A script doctor is a writer or playwright hired by a film, television, or theatre production company to rewrite an existing script or improve specific aspects of it, including structure, characterization, dialogue, pacing, themes, and other elements. Script doctors generally do their work uncredited for a variety of commercial and artistic reasons. They are usually brought in for scripts that have been almost "green-lit" during the development and pre-production phases of a film to address specific issues with the script, as identified by the financiers, production team, and cast. To receive credit, the Writers Guild of America screenwriting credit system requires a second screenwriter to contribute more than 50 percent of an original screenplay or 33 percent of an adaptation. Uncredited screenwriters are not eligible to win the Academy Award or the Writers Guild of America Award. Examples Many screenwriters have done uncredited work on screenplays: Paul Attanasio: Speed (1994), Air Force One (1997), Armageddon (1998), Patch Adams (1998), Town & Country (2001), and The Bourne Ultimatum (2007). "I really enjoy doing them. I basically analogize it to being the closer in baseball. There's something about the nature of that kind of pressure, where you're coming in at the ninth inning and throwing your fastball to three batters and leaving, that's exhilarating," Attanasio is quoted as saying from an article in the Los Angeles Times in 2002. Al Boasberg: The General (1926), A Night at the Opera (1935) and A Day at the Races (1937). Carrie Fisher: Hook (1991), Sister Act (1992), Lethal Weapon 3 (1992), Last Action Hero (1993), The River Wild (1994), and The Wedding Singer (1998). An Entertainment Weekly article from May 1992 described Fisher as "one of the most sought after doctors in town." When asked if she was still working as a script doctor in December 2008, she said: "I haven't done it for a few years. I did it for many years, and then younger people came to do it and I started to do new things. It was a long, very lucrative episode of my life. But it's complicated to do that. Now it's all changed, actually. Now in order to get a rewrite job, you have to submit your notes for your ideas on how to fix the script. So they can get all the notes from all the different writers, keep the notes and not hire you. That's free work and