Title: Never Say Never Again
Content:  Mankiewicz, who had rewritten Diamonds Are Forever, to work on the script; however, Mankiewicz declined as he felt he was under a moral obligation to Eon's Albert R. Broccoli. Semple Jr. ultimately left the project after Irvin Kershner was hired as director and Schwartzman began cutting out the "big numbers" from his script to save on the budget. Connery then hired British television writers Dick Clement and Ian La Frenais to undertake re-writes, although they went uncredited for their efforts despite much of the final shooting script being theirs. This was because of a restriction by the Writers Guild of America. Clement and La Frenais continued rewriting during the 
Title: Suspicion (1941 film)
Content:  In November 1939, Nathanael West was hired as a screenwriter by RKO Radio Pictures, where he collaborated with Boris Ingster on a film adaptation of the novel. The two men wrote the screenplay in seven weeks, with West focusing on characterization and dialogue as Ingster worked on the narrative structure. When RKO assigned Before the Fact to Hitchcock, he already had his own, substantially different, screenplay, credited to Samson Raphaelson, Joan Harrison, and Alma Reville. (Harrison was Hitchcock's personal assistant, and Reville was Hitchcock's wife.) West and Ingster's screenplay was abandoned and never produced. The text of this screenplay can be found in the Library of America's edition of West's collected works.
Title: Micki &amp; Maude
Content:  The script was written by playwright Jonathan Reynolds. "I initially thought that the guy would be perceived as terrible," said Reynolds. "The biggest trick was to make him not be a swine. If you'd had Errol Flynn or Warren Beatty in that role you would've been in big trouble." So Reynolds stressed the man's devotion to children and to make it clear he was very much in love with both wives. Blake Edwards was not originally available to direct. When Edwards left City Heat he moved on to Micki and Maude. "I feel I do my best work with him," said Moore. "He lets me go. He doesn't force me to feel that I'm not doing the right thing." The original version was set in New York and Reynolds says it was "sort of a slam-bang farce, with a very zippy pace." The director, said Reynolds, made 
Title: Dr. Heckyl and Mr. Hype
Content:  was touring in a play at the time and was unavailable, Golan hired Oliver Reed. Griffith said, "I had to redo the entire picture in my head when he was cast, because it was a zany slapstick comedy and I got Oliver Reed – with that face and that voice! So I made it more lyrical." Sunny Johnson was cast the day before shooting started. She died a few years later of a brain hemorrhage. The script ran to 200 pages in length, and Griffith admits he never had time to cut it down properly. He also said he "fought with the producers over blood and gore versus comedy, and lost as usual." Griffith offered a role to old actor friend Jonathan Haze, who turned it down. However, Dick Miller and Mel Welles appear.
Title: The Spanish Main
Content:  furious." Henreid said he refused to make the movie until it was rewritten following his outline. This was done, but Henreid claims the forty new pages he was sent "was exactly the same as Yates' first draft." (He does not mention Aeneas MacKenzie in his memoirs.) Henreid knew RKO had already started building sets for the film which was budgeted at $2 million, which gave him great leverage. He insisted he be given powers as producer and that Yates be taken off the project. He persuaded Herman J. Mankiewicz, then under contract to RKO, to rewrite the script. Henreid called Mankiewicz's work "his first adventure story was perfect, an exciting thrilling story with everything I wanted in it." "Pirate pictures always make money," said producer Robert fellows.
Title: Counsellor at Law
Content:  Chicago production, was signed to reprise his small role of Harry Becker, a young radical with Communist leanings; he later became a prolific film and television director. Another cast member, Richard Quine, then 13, similarly went on to a career as a director, writer and producer. Soon after filming began, Wyler realized much of the material Rice had excised from his play was necessary to build scenes, and he began incorporating it back into the screenplay. Eventually he worked with both the screenplay and play script at hand, a procedure he would follow when making The Little Foxes in later years. Barrymore had signed for $25,000 per week, and Wyler was ordered to film all his scenes as quickly as possible. What 
Title: Rough Cut (1980 film)
Content:  Merrick fired Siegel several weeks into filming and hired British filmmaker Peter R. Hunt. Reynolds, an admirer of Siegel, was extremely unhappy with this. Blake Edwards flew in to discuss taking over, but wanted to rewrite the script. Eventually Reynolds helped persuade Merrick to rehire Siegel. "I've done more in three days than Henry Kissinger did in three years," said Reynolds, adding that "I'll never get myself in a situation like this again." Lesley-Anne Down called it "an interesting time." Anthony Shaffer was brought in to work on the script. Siegel did say he felt Reynolds was "marvelous, extremely inventive."
Title: Headline Shooter
Content:  In early March 1933, RKO announced that they were producing a film about two newsreel cameramen, originally titled News Reel, Harold Shumate was supposed to be the screenwriter. Later that month, on March 23, RKO further announced that Sarah Y. Mason and William Ulman, Jr. had been chosen to collaborate on the screenplay. The two had earlier worked on another film, Hock Shop. In April, it was announced that two cameramen from the Pathe' newsreel group were being brought in to consult on the film, still tentatively titled, News Reel. Further Pathe participation was developed when Jack Connolly, Pathe News general manager was flown to Hollywood to consult on the picture. On April 25, 
Title: Catchfire
Content:  The production was marred with difficulties between Foster and Hopper. The differences began on the first day of filming of Foster in the shower scene. Foster, dissatisfied with the scene yelled "cut" which angered Hopper, who informed her to never do that again. Later, according to Hopper in an interview with Charlie Rose, Foster warned Meryl Streep by phone several times to avoid Hopper who was very keen on working with her. Streep never returned his calls. Hopper stated "It blew what I thought at the time was a go project a few years ago. Cause Meryl suddenly said no. She [Foster] thought that I had this AA mentality where I was really just doing this sober drunk or something." The original screenplay was written by Rachel Kronstadt Mann, then re-written by Ann Louise Bardach, who was hired by Hopper and producer Steven Reuther. During the 1988 Writers Guild of America strike, Hopper hired Alex Cox to do another polish while the film was shooting. Hopper released a director's cut of the film in the United States on cable television titled Backtrack, which runs 18 minutes longer than the theatrical version.
Title: The Evil That Men Do (film)
Content:  The movie's first draft was written by the novel's writer, R. Lance Hill (as per the terms of his contract). John Crowther was hired to rewrite the draft in the spring of 1982. Crowther was originally hired on a weekly contract, but when the producers realized the extent to which the script needed rewriting, it was drastically extended. Prior to rewriting the film's screenplay, Crowther had written the martial-arts, action movie Kill and Kill Again. Crowther had known Pancho Kohner—the movie's producer—for many years. It was Kohner who hired him to rewrite the script. In addition to this, Crowther had worked on Bronson's earlier movies. For example, he was an uncredited writer on Love and Bullets; and a casting director on 10 to Midnight. 

Question: Who was the screenwriter for The Rehearsal?
Answer: Jules Dassin.
Julius Dassin.