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 Fugitive (1993 film)
Content:  was supposed to shoot. According to Davis, he never met with credited screenwriter David Twohy, whose main contribution was writing the train crash. Beyond that, Davis said "he wasn’t involved in anything we did. Jeb Stuart was there with us...basically responding to things we were coming up with all the time...[Warner Bros.] can’t talk about this because of the Writers Guild, but Tommy Lee Jones, myself, Harrison [Ford] and other people who were close with us, especially coming up with the whole plot about the pharmaceuticals, they were uncredited writers." Jane Lynch, who was cast as Dr. Kathy Wahlund in one of her first film roles, recalled having 
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: Silver Streak (film)
Content:  The film was based on an original screenplay by Colin Higgins, who at the time was best known for writing Harold and Maude. He wrote Silver Streak "because I had always wanted to get on a train and meet some blonde. It never happened, so I wrote a script." Higgins wrote Silver Streak for the producers of The Devil's Daughter, a TV film he had written. Both they and Higgins wanted to get into television. The script was sent out to auction. It was set on an Amtrak train and Paramount was interested, but wanted Amtrak to give its approval. Alan Ladd Jr and Frank Yablans at 20th Century Fox didn't want to wait and bought the script for a then-record $400,000. Ladd said "It was like the old Laurel and 
Title: Stephen Lodge (screenwriter)
Content:  Lodge lived in Rancho Mirage, California, near Palm Springs, with his wife Beth and their two dogs. Since moving to the desert he wrote, produced and directed a 90-minute TV special, Bordello; authored several articles for various magazines; and completed additional screenplays, including adaptations of his novels, Shadows of Eagles, Charley Sunday's Texas Outfit!, and Nickel-Plated Dream.
Title: Navy SEALs (film)
Content:  In the winter of 1986 Brenda Feigen, then an agent at the William Morris Agency, was introduced to Chuck Pfarrer through one of her clients. Pfarrer, an active duty navy SEAL who wrote screenplays in his spare time, had just sold "The Crook Factory," a script about Ernest Hemingway's life. Feigen encouraged him to write a script based on his experiences. After retiring from the SEALs, Pfarrer wrote the script, which Feigen shopped to Orion Pictures, Warner Brothers, and United Artists, hoping to create a bidding war. Orion ultimately purchased the script, with Feigen acting as producer. Feigen wanted Ridley Scott to direct, but negotiations fell through. Richard Marquand was then hired, 
Title: Langford Reed
Content:  Spiers he wrote The Mantle of Methuselah: A Farcical Novel (1939); and The Writer's Rhyming Dictionary (1961). A prolific film writer and director, he was known for The Tempest (1908); wrote the intertitles for and edited Chase Me Charlie (1918), a seven-reel montage of Charlie Chaplin's Essanay films released in Great Britain; The Heart of a Rose (1919); A Lass o' the Looms (1919) and Potter's Clay (1922), the screenplay of which was adapted with his wife in to a novel in 1923. A Freemason, he joined the Authors' Lodge No. 3456 in 1921. In his later years he lived at 59 
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: Myra Breckinridge (film)
Content:  Film rights were sold for a reported $750,000 including a percentage of the profits and a fee covering Gore Vidal writing the screenplay. Vidal wrote a draft, but the job was ultimately assigned to David Giler, who wrote a draft in three weeks. Vidal told Giler how much he liked the draft. Michael Sarne had just made Joanna. 20th Century Fox's head of production, Dick Zanuck, said "he came to me when we had two lousy scripts and said he knew how to do it. He had some good ideas." Zanuck introduced Sarne to the film's producer, Robert Fyer, who was so impressed that the studio hired Sarne to write a script. The final draft of the script would be the tenth. The original director was Bud Yorkin. Producer Jim Cresson said "we thought he 
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 

Question: Who was the screenwriter for The Ledge?
Answer: Matthew Chapman.