attached to write the screenplay for a Sympathy for Mr. Vengeance remake and an original film titled Expiration.
Title: Script doctor
Content:  ; Quentin Tarantino: It's Pat (1994) and Crimson Tide (1995). ; Robert Towne: Bonnie and Clyde (1967), The Godfather (1972), and Armageddon (1998). Author Peter Biskind writes in Easy Riders, Raging Bulls (1998) that Francis Ford Coppola asked Towne if he wanted credit for his contributions to the screenplay of The Godfather, and Towne replied: "Don't be ridiculous. I only wrote a couple of fuckin' scenes. If you win an Oscar, thank me." Coppola won the Academy Award for Best Writing (Adapted Screenplay) and thanked Towne. ; Joss Whedon: Speed (1994), The Quick and the Dead (1995), Waterworld (1995), Twister (1996), and X-Men (2000). 
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: Robert Pirosh
Content: The Winning Ticket (1935) – story ; A Night at the Opera (1935) – writer (uncredited) ; A Day at the Races (1937) – writer ; The Wizard of Oz (1939) – writer (uncredited) ; The Quarterback (1940) – writer ; The Night of January 16th (1941) – writer ; Song of the Islands (1942) – writer ; Rings on Her Fingers (1942) – writer ; I Married a Witch (1942) – writer ; Up in Arms (1944) – writer ; Man About Town (1947) (US version) – associate producer ; Battleground (1949) – story, writer, associate producer ; Go for Broke! (1951) – writer, director ; Washington Story (1952) – writer, director ; Valley of the Kings (1954) – writer, director ; The 
Title: Irving Brecher
Content:  Irving S. Brecher (January 17, 1914 – November 17, 2008) was a screenwriter who wrote for the Marx Brothers among many others; he was the only writer to get sole credit on a Marx Brothers film, penning the screenplays for At the Circus (1939) and Go West (1940). He was also one of the numerous uncredited writers on the screenplay of The Wizard of Oz (1939). Some of his other screenplays were Shadow of the Thin Man (1941), Ziegfeld Follies (1945) and Bye Bye Birdie (1963).

Question: Who was the screenwriter for Tickets?
Answer: Ermanno Olmi.
Abbas Kiarostami.