Title: The Perfect Match (1995 film)
Content:  Believing that there was nothing on British television for people in his age group that was not a soap opera or a costume drama, screenwriter Mike Bullen wrote the script for The Perfect Match. He secured an agent, who managed to sell the script on spec to Andy Harries, controller of comedy at Granada Television. Harries described the writing as "impressive—cleverly constructed dialogue, very funny, well observed" and commissioned it as part of his drive to move away from making traditional-style sitcoms. Bullen described the moment he walked onto the set of The Perfect Match as "gobsmacking […] wandering around a room which had previously only existed in my head". Filming took place at Wembley Stadium during the 1995 FA Cup Final between Everton and Manchester United.
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: Mission: Impossible (film)
Content:  Vampire, Cruise met De Palma during a dinner with Steven Spielberg and was impressed by his filmography, so when he went back home, saw all De Palma's films and convinced himself to have De Palma hired to direct Mission: Impossible. They went through two screenplay drafts that no one liked. De Palma brought in screenwriters Steve Zaillian, David Koepp, and finally Robert Towne. When the film was green-lit Koepp was initially fired with Robert Towne being the lead writer and Koepp being brought back on later. According to the director, the goal of the script was to "constantly surprise the audience." Reportedly, Koepp was paid $1 million to rewrite an original script 
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: The Messengers (film)
Content:  Lussier signed on to the film, and put a supernatural flair into the story. Revolution then brought in Stuart Beattie to rewrite the script. "What I pitched was 'the horror version of A Beautiful Mind,'" said Farmer, "and what they wanted was 'The Shining on a farm.'" Revolution then sold it to Ghost House Pictures, who then took it and hired Mark Wheaton to rewrite it. Impressed with his work on High Tension, producer Sam Raimi offered the film to Alexandre Aja. Aja passed on the film to direct The Hills Have Eyes. None of the original script survived through the rewrites, besides the farm setting, and character names. The original Scarecrow script was finally used as the basis for the prequel, Messengers 2: The Scarecrow.
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: Kalifornia
Content:  as a writer and a photographer, respectively, while retaining the original premise to share a ride with a serial killer. Metcalfe disagreed on the direction the script was being developed, while Sena and the producers found his rewrites "uninspiring". In March 1991, Metcalfe was fired from the project. Without the budget to hire another writer, Sena, along with his two producers, spent another year writing ten subsequent drafts of the script. Their contributions included the voice-over narration of the character of Brian, along with a change of tone from a black comedy to a more violent thriller. Sena maintained the rewrites helped them to secure the cast, as well as an increase to the originally proposed budget of $4.5 million.
Title: Barbara Turner (screenwriter)
Content:  on location shooting the 1991 film Rush, and pitched the idea of two sisters who have varying degrees of skill as singer-songwriters. Turner created the script from that idea. It was financed by the French film production company Ciby 2000, and Turner's daughter, Morrow, served as a technical consultant. Turner spent three years doing research, using the Seattle music scene as a source for the material. In 2000, Turner's screenplay adaption of the book Jackson Pollock: An American Saga by Steven Naifeh and Gregory White Smith for the Jackson Pollock biopic Pollock, also written by Susan Emswiller, became a successful film. 
Title: Such Good Friends
Content:  in early 1971, Elaine May, his original choice for screenwriter, became available. May worked on the script for ten weeks, although Preminger found it difficult to adjust to her method of writing. The two would meet for a story conference, then May would disappear and remain incommunicado for two weeks or so, finally emerging with a substantial part of the screenplay completed. Preminger would give her notes and she would disappear again, and this routine continued until the script was finished. Not wanting her name attached to work started by others, May insisted she did not want screen credit and used the pseudonym Esther Dale, the name of a Hollywood character actress, instead of her 
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, 

Question: Who was the screenwriter for The Meeting?
Answer: Aaron Shure.