Title: Chris Carter (screenwriter)
Content:  script work, he brought him over to write for the network. There, Carter developed a number of unproduced television pilots—Cameo By Night, featuring Sela Ward; Brand New Life, which has been described as being similar to The Brady Bunch; Copter Cop, a science fiction series that was hampered by Tartikoff's injuries after a car accident; and Cool Culture, influenced by Carter's passion for surfing and experience with Surfing Magazine. During this time Carter would also work as a producer on Rags to Riches, a job he accepted in order to learn more about producing a series. Peter Roth, at that 
Title: The Carpetbaggers (film)
Content:  John Michael Hayes signed to write the script in June 1962. (Soon after, Embassy signed him to adapt Where Love Has Gone. ) Sonny Tufts was a candidate for Nevada Smith. He lost out to Alan Ladd. When Alan Ladd signed to play Nevada Smith, it was also announced that Paramount and Joseph E. Levine would make a prequel about Smith's adventures called Nevada Smith. Joan Collins, in her autobiography Past Imperfect (1978), says she had a firm offer to play Rina Marlowe but had to decline because of pregnancy. Robert Cummings was cast as an agent. His wife said "years ago Alfred Hitchcock told him he'd made a great villain with that baby face. It's a wonderful change of pace." Filming started on June 4, 1963. Carroll Baker had a highly publicized nude scene, shot on a closed set.
Title: John Carter (film)
Content:  Producer James Jacks read Harry Knowles' autobiography, which lavishly praised the John Carter of Mars series. Having read the Burroughs' novels as a child, Jacks was moved to convince Paramount Pictures to acquire the film rights; a bidding war with Columbia Pictures followed. After Paramount and Jacks won the rights, Jacks contacted Knowles to become an adviser on the project and hired Mark Protosevich to write the screenplay. Robert Rodriguez signed on in 2004 to direct the film after his friend Knowles showed him the script. Recognizing that Knowles had been an adviser to many other filmmakers, Rodriguez asked him to be credited as a producer. Filming was set to begin in 2005, with Rodriguez planning to use the all-digital stages he was using for his production of Sin City, a film based 
Title: Get Carter
Content: Michael Caine as Jack Carter. Hodges wrote the screenplay with Ian Hendry in mind for Carter, but learned that Michael Klinger had already signed up Caine for the role. With the backing of a major studio Klinger was keen to secure a big name for the lead, and Caine was very prominent at the time, having starred in Alfie, The Italian Job and The Ipcress File. Hodges was surprised that a star of Caine's stature would want to play such a thoroughly unlikeable person as Carter. Giving his reasons for wanting to be involved with the film, the actor said "One of the 
Title: Steve Carver
Content:  The Tell-Tale Heart was widely screened and attracted the attention of Roger Corman who had made a number of adaptations of Poe's works. Corman hired Carver to work at New World Pictures. Carver spent his first year at New World cutting trailers. He later estimated he cut 100-150 trailers in that time. He also wrote a number of scripts for Corman, including one on Admiral Byrd that floundered when they could not secure rights from Byrd's estate. He was working on a script about a black female private eye when Corman gave him the chance to direct with The Arena (1974), a film about female gladiators shot in Italy.
Title: InAlienable
Content:  The screenplay was written by Walter Koenig of the original Star Trek series. He told Starburst magazine that he was watching the 2000 World Series with friends, one of whom had appeared in The Blob. "We proceeded to have other conversations along the way about making a film that, at least initially, began the same way as The Blob, with something landing from outer space. And I really took it from there." He told interviewer Chris Wood (who identifies the friend as Anthony Franke), "I wanted to examine the intensity of familial bonding. That was one thing. I also wanted 
Title: Michael Cimino's unrealized projects
Content:  In September 1982, Cimino approached Raymond Carver and Tess Gallagher to re-write a screenplay based on the life of Fyodor Dostoevsky. According to Carver, Cimino presented him an existing screenplay with no author credit, commissioned by the veteran Italian film producer, Carlo Ponti. The first draft had been written by a Russian writer, and then translated to English by two Italian writers. Carver and Gallagher opted to re-write the entire script, delivering a 220-page draft to Cimino in November 1982. The director was impressed with the results, but the producer returned to Europe shortly thereafter, halting further script development.
Title: Carrie (1976 film)
Content:  I found out that nobody had bought it yet. A lot of studios were considering it, so I called around to some of the people I knew and said it was a terrific book and I'm very interested in doing it. Then nothing happened for, I guess, six months." Lawrence D. Cohen was hired as the screenwriter, and produced the first draft, which had closely followed the novel's intentions. United Artists accepted the second draft but only allocated De Palma a budget of $1.6 million, a small amount considering the popularity of horror films at the time. The budget eventually rose to $1.8 million. Certain scripted scenes were omitted from the final version, mainly due to financial limitations.
Title: The Fugitive (1993 film)
Content:  was supposed to shoot. According to Davis, he never met with credited screenwriter David Twohy, whose main contribution was writing the train crash. Beyond that, Davis said "he wasn’t involved in anything we did. Jeb Stuart was there with us...basically responding to things we were coming up with all the time...[Warner Bros.] can’t talk about this because of the Writers Guild, but Tommy Lee Jones, myself, Harrison [Ford] and other people who were close with us, especially coming up with the whole plot about the pharmaceuticals, they were uncredited writers." Jane Lynch, who was cast as Dr. Kathy Wahlund in one of her first film roles, recalled having 
Title: Get Carter
Content:  affairs programme World in Action, the arts programme Tempo and a 1968 children's television serial, The Tyrant King, and all these past experiences informed his approach to his film debut. Klinger contacted Hodges on 27 January 1970 with a copy of Jack's Return Home and contracted him to write and direct the film, paying him a flat fee of £7,000 for his services. Hodges' original working title for the film was Carter's The Name. Steve Chibnall writes: "his treatment retained the essential structure of Lewis' novel with its strong narrative drive, but introduced some minor changes to characterisation and more 

Question: Who was the screenwriter for Cargo?
Answer: Paul Laverty.