Title: The Ex (2006 film)
Content:  Desson Thomson of The Washington Post said the film "marks an all-time low for actor Zach Braff -- his Gigli, if you will.." The screenwriters, David Guion and Michael Handelman, virtually disowned the finished film. Handelman said, "I think what we wrote was meant to be a bit less broad than the film that came out. I think a lot of what you see in either of those films is stuff that was not written by us even though we’re the only credited writers on that." Guion added, "That movie was a bit of a cautionary story for screenwriters in terms of that it was a movie that struggled a little bit and didn’t test well initially, and 
Title: The Exorcism of Emily Rose
Content:  The screenplay was written by director Scott Derrickson and Paul Harris Boardman; in honor of the contributions of Boardman and other collaborators on the film, Derrickson chose to forgo the traditional "film by" credit. According to Derrickson's DVD commentary, he chose Boardman as his co-writer because Derrickson sees himself as a believer and Boardman as a skeptic, and believed the pairing would provide the screenplay with two different perspectives, thus providing the film some ambiguity as to whether it supports a religious/supernatural interpretation of the events depicted, or a more secular/medical interpretation. The character of Emily Rose was inspired by the story of Anneliese Michel. German director Hans-Christian Schmid made his own film of Michel's story, Requiem, around the same time in late 2006. Linney recommended Carpenter for this role after working with her in a play. An adolescent Sara Niemietz was cast as the vocalist for the soundtrack and score. Niemietz worked again with Christopher Young on The Uninvited (2009), and is now an independent artist and cast-member with Postmodern Jukebox.
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: The Quatermass Xperiment
Content:  The first draft of the screenplay was written by Richard Landau, an American who had worked on six previous Hammer productions, including Spaceways (1953), one of the company's first forays into science fiction. Landau made significant changes in condensing the action to less than half the length of the original teleplay. The opening thirty minutes of the television version are covered in just two minutes in the Hammer film. In the process Landau played up the horror elements of Kneale's original teleplay. Aware that the film would be co-funded by American backers, Landau added a transatlantic dimension to the script: Quatermass's "British Rocket Group" became the "British-American Rocket Group" and the character of his assistant, Briscoe, 
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: The School for Good and Evil (film)
Content:  Laura Solon as screenwriters. In 2020, Paul Feig joined as director and other crew members were disclosed: Roth, Jeffrey Kirschenbaum, Startz, Laura Fischer and Feig as producers; and Zack Roth, Patricia Riggens and Chainani as executive producers. Feig, who assisted with writing the script, stated "once you direct things that you write, ... you almost write like you're in the editing room". When the studio or producers requested that a certain thing be explained in the script and the writers suggested including it using dialogue, Feig knew that it was unneeded as "once you see two people ... looking at each other in that emotion, you just feel it"; they retained the lines, however, in case audiences during test screenings did not understand that part.
Title: Mark Heyman
Content:  for Best Original Screenplay and a Writers Guild of America Award for Best Original Screenplay. Heyman co-wrote The Skeleton Twins, a 2014 film starring Kristen Wiig and Bill Hader as estranged twins, with Craig Johnson, who also directed the film. He has also written a screenplay titled XOXO, which is a thriller about a relationship formed on Facebook and is set to be produced by Aronofsky. In 2015, it was reported that Heyman had been hired to write a film adaptation of How to Catch a Russian Spy, a novel by Naveed Jamali and Ellis Henican, to be directed by Marc Webb.
Title: Kevin Hood
Content:  A successful playwright from 1987 to 1998, Hood wrote the plays Beached, Astronomer's Garden, Sugar Hill Blues, Hammett's Apprentice, and So Special. During this period, Hood delved into television. He wrote episodes of Medics and Grange Hill, a popular school drama for BBC. Later he co-devised the crime drama Silent Witness, writing four episode scripts. Hood also penned the screenplay for the 1998 television film The Echo, a thriller starring Clive Owen, as well as the serial In a Land of Plenty featuring Robert Pugh and Man and Boy with Ioan Gruffudd. In 2004, Ecosse Films hired Hood to aid in the development of a screenplay for Becoming Jane, a 2007 film depicting the early life of Jane Austen. Screenwriter Sarah Williams had completed several drafts at the time of Hood's entry to the project. Robert Bernstein, a producer with Ecosse, 
Title: Portrait in Celluloid (Climax!)
Content:  Art Shaddick (played by Jack Carson), was an Oscar-winning screenwriter many years ago and is now an unsuccessful, abrasive, and desperate literary agent. His secretary Barbara (played by Kim Hunter) presents him with an excellent script written by her friend, a talented young writer. Shaddick insists that the script needs rewriting and proposes to collaborate on the rewrite. Shaddick's contributions remove the script's freshness.
Title: Matt Charman
Content:  Matt Charman is a British screenwriter, playwright, and producer from Horsham, West Sussex. He was nominated for an Academy Award for Best Original Screenplay for his 2015 film Bridge of Spies, directed by Steven Spielberg and co-written with Joel and Ethan Coen. Charman started out writing for theatre, making his breakthrough as writer-in-residence at London's National Theatre, where then-director Nicholas Hytner described Charman as having "a priceless nose for a story".

Question: Who was the screenwriter for Exam?
Answer: Stuart Hazeldine.