In the United States, screenwriting credit for motion pictures and television programs under its jurisdiction is determined by either the Writers Guild of America, East (WGAE) or the Writers Guild of America, West (WGAW). Since 1941, the Guilds have been the final arbiter of who receives credit for writing a screenplay or original story, or credit for creating the original characters. A production company that signs the Guild Basic Agreement must comply with the Guild rules on screenwriting credits.

Rationale[link]

The system is important to writers primarily for reputational purposes. Some sources list only WGAE or WGAw certified credits. John Howard Lawson, the first president of the Screen Writers Guild (the WGAw's former name) said, "A writer's name is his most cherished possession. It is his creative personality, the symbol of the whole body of his ideas and experience." However, the Internet Movie Database^[1] has included unofficially credited work in the filmographies of writers since 2009.

The credit system affects eligibility for membership in the union, which is determined on points awarded based on what a writer has done, and it affects future income. While all writers are paid when they work, usually only credited writers receive residual income from future exploitation of a film on video, pay-per-view, broadcast television, etc.

Process[link]

On completion of a film, the producer presents proposed screenwriting credits to the guild and circulates the final script to all writers employed on the script. If any writer objects to the proposed credits, credit for the film enters arbitration. The director or producer of the film being proposed for final credit triggers an automatic arbitration (WGA Screen Credits Manual, section III.C.1)

In arbitration, Guild members review all drafts of the screenplay by each writer and follow a formula that determines the credits.

The WGAE and WGAw both resolutely reject the auteur theory—that only the director is the "author" of a film—so a "production executive" (a producer or director) who claims credit must meet a higher standard than others to receive credit. An original writer must contribute at least one-third of the final screenplay to receive credit. Subsequent writers who work as script doctors must contribute more than half of the final screenplay to receive credit. A production executive who works on a script must contribute at least half the final product to receive credit (WGA Screen Credits Manual, section III.C.3).

Credit can be apportioned for the story, a short treatment of the plot and characters, and the screenplay itself when all writers were not equally involved in the creation of both. A credit might read "Story by John Doe. Screenplay by John Doe & Richard Roe."

Where a team of writers works on a screenplay, names are joined by an ampersand (&), and when two teams of writers work successively on a script, the teams are joined by and. So, a credit reading "John Doe & Richard Roe and Jane Doe & Jane Roe" means that there were two writing teams, John and Richard on one and the two Janes on the other.

Where a film has been based on a previous film, but does not remake it, a "based on characters created by" credit is given, such as on the show Frasier. Every episode gives credits to James Burrows, Glen Charles and Les Charles, the creators of Cheers, the show where the character of Dr. Frasier Crane originated.

Only three writers may be credited for the screenplay if they collaborated and a maximum of three teams of three may be credited no matter how many actually worked on it. For example, Lethal Weapon 4 (1998) had about a dozen writers, as did Hulk (2003). The film adaptation of The Flintstones (1994) supposedly had over sixty writers. This limit doesn't include those awarded credit elsewhere for creating characters or the original story.

The Guilds also permit use of pseudonyms if a writer requests one in a timely fashion, but has been known to refuse to accept one that makes a statement. For example, screenwriter J. Michael Straczynski wanted to take his name off the Babylon 5 spin-off series Crusade and substitute "Eiben Scrood" ("I been screwed") to protest script changes the production company made. According to Straczynski, the WGAw refused because "it 'diminished the value' of the show and basically made light of the studio."^[2]

Story by[link]

There is a common misconception that a "story by" credit may be given to a person who simply has the story idea for a film or television program. This is never the case, as all writing credits are for actual writing. Often, a screenwriter produces a spec script that, after being optioned, undergoes a "page one rewrite" that produces a new draft. In many such cases, the original author receives the "story by" rather than "screenplay by" credit.

Examples[link]

Here are some complicated examples of WGA-approved exceptions to writer-only credit.

