that's what I always call life-wasting events." Ben Hecht: Twentieth Century (1934), A Star Is Born (1937), Angels with Dirty Faces (1938), Gone with the Wind (1939), Stagecoach (1939), Foreign Correspondent (1940), Cornered (1945), Gilda (1946), Rope and Cry of the City (1948), Strangers on a Train (1951), Angel Face (1952), and Cleopatra (1963). According to a November 1999 article from The Guardian, "[Uncredited script doctoring is] a tradition that goes back to the mighty Ben Hecht. Hecht was a snob, and hanging out at the Algonquin with Dorothy Parker, it suited him to downplay his movie work, so he only received credit for about half of the 100 plus films he worked on." Tom Mankiewicz: The Deep (1977), The Spy Who Loved Me (1977), Superman (1978), Moonraker (1979), and Superman II (1980). He was credited as "creative consultant" on Superman by director Richard Donner. In a June 2012 interview, Robert Crane, who co-wrote Mankiewicz's autobiography My Life as a Mankiewicz (2012), said: "I think script doctoring was an in road for him. People had liked what they'd seen with the Bond films, especially the dialogue. I think that caught the attention of agents and studio heads, and they said, 'I want Mankiewicz to come in here and work on this project.' He spent a lot of time at Warner Brothers and Universal working on scripts." Elaine May: Reds (1981), Tootsie (1982), and Labyrinth (1986). John Sayles: Apollo 13 (1995) and Mimic (1997). Sayles has stated that the script doctor's main role is to help others tell their stories. He decides which jobs to accept based on whether there is a germ of an idea for a movie he would actually like to see. He has also stated that he works harder when writing for others than he does on his own work. Aaron Sorkin: Schindler's List (1993), The Rock (1996), Excess Baggage (1997), and Enemy of the State (1998). In an October 2010 interview, Sorkin told a journalist: "With the script doctoring, I did it for Jerry Bruckheimer for a while, because I was just going through a period where I was having a very difficult time coming up with my own ideas and I was climbing the walls. So I did what is called 'the production polish', where you are brought into the last two weeks on something that you are not emotionally invested in, where it is