Title: Witness (1985 film)
Content:  one-year option and one rewrite, and an additional $225,000 if the film actually were made. They submitted the revised screenplay in less than six weeks, and Feldman delivered it to Fox. Joe Wizan, the studio's head of production, rejected it with the statement that Fox did not make "rural movies". Feldman sent the screenplay to Harrison Ford's agent Phil Gersh, who contacted the producer four days later and advised him his client was willing to commit to the film. Certain the attachment of a major star would change Wizan's mind, Feldman approached him once again, but Wizan insisted that as much as the studio liked Ford, they still were not 
Title: Star Trek: The Motion Picture
Content:  hired now while he is cheap and humble." The result was a list of 34 names, none of whom were chosen to pen the script. Finally, British screenwriters Chris Bryant and Allan Scott, who had penned the Donald Sutherland thriller Don't Look Now, were hired to write a script. Bryant believed he earned the screenwriting assignment because his view of Kirk resembled what Roddenberry modeled him on; "one of Horatio Nelson's captains in the South Pacific, six months away from home and three months away by communication". Povill also wrote up a list of possible directors, including Coppola, Steven Spielberg, Lucas, and Robert Wise, but 
Title: The Verdict
Content:  "old-fashioned" and would hurt the film. He also reacted negatively to Zanuck's use of sarcasm to make his point, as Zanuck claimed his copy of the script was missing its final pages before telling Mamet the film title would need a question mark after it. Hiller did not like Mamet's script either and left the project. The producers commissioned another screenplay from Jay Presson Allen, which they preferred, and they were later approached by Robert Redford to star in the film when he obtained a copy of the script from Allen. Redford suggested they hire James Bridges as a writer-director, 
Title: Never Say Never Again
Content:  disliked the script. Former Eon Productions' editor and director of On Her Majesty's Secret Service, Peter R. Hunt, was approached to direct the film but declined due to his previous work with Eon. Irvin Kershner, who had previously worked with Connery on A Fine Madness (1966), and had achieved success in 1980 with The Empire Strikes Back was then hired. A number of the crew from the 1981 film Raiders of the Lost Ark were also appointed, including first assistant director David Tomblin, director of photography Douglas Slocombe, second unit director Mickey Moore and production designers Philip Harrison and Stephen Grimes.
Title: American Graffiti
Content:  parents' permission. Walter rewrote the screenplay, but Lucas nevertheless fired him due to their creative differences. After paying Walter, Lucas had exhausted his development fund from United Artists. He began writing a script, completing his first draft in just three weeks. Drawing upon his large collection of vintage records, Lucas wrote each scene with a particular song in mind as its musical backdrop. The cost of licensing the 75 songs Lucas wanted was one factor in United Artists' ultimate decision to reject the script; the studio also felt it was too experimental—"a musical montage with no characters". United Artists also passed on Star Wars, which Lucas shelved for the time being.
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: The Long Goodbye (film)
Content:  They commissioned the screenplay from Leigh Brackett, who had been Kastner's client when he was an agent and had written the script for the Humphrey Bogart version of The Big Sleep. Brackett: "... set the deal with United Artists, and they had a commitment for a film with Elliott Gould, so either you take Elliott Gould or you don't make the film. Elliott Gould was not exactly my idea of Philip Marlowe, but anyway there we were. Also, as far as the story was concerned, time had gone by—it was twenty-odd years since the novel was written, and the private eye had become a cliché. It had become funny. You had to watch out what you were doing. If you had Humphrey Bogart at the same 
Title: Never Give a Sucker an Even Break
Content:  with vulgar and suggestive scenes and dialogue" and had "innumerable jocular references to drinking and liquor," the producer was referred to as a "pansy", and Fields ogled women's breasts and legs. The censors also objected to "all dialogue and showing of bananas and pineapples" which they felt was "a play upon an obscene story." A revised script was approved two months later. The studio hired a number of writers to continue work on the script, none of them billed, but Fields hated their version, calling it "the worst script I ever read." He was inclined to "throw it in their faces", but director Edward F. Cline told him not to, that they would shoot Fields's own script, and the studio would be none the wiser, which turned out to be the case.
Title: The Way We Were
Content:  regretted recommending Pollack. The director demanded the role of Hubbell be made equal to that of Katie, and throughout filming, for unexplained reasons, he kept Laurents away from Redford. What was intended to be the final draft of the screenplay was written by Laurents and Pollack at Stark's condominium in Sun Valley, Idaho. Laurents, dismayed to discover very little of his work remained when it was completed, left the project. Over time, 11 writers, including Dalton Trumbo, Alvin Sargent, Paddy Chayefsky, and Herb Gardner, contributed to the script. The end result was a garbled story filled with holes that neither Streisand nor Redford liked. Laurents was asked to return and 
Title: The City on the Edge of Forever
Content:  before holding aloft a copy of the original script and yelling "Remember, never let them rewrite you!" Ellison walked past the Desilu table as he left the podium, and shook the copy of the script at Roddenberry and his party. When Glen A. Larson claimed that it was Coon who had rewritten the original script and it was this version that was submitted to the Writer's Guild, Ellison said that "pandas will fly out of Glen Larson's ass!". He explained that as the credited writer, he had the option of which version of the script to submit to the Guild. A further 

Question: Who was the screenwriter for Rejected?
Answer: Don Hertzfeldt.
Donald Hertzfeldt.