Title: Eagle Eye
Content:  Screenwriter Dan McDermott wrote the original script for Eagle Eye based on an idea by Steven Spielberg, who had been inspired by Isaac Asimov's short story "All the Troubles of the World." The studio DreamWorks then bought McDermott's script and set up the project to potentially be directed by Spielberg. When the director became busy with Indiana Jones and the Kingdom of the Crystal Skull, he dropped out of the project. Director D. J. Caruso, who directed the 1996 TV series High Incident under Spielberg's executive production, replaced the director in helming Eagle Eye, with Spielberg remaining as executive producer. In 
Title: Legal Eagles
Content:  The script was written by Jim Cash and Jack Epps who were represented by Creative Artists Agency (CAA), based on a story by Cash, Epps and Ivan Reitman from an idea by Reitman, who was also represented by CAA. Reitman had long been interested in doing something set in the art world, with lawyers as protagonists "because they are our contemporary hired guns, involved in every aspect of modern life. I thought the interaction of the two worlds would make for good comedy as well as drama." The film was originally meant to be a vehicle for Dustin Hoffman and Bill Murray, the latter a CAA client, and was written as a buddy movie. Murray pulled out. Ivan Reitman 
Title: Newsfront
Content:  Phil Noyce showed a copy of his short film Castor and Pollux to David Elfick, a magazine publisher who had made a number of successful surf movies. Elfick, along with Mike Molloy and Philippe Mora had been discussing making a film about newsreel cameramen of the 1940s and 1950s who worked for such companies as Movietone and Cinesound Productions. Elfick hired Bob Ellis to write the screenplay because he had admired The Legend of King O'Malley. Ellis says he wrote the first draft with Howard Rubie, who was a former cameraman for Cinesound and thought he was going to direct it. Anne Brooksbank later contributed to the script. Noyce was then hired as director and 
Title: The Fly (1986 film)
Content:  Lynch's film The Elephant Man. (Brooks would leave his name off the film's credits, to avoid confusing viewers who might expect "a Mel Brooks film" to be a comedy.) Cornfeld gave the script to Brooks, who liked it but felt that a different writer was needed. Pogue was then removed from the project and Cornfeld hired Walon Green for a rewrite, but it was felt that his draft was not a step in the right direction, so Pogue was then brought back to polish the material. At the same time, Brooks and Cornfeld were trying to find a suitable director. Their first choice was David 
Title: The Elephant Man (film)
Content:  Jonathan Sanger, the film's producer, optioned the script from the writers Christopher Devore and Eric Bergren after receiving the script from his babysitter. Sanger had been working as Mel Brooks' assistant director on High Anxiety. Sanger showed Brooks the script, which he read and decided to help finance the film through Brooksfilms, his new company. Brooks' personal assistant, Stuart Cornfeld, suggested David Lynch to Sanger. Sanger met Lynch and they shared scripts they were working on (The Elephant Man and Lynch's Ronnie Rocket). Lynch told Sanger that he would love to direct the script after reading it, and Sanger endorsed him after hearing 
Title: Eagle: The Making of an Asian-American President
Content:  Eagle was nominated for five Eisner Awards, including Best New Series, Best Continuing Series, Best Writer/Artist, and Best U.S. Edition of Foreign Material in 2001, and again in 2002 for Best U.S. Edition of Foreign Material. Writer Warren Ellis called it "A wild tangle of sex and secrets and hate and Machiavellian intrigue. It's Primary Colors in a really bad mood."
Title: K/O Paper Products
Content:  credit solely as a producer came with the film Eagle Eye, where he worked once again alongside Kurtzman. He said in an interview with the magazine Extra that he had previously been involved in productions where the producers had writing backgrounds and had looked to them for help, and he was happy to provide that same support to the writers on Eagle Eye. The director of the film, D. J. Caruso, praised the duo saying that "What's unusually cool about them is that they have maintained the producer-writer power that they earned in television and carried that over into the feature film area, and that is extremely rare." Following their 
Title: Stanley Ellin
Content:  the next paragraph and polishing each subsequent page in similar fashion before proceeding further... He managed only one a year, sent each in turn to Ellery Queen's Mystery Magazine, and never had one rejected." "Only one a year" is not precisely accurate, but the Internet Speculative Fiction Database shows it is close. Ellin co-wrote the screenplay for the 1951 film The Big Night along with Joseph Losey, Hugo Butler and Ring Lardner, although Ellin and Losey were the only ones credited for it up until the year 2000. He also wrote book reviews for such venues as The New York Times Book Review, chiefly of suspense novels, as well 
Title: The Eiger Sanction (film)
Content:  the hero had some motivations. The way the book was written, he had no motivations for anything. He just went up there strictly for monetary gain, no other motivation, period." Believing that improvements could be made to the script, Eastwood contacted novelist Warren B. Murphy — known for his The Destroyer assassin series — in February 1974, and asked for his assistance, despite Murphy's having never read the book nor written for a film before. Murphy read the novel and agreed to write the script, but he was unhappy with the novel's tone, which he believed patronized readers. Murphy completed a draft in late March and a revised script a month later. Eastwood also felt that the 
Title: Eliot &amp; Me
Content:  Connolly developed and co-wrote the script for Eliot & Me with producer Fiona Bergin. "It was a bit of a family affair', says Connolly "we shot at weekends and school holidays, whenever Ella was free. We cast actors we'd worked with before, like Renée Weldon, David Wilmot and Mannix Flynn. It was a real labour of love. We filmed all over the city, but mainly in Kilmainham.” Describing working with his daughter Ella he said: “After playing a spooky kid in Hammer horror Wake Wood, she wanted to be in a film she could watch. Having worked on that film which was shot in winter and involved prosthetics and special effects, this was relatively straightforward, 

Question: Who was the screenwriter for The Eel?
Answer: Shohei Imamura.
Shôhei Imamura.
Imamura Shohei.
Akira Yoshimura.
Yoshimura Akira.