Title: Vertigo (film)
Content:  There were three screenwriters involved in the writing of Vertigo. Hitchcock originally hired playwright Maxwell Anderson to write a screenplay, but rejected his work, which was titled Darkling, I Listen, a quotation from Keats's Ode to a Nightingale. According to Charles Barr in his monograph dedicated to Vertigo, "Anderson was the oldest (at 68) [of the 3 writers involved], the most celebrated for his stage work and the least committed to cinema, though he had a joint script credit for Hitchcock's preceding film The Wrong Man. He worked on adapting the novel during Hitchcock's absence abroad, and submitted a treatment in September 1956." A second version, written by Alec Coppel, again left the director dissatisfied. The final script was written by Samuel A. Taylor—who was recommended to Hitchcock due to his knowledge of San Francisco— from notes by Hitchcock. Among Taylor's creations was the character of Midge. Taylor attempted to take sole credit for the screenplay, but Coppel protested to the Screen Writers Guild, which determined that both writers were entitled to a credit, but to leave Anderson out of the film writing credits.
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: Kathryn Scola
Content:  adaptation of the Dashiell Hammett novel, with writer Kubec Glasmon. In 1937, Scola and Darrell Ware collaborated to write the script for the film Second Honeymoon, directed by Walter Lang. In 1943, at the outset of the Second World War, Scola and Julien Josephson wrote the script for Happy Land, a 20th Century Fox production that was meant to prepare audiences for the losses of the war. During 1946, Scola wrote a screenplay for the Max Ophüls 1949 American film noir Caught, which would eventually be rejected by the censorship board due to what was deemed questionable material. Scola’s script was revised by various writers and eventually abandoned, leading to the final screenplay by playwright and screenwriter Arthur Laurents. Scola and Julien Josephson also worked together on the original screenplay for “In Times Like These” in 1956, a teleplay included in the anthology series The 20th Century Fox Hour.
Title: Ben-Hur (1959 film)
Content:  cornpone [the crew's nickname for Heston] really threw himself into your 'first meeting' scene yesterday. You should have seen those boys embrace!" Film critic F. X. Feeney, in a comparison of script drafts, concludes that Vidal made significant and extensive contributions to the script. The final writer on the film was Christopher Fry. Charlton Heston has claimed that Fry was Wyler's first choice as screenwriter, but that Zimbalist forced him to use Vidal. Whether Fry worked on the script before Vidal or not, sources agree that Fry arrived in Rome in early May 1958 and spent six days a week on the set, writing and rewriting lines of dialogue as well 
Title: Legend (1985 film)
Content:  Scott wanted Legend to have an original screenplay because he believed that "it was far easier to design a story to fit the medium of cinema than bend the medium for an established story". By chance, he discovered several books written by American novelist William Hjortsberg, and found that the writer had already written several scripts for some unmade lower-budgeted films. Scott asked him if he was interested in writing a fairy tale. He was already writing some and agreed. Scott remembers, "The first notion was to actually make a classical fairy story, but if you actually analyze a classical fairy story, most are either very short, or very complex". The two men bonded over 
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: War and Peace (1956 film)
Content:  War and Peace has six credited screenwriters, an unusually high number for a mainstream film, even in 1956. The first draft of the screenplay was five hundred six pages, roughly five times the size of an average screenplay. Contemporaneous sources claim that Irwin Shaw was one of the writers, but insisted his name be stricken from the credits after he learned that Vidor’s wife, Elizabeth Hill, rewrote much of the dialogue. Vidor also made extensive rewrites during filming. Uncredited contributors to the final script included Jean Aurenche, Pierre Bost, Sergio Amidei, Gian Gaspare Napolitano, and second-unit director Mario Soldati.
Title: Sorcerer (film)
Content:  Friedkin appointed Walon Green as the film's screenwriter. The director got to know Green in the 1960s, and was since highly impressed with his work in Sam Peckinpah's western The Wild Bunch. Friedkin described Green as a multilingual person, fluently speaking French, Spanish, Italian, and German, as well as having "an encyclopedic knowledge of classical music and literature". Prior to writing the script, Green expressed enthusiasm about the project and suggested Friedkin read Gabriel García Márquez's novel One Hundred Years of Solitude. Friedkin described it as "another lifechanging work" which served as a workprint for their adaptation of Wages of Fear. The story outline was created by both Friedkin and Green, and the script was finished in four months. Gerard 
Title: Lawrence Kasdan
Content:  well in Hollywood, because a lot of the people writing screenplays don't have a literary background. Many young screenwriters today come from television. It's not that they worked in television; it's that they grew up on television and they think the way narrative is presented on television is narrative, but it ain't. And so, if anything, I believe in classic dramatic construction, and I believe in the force and momentum that good narrative creates as it builds on itself." He said his scripts all begin with their characters: "Characters present themselves, and the story follows. Alvin Sargent [screenwriter of Julia (1977) and Ordinary People (1980)] said a great 
Title: Clara (film)
Content:  Friends Sherman made at Ryerson worked with him on his debut, The Rocket List, "made on no budget ... on a four-day road trip with a camera," as well as on Clara. Together with James Ewasiuk, a "close collaborator" who co-wrote The Rocket List with him, Sherman did four months of research on "the Kepler telescope and transits and things like that." Two years after they had met in Banff, Sherman ran into Lantos while pitching the draft script to Serendipity Point Films, from whom he received an option agreement the next day. Both leads also contributed ideas. Patrick Adams was involved with the project from an early stage, giving feedback to Sherman on his script, on character in particular, which the director began revising in earnest at age 20 and finished two years later. Troian Bellisario provided "a similar depth for her character," and suggested a different ending for the film, a note which Sherman accepted: "I had a different ending in mind, which I don't want to share because it's not as good." It was Bellisario who brought up quantum entanglement for one of the earlier drafts.

Question: Who was the screenwriter for The Classic?
Answer: Kari Hotakainen.
Kari Matti Hotakainen.