Title: Gordon Kahn
Content:  In 1930, former Mirror colleague Samuel Marx (later head of scenery at MGM), invited Kahn to move to Hollywood and try his luck as a screenwriter. He wrote more than a script a year (well over two dozen) in a period under two decades. Writing credits include: The Death Kiss (1932), Newsboys' Home (1938), and Buy Me That Town (1941). Kahn joined several leftist and liberal causes and helped found the Screen Writers Guild (now Writers Guild of America). He was the first managing editor of The Screen Writer.
Title: Frank Fenton (writer)
Content:  partnered on twenty-one film projects for Twentieth Century-Fox, Goldwyn, RKO and MGM. In 1938, Fenton branched out into magazine writing, penning a total of nine short stories for Collier's in just over a two-year period (see "Short Stories" in "Selected bibliography" below). He also wrote what many consider to be a classic (and satirically biting) look at the way "original stories" and screenplays were produced in Hollywood in an article for The American Mercury. During these years, Fenton could be found in one of three primary places: behind his typewriter, out on the town with his writer friends (often in the back room of Musso & Frank's restaurant on Hollywood Boulevard ), or on a golf course.
Title: F/X
Content:  The unsolicited screenplay was written by two novice writers, actor Gregory Fleeman and documentarian Robert T. Megginson. Producer Jack Wiener read their script, which was submitted as a low-budget television movie, and felt that it should be made into a theatrical release. Wiener and his co-producer Dodi Fayed hired Robert Mandel, an Off-Broadway director. They did not want to hire an action director, but instead wanted a director who would bring a realistic touch to the film and make the audience care about the main character. Mandel accepted the job because he wanted to dispel the perception that he was a "soft, arty director". Initially he was not impressed with the film's screenplay, which he felt was not well-crafted but felt that it provided for "a lot of action and a lot of things I did not have 
Title: Spirit: Stallion of the Cimarron
Content:  Writer John Fusco, best known for his work in the Western and Native American genres (such as the films Young Guns and Young Guns II), was hired by DreamWorks Animation to create an original screenplay based on an idea by Jeffrey Katzenberg. Fusco began by writing and submitting a novel to the studio and then adapted his own work into screenplay format. He remained on the project as the main writer over the course of four years, working closely with Katzenberg, the directors, and artists.
Title: Tom Jankiewicz
Content:  After the success of Grosse Pointe Blank, Jankiewicz spent the next fifteen years writing newspaper articles and working as an advertising copywriter. He worked as a "script doctor," editing and improving screenplays written by other screenwriters. In September 2000, Jankiewicz scored his biggest sale with the spec script, "Kung Fu Theater," to Mandalay Pictures. The potential film, which Jankiewicz pitched as a combination of Enter the Dragon and Pleasantville, follows the story of a "slacker" who becomes trapped in a kung fu movie from the 1970s. The comedy was picked up by DreamWorks, with Marlon Wayans and Jamie Foxx attached to star at one point, but remained in development Jankiewicz was finishing a novel at the time of his death. He was also near the completion of a new film script based on the 1961 Goldsboro B-52 crash.
Title: Frank Fenton (writer)
Content:  world had led to several announced writing projects being put on the back burner or simply being cancelled. Fortunately for Fenton, the early 1960s brought him steady work in the voracious television market, where he successfully adapted some of his unproduced screenplays for the small screen programs Kraft Mystery Theater and Kraft Suspense Theater. Another project originally developed by MGM for the big screen, The Dangerous Days of Kiowa Jones, was instead released in 1966 through their television arm. After completing several assignments for episodic series dramas (including six for The Virginian), Fenton's final script — the well-regarded Something for a 
Title: John Fante
Content:  the Wild Side (1962), which stars Jane Fonda in her second credited film role, based on the novel by Nelson Algren. His other screenplay credits include Dinky, Jeanne Eagels, My Man and I, The Reluctant Saint, Something for a Lonely Man, and Six Loves. As Fante himself often admitted, most of what he wrote for the screen was simply hackwork intended to bring in a paycheck. In the late 1970s, at the suggestion of novelist and poet Charles Bukowski, who had accidentally discovered Fante's work in the Los Angeles Public Library, Black Sparrow Press began to republish the (then out-of-print) works of Fante, creating a resurgence in his popularity.
Title: Flesh (1932 film)
Content:  Nearly six decades after the release of Flesh, the title character in the Coen brothers 1991 film Barton Fink struggles to overcome writer's block while he tries to write a wrestling picture for Wallace Beery. The Coens were reportedly unaware of this 1932 production when they developed their film, which features a character based somewhat on William Faulkner, whom Fink consults while writing his script.
Title: Frank Fenton (writer)
Content:  after five performances. The two wrote one other play, “It’s a Cinch,” which remained un-produced. But the ever-resilient pair reworked “Stork Mad” and shopped it to Twentieth Century-Fox, who bought it as a vehicle for child-star Jane Withers. Following their initial success on juvenile scripts for Withers and others, the two expanded into screwball comedy (Woman Chases Man, Keep Smiling), intrigue (International Settlement and While New York Sleeps) and happy hokum (Down on the Farm). They also provided two scripts for both the Saint (The Saint in London and The Saint Takes Over) and Falcon (The Gay Falcon and A Date with the Falcon) series pictures. Both series starred George Sanders. From 1937 to 1946, Fenton and 
Title: Harry Julian Fink
Content:  Harry Julian Fink (July 7, 1923 &ndash; August 8, 2001) was an American television and film writer known for Have Gun – Will Travel and as one of the writers who created Dirty Harry. Fink wrote for various television shows in the 1950s and 1960s, and also created several, including NBC's T.H.E. Cat, starring Robert Loggia, and Tate starring David McLean. His first film work was the 1965 Sam Peckinpah film Major Dundee. He also worked on Ice Station Zebra, and, with his wife R. M. Fink, Big Jake, Dirty Harry and Cahill U.S. Marshal.

Question: Who was the screenwriter for Funk?
Answer: Ian Brennan.