• The Rock (1996):
  • Story by David Weisberg & Douglas S. Cook
  • Screenplay by David Weisberg & Douglas S. Cook and Mark Rosner
• Armageddon (1998):
  • Story by Robert Roy Pool and Jonathan Hensleigh
  • Adaptation by Tony Gilroy and Shane Salerno
  • Screenplay by Jonathan Hensleigh and J. J. Abrams
• Pirates of the Caribbean: On Stranger Tides (2011):
  • Suggested by the novel by Tim Powers
  • Based on Walt Disney's Pirates of the Caribbean
  • Based on characters created by Ted Elliott & Terry Rossio and Stuart Beattie and Jay Wolpert
  • Screen story and screenplay by Ted Elliott & Terry Rossio
• Scary Movie 4 (2006)—the original Scary Movie was based on a combination of two scripts, causing its sequels to have increasingly complicated writing credits.
  • Screenplay by Craig Mazin & Jim Abrahams & Pat Proft
  • Story by Craig Mazin
  • Based on characters created by Shawn Wayans & Marlon Wayans & Buddy Johnson & Phil Beauman and Jason Friedberg & Aaron Seltzer

Arbitration[link]

Some Guild members have criticized the arbitration process. The Guild, however, have won most lawsuits against them, and in 2002 the WGA membership overwhelmingly rejected changes to the arbitration procedures.

A chief objection is the secrecy of the process.^[who?] Identities of the arbiters are secret, so concerned parties have no way to object to the qualifications or possible biases of their judges. Also, the decision itself is secret, even from the parties to the dispute, so they have no way to know why they lost or won credit. Secret decisions make an appeal impossible, and define no precedent for future disputes. There is an appeal panel, but it only concerns itself with technical details as to whether the decision followed the rules.

Guild members have criticized the way the process handles existing material, such as a book, that is adapted to film. Generally, the first writer to work on such a project naturally appropriates the most cinematic elements of the story. Other teams that subsequently work on the script, however, may base their work on the original text rather than that first draft. Barry Levinson, the director of Wag the Dog and a disputant over screenwriting credit for the film (which was adapted from a novel), says:^[3]

If a writer creates an idea from scratch, that's one thing. Even if the script is given to other writers and rewritten, that first writer created the seeds of that idea and he or she should get some regard. But for a script from a book, it's different.

Even if little of the initial efforts remain in the final script, the original writer is often awarded credit because he or she was first on the scene.

Conflict and resolution examples[link]

Frank Pierson, former WGAw president (and former president of the Academy of Motion Picture Arts and Sciences), says that, "The large majority of credits are still straightforward and uncontested," but "When they go wrong, they go horribly wrong." Writer-director Phil Alden Robinson says, "No one can trust the writing credit. Nobody knows who really wrote the film."^[4]

When Hunter S. Thompson's Fear and Loathing in Las Vegas was adapted for the screen, Alex Cox and Tod Davies wrote the initial adaptation. When Terry Gilliam was brought in to direct, he rewrote it with Tony Grisoni. The Guild initially denied Gilliam and Grisoni any credit, even though Gilliam claimed nothing of the original adaptation remained in the final film. "As a director, I was automatically deemed a 'production executive' by the Guild and, by definition, discriminated against. But for Tony to go without any credit would be really unfair."^[5] After complaints, the Guild did award Gilliam and Grisoni credit, in addition to Cox and Davies, but Gilliam resigned from the union over the dispute. "It's really a Star Chamber," said Gilliam of the arbitration process, which he claimed took more work than the screenplay itself.^[3]

Similar problems arose for the film Ronin. According to director John Frankenheimer, "The credits should read: Story by J. D. Zeik, screenplay by David Mamet. We didn't shoot a line of Zeik's script."^[6] Instead, Mamet received credit under a pseudonym. After the controversy over credits for Wag the Dog, Mamet reportedly has decided to attach his name only to movies on which he is the sole writer.^[6]

From 1993 to 1997, there were 415 arbitrations, about one-third of all films whose credits were submitted.

See also[link]

• Acknowledgment (creative arts)
• Billing (filmmaking)
• Character generator
• Cinema of the United States
• Closing credits
• Credit (creative arts)
• Opening credits
• Title sequence
• Television in the United States
• WGA script registration service
• Writers Guild of America Award

For a similar conflict resolution technique in the film directing credit, see Alan Smithee.

References[link]

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2007)

When the article focuses on certain films, they are noted in parenthesis after the citation

