The script, by Christopher Markus and Stephen McFeeley (with a light,
uncredited polish by Avengers director Joss Whedon), is sharp enough to remain just this side of hokey.
The director himself, who co-wrote the screenplay with Rodo Sayagues (and
an uncredited polish by Diablo Cody), directs with a self - assurance that is all the more remarkable when one considers that his most prominent work before this — and the one that got him noticed by Raimi — was a five - minute short, reportedly made for $ 300, in which giant robots destroy his native city of Montevideo, Uruguay.
Not exact matches
Longtime Pollack collaborator, the writer David Rayfiel, in an
uncredited role
polishes up the script and tosses in his now much used line from other Pollack films starting with The Slender Thread (1965), as Penn tells Kidman: «Not getting caught in a lie is thought of in the same way as telling the truth.»
However, don't expect to see Kaufman's name in the credits on this, because script
polishing like this usually is not publicized and is
uncredited.
Moreover, Scorsese and writer Paul Schrader (with a
polish from an
uncredited Jay Cocks) present the material (based on the equally controversial novel by Nikos Kazantzakis) in a straightforward way with little spectacle or grandeur.