Question: Who did the Fight Club director invite to revise the script?
About the article "Fight Club", section "Writing".

Candidate passages:
Fight Club is a 1999 American film based on the 1996 novel of the same name by Chuck Palahniuk.
The film was directed by David Fincher and stars Edward Norton, Brad Pitt, and Helena Bonham Carter.
Norton plays the unnamed protagonist, an "everyman" who is discontented with his white-collar job.
He forms a "fight club" with soap maker Tyler Durden, played by Pitt, and they are joined by men who also want to fight recreationally.
The narrator becomes embroiled in a relationship with Durden and a dissolute woman, Marla Singer, played by Bonham Carter.
Palahniuk's novel was optioned by 20th Century Fox producer Laura Ziskin, who hired Jim Uhls to write the film adaptation.
Fincher was one of four directors the producers considered.
They hired him because of his enthusiasm for the film.
Fincher developed the script with Uhls and sought screenwriting advice from the cast and others in the film industry.
The director and the cast compared the film to "Rebel Without a Cause" (1955) and "The Graduate" (1967).
Fincher intended "Fight Club"s violence to serve as a metaphor for the conflict between a generation of young people and the value system of advertising.
The director copied the homoerotic overtones from Palahniuk's novel to make audiences uncomfortable and keep them from anticipating the twist ending.
Studio executives did not like the film and they restructured Fincher's intended marketing campaign to try to reduce anticipated losses.
"Fight Club" failed to meet the studio's expectations at the box office and received polarized reactions from critics.
It was cited as one of the most controversial and talked-about films of 1999.
However, the film over the years found critical and commercial success with its DVD release, which established "Fight Club" as a cult film. 
Actor Tomer Sisley took the role in the immediately after reading the script.
Sisley performed all his own stunts in the flm, stating "I think that it is always better for the movie because it allows him Jardin to put the camera wherever he wants.
"The dance club in the film was built for the film.
As a requirement of being a join Belgian-French-Luxembourgian production, the film had to be partially shot in these locations having the dance club scene shot in Belgium and the kitchen and parking scenes shot in Luxembourg.
For the fight scene in the kitchen, director Jardin desired "a fight that would be interesting for people who don’t like fights in films.
Not just for crazy people who like kung-fu movies."
Sisley was familiar with martial arts and boxing and jujitsu worked on the choreography for the fight scene before having a location or the scene. 
Screenwriter Jim Uhls started working on an early draft of the adapted screenplay, which excluded a voice-over because the industry perceived at the time that the technique was "hackneyed and trite".
When Fincher joined the film, he thought that the film should have a voice-over, believing that the film's humor came from the narrator's voice.
The director described the film without a voice-over as seemingly "sad and pathetic".
Fincher and Uhls revised the script for six to seven months and by 1997 had a third draft that reordered the story and left out several major elements.
When Pitt was cast, he was concerned that his character, Tyler Durden, was too one-dimensional.
Fincher sought the advice of writer-director Cameron Crowe, who suggested giving the character more ambiguity.
Fincher also hired screenwriter Andrew Kevin Walker for assistance.
The director invited Pitt and Norton to help revise the script, and the group drafted five revisions in the course of a year.
Chuck Palahniuk praised the faithful film adaptation of his novel and applauded how the film's plot was more streamlined than the book's.
Palahniuk recalled how the writers debated if film audiences would believe the plot twist from the novel.
Fincher supported including the twist, arguing, "If they accept everything up to this point, they'll accept the plot twist.
If they're still in the theater, they'll stay with it."
Palahniuk's novel also contained homoerotic overtones, which the director included in the film to make audiences uncomfortable and accentuate the surprise of the film's twists.
The bathroom scene where Tyler Durden bathes next to the narrator is an example of the overtones; the line, "I'm wondering if another woman is really the answer we need," was meant to suggest personal responsibility rather than homosexuality.
Another example is the scene at the beginning of the film in which Tyler Durden puts a gun barrel down the narrator's mouth.
The narrator finds redemption at the end of the film by rejecting Tyler Durden's dialectic, a path that diverged from the novel's ending in which the narrator is placed in a mental institution.
Norton drew parallels between redemption in the film and redemption in "The Graduate", indicating that the protagonists of both films find a middle ground between two divisions of self.
Fincher considered the novel too infatuated with Tyler Durden and changed the ending to move away from him: "I wanted people to love Tyler, but I also wanted them to be OK with his vanquishing."
First-time screenwriter Lou Holtz Jr. had the idea for "The Cable Guy" while working as a prosecutor in Los Angeles, declaring that once he saw the cable guy on the hallway of his mother's apartment he started thinking "What's he doing here so late?"
The screenplay became the focus of a bidding war, won by Columbia Pictures at a price of $1 million.
Chris Farley was attached to star, but dropped out because of scheduling difficulties.
Jim Carrey joined the production, receiving a then-record $20 million to star.
Following Carrey's signing, Columbia hired Judd Apatow to produce.
The studio denied Apatow's interest in directing, but accepted his suggestion to invite Ben Stiller, star of his eponymous show in which Apatow had worked on.
The original screenplay by Lou Holtz Jr. was a lighter comedy, described by Apatow as "a "What About Bob?"
annoying-friend movie" where the Cable Guy was a likable loser who intrudes upon the cable subscriber's life, but never in a physically threatening way.
Carrey, Apatow and Stiller liked the setup of " somebody who is really smart with technology invading somebody's life", and opted to add slapstick and darker tones, changing into a satire of thrillers such as "Cape Fear", "Unlawful Entry" and "The Hand That Rocks the Cradle".
The dialogue would also fit Carrey's style of comedy.
Holtz wrote four additional drafts, each one darker than the previous, before leaving the project.
Apatow took over the writing, though he went uncredited for not fulfilling the WGA screenwriting credit system regarding how much a producer had to work on to be credited as writer as well.
Apatow and Stiller visited Carrey as he was filming "" in South Carolina, and over a few days, riffed a lot of the setpieces that were added to the script, and how Carrey wanted to perform this character.
The final script had elements so disturbing that Columbia had many complaints on some scenes.
In turn Apatow declared that the studio did not specifically order removals, "but we took scenes out as part of the natural evolution of our creative process."
Stiller stated that he shot every scene with "a dark version and a light version", and that he was surprised that the studio did not object to the violent ending.
The fight sequence at Medieval Times between Chip (Jim Carrey) and Steven (Matthew Broderick) is a homage to the Star Trek (original series) episode Amok Time - including the use of Vulcan weapons ("Lirpa"), the dialogue, and the background music.
Director Ben Stiller is an admitted "Star Trek" fan. 
The working titles of this story were "The Return", "Warhead", and "The Resurrection".
The story was originally due to be produced as the climax of Season 20.
However, due to a strike by the electricians, the story was postponed and, with minor rewrites, resurrected for Season 21.
Because of the delay, Michael Wisher, who had originated the role of Davros, was unavailable, and the role was given to Terry Molloy instead.
The story was originally supposed to be directed by returning director Peter Grimwade.
When the story was postponed, Grimwade took the cast and crew out to dinner, but did not invite John Nathan-Turner, because he had intended to take Nathan-Turner out separately.
But Nathan-Turner felt slighted by the omission and refused to allow Grimwade to direct the story when it was re-scheduled for Season 21.
However, Saward had already promised Grimwade that he could provide a script for the season, so Grimwade was allowed to write "Planet of Fire".
This serial was partly shot in Shad Thames.