• Michael Cieply and James Bales. "Legal Clash Over 'Samurai' Credit". The Los Angeles Times. June 6, 2004. C1. (The Last Samurai)
• Jane Galbraith. "3 on the Towne, or How to get a 'Firm' writing credit". The Los Angeles Times. July 4, 1993. (Adaptation of John Grisham's The Firm)
• "Giving credit where credit's due". Hollywood Reporter. October 8, 2002. 97.
• Michael A. Hiltzik. "Untangling the Web". The Los Angeles Times. March 24, 2002. A1. (Spider-Man)
• Shawn Levy. "Hollywood Tale: Writing the Script, Losing the Credit". The Oregonian (Portland, Oregon). January 25, 2004. A1. (Miracle)
• Nick Madigan. "Scribe tribe on warpath". Daily Variety. June 8, 1998. 1.
• Dennis McDougal. "Hollywood Screenwriters Weigh a Real-Life Revolution at the Ballot Box". The New York Times. September 18, 2004. A17.
• Dave McNary."WGA mulls credit rules". Daily Variety. October 24, 2002. 2.
• Dave McNary. "Scribes nix bid to ease credit rules". Daily Variety. November 18, 2002. 1.
• Dave McNary. "A thorny debate continues to plague the Writers Guild of America". Daily Variety. December 18, 2003. A10.
• Kate O'Hare. "The "Bus Guy" Triumphs on Boomtown. Zap2It.com. May 23, 2003
• Tom Shales. "Sometimes Giving Credit When It's Due Isn't Easy". Chicago Tribune. May 3, 1985. 5. (A television miniseries on Raoul Wallenberg)
• Virginia Wright Wetman. "Success Has 1,000 Fathers (So Do Films)". ' The New York Times. May 28, 1995. Arts section, p. 16.
• Robert W. Welkos. "'Cable', 'Rock' in Dispute on Writing Credits". The Los Angeles Times. May 21, 1996. F1. (The Rock and The Cable Guy)
• Robert W. Welkos. "Giving Credit Where It's Due". The Los Angeles Times. May 11, 1998. A1.
• Michelle Williams. "How Many Writers Does It Take...?" The New York Times. May 17, 1998. Arts section, p. 17.

References[link]

External links[link]

• Official WGA west manual on writing credit (as of November 15, 2002)
• WGA East page on credit determination
• IMDb's page on credit determination
• WGA Arbitration Consultant

Troian Avery Bellisario (born October 28, 1985) is an American actress. She currently stars as Spencer Hastings in the ABC Family series Pretty Little Liars.

Career[link]

Bellisario made her acting debut in the 1988 film Last Rites at the age of three.^[1] From 1990 to 2007, she guest starred on Quantum Leap, Tequila and Bonetti, JAG, First Monday and NCIS, television series that were produced by her father Donald Bellisario. In 1998, she co-starred with Mary-Kate and Ashley Olsen in the film Billboard Dad. Beginning in 2006, Bellisario began appearing in a number of independent short films namely, Unspoken, Archer House and Intersect. In November 2009, Bellisario was cast as Spencer Hastings in the TV series Pretty Little Liars based on the book series of the same name by Sara Shepard.^[2]

Personal life[link]

Bellisario graduated from the University of Southern California.^[3] She is of African, English, French, Italian Danish and Serbian descent^[4][5] Bellisario is in a relationship with actor Patrick J. Adams.^[6]

Filmography[link]

Awards[link]

References[link]

External links[link]

• Troian Bellisario at the Internet Movie Database
• Troian Bellisario on Twitter

Jennifer Beals
Beals at a fan convention for The L Word in November 2008
Born	(1963-12-19) December 19, 1963 (age 48) Chicago, Illinois, United States
Occupation	Actress Model (former)
Years active	1980–present
Spouse	Alexandre Rockwell (m. 1986–1996; divorced) Ken Dixon (m. 1998–present; 1 child)

Jennifer Beals (born December 19, 1963) is an American actress and a former teen model. She is known for her roles as Alexandra "Alex" Owens in the 1983 film Flashdance, and as Bette Porter on the Showtime drama series The L Word. She earned an NAACP Image Award and a Golden Globe Award nomination for the former. She has appeared in more than 50 films.

Early life[link]

Beals was born on the southside of Chicago,^[1] the daughter of Jeanne (née Anderson), an elementary school teacher, and Alfred Beals, who owned grocery stores.^[2][3] She is biracial,^[4] as her father was African American and her mother is Irish American.^[5] She has two brothers, Bobby and Gregory.^[6] Her father died when Beals was nine years old,^[7] and her mother married Edward Cohen in 1981.^[8] Beals has said her biracial heritage had some effect on her, as she "always lived sort of on the outside", with an idea "of being the other in society".^[5] She got her first job at age 13 at an ice cream store, using her height at the time (she is now nearly 5 ft 9 in (1.75 m)), to convince her boss she was 16.^[7]

Beals was inspired to become an actress by two events: doing a high school production of Fiddler on the Roof and seeing Balm in Gilead with Joan Allen while volunteer-ushering at the Steppenwolf Theatre.^[9]

She graduated from the progressive Francis W. Parker School.^[10] Beals also was chosen to attend the elite Goodman Theatre Young People's Drama Workshop.^[11] Beals attended Yale University, receiving a B.A. in American literature in 1987;^[12] she deferred a term so she could film Flashdance.^[10] While at Yale, Beals was a resident of Morse College.^[12]

Career[link]

Film[link]

Beals in Sweden, July 1983

Beals had a minor role in the 1980 film My Bodyguard,^[13] then came to fame with her starring part in Flashdance. The third-highest grossing U.S. film of 1983, Flashdance is the story of 18-year-old Alex, a welder by day and exotic dancer by night, whose dream is to be accepted someday at an illustrious school of dance. Beals was cast for this key role while still a student at Yale. She was nominated for a Golden Globe and the film received an Academy Award for Best Song. Many of Beals' elaborate dance moves were actually performed by stunt double Marine Jahan.^[14]

After she filmed Flashdance, she resumed her studies, making only one film during that time: playing the titular character The Bride with singer-actor Sting, a gothic horror film loosely based on the 1935 classic Bride of Frankenstein^[15] shot during her summer break,^[16] and also appearing in the Cinderella episode of Faerie Tale Theatre.^[13] She was asked by Joel Schumacher to do St. Elmo's Fire but turned it down preferring to stay at Yale.^[17]

Starring opposite Nicolas Cage, the actress portrays a lusty and thirsty vampire in 1989's Vampire's Kiss.

In 1995, Beals and Denzel Washington co-starred in Devil in a Blue Dress, a period film based on a Walter Mosley novel featuring L.A. private detective, Easy Rawlins. Beals plays a biracial woman passing for white. That same year she appeared with Tim Roth in two segments of the four-story anthology Four Rooms, one of which was directed by her then-husband, Alexandre Rockwell.

Rockwell had previously directed her in the 1992 independent film In the Soup, which was a Grand Prize winner at the Sundance Film Festival.^[18] In 2003, she played one of the sequestered jury members in the film adaptation of Runaway Jury.

She had a leading role in 2006's The Grudge 2, sequel to the hit horror film of two years earlier. In 2010, Beals reunited with Denzel Washington in the post-Apocalyptic action drama, The Book of Eli, where she played a blind woman who is the mother of Mila Kunis' character and a servant of Gary Oldman's.^[19]

Television[link]

In 1992, she appeared in 2000 Malibu Road as attorney Perry Quinn. It was her first ongoing television series; she said she had been leery as she previously had not "found a character I wanted to live with for several years".^[11]

Beals made a brief cameo in the final episode of Frasier. In 2007, she appeared in the small TV drama My Name Is Sarah, in which she plays Sarah Winston, a sober woman who joins Alcoholics Anonymous to conduct research for her book but finds herself falling in love with a recovering alcoholic and - as a result - having to deal with her original deception in joining the group.^{[citation needed]}

Beals starred in Showtime Network's The L Word, where she played Bette Porter, an Ivy League educated lesbian. At Beals' request, Bette was made biracial, enabling Pam Grier's Kit Porter character to become Bette's half-sister.^[20] She initially researched the part more in that the woman is the director of an art museum rather than a lesbian;^[21] "I was much more obsessed by the work that Bette did, because she was so obsessed by the work that she did."^[22] The series ran for six seasons and ended in March 2009.

She also appears alongside Tim Roth in Lie To Me, as Cal Lightman's ex-wife, Zoe Landau.

Beals is the female lead in Fox's TV drama The Chicago Code. Her character Teresa Colvin is Chicago's first female police superintendent.^[23] The series was canceled after its first season.^[24]

Beals turned down an offer to appear on Dancing with the Stars, saying: "I am not a dancer. They asked me and I said 'no.' You could back up a truck to my door filled with cash and I wouldn't do it."^[25]

Personal life[link]

Beals was married to Alexandre Rockwell from 1986 to 1996.^[5] In 1998, she married Ken Dixon, a Canadian entrepreneur.^[26] On October 18, 2005, Beals gave birth to their daughter. She is also stepmother to Dixon's two children from a previous marriage.^[27]

Beals has described herself as a "spiritual person".^[28] She has expressed interest in the Holy Bible, Roman Catholicism, and is a practicing Buddhist.^[29][30]

She has been a vocal advocate for gay rights saying "I think after playing Bette Porter on The L Word for six years I felt like an honorary member of the community."^[31] Beals was a Celebrity Grand Marshal at the 2006 San Francisco Pride Parade.^[32]

She is a photographer, who has had shows of her work under her married name, Dixon.^[33] She has a book about her time on The L Word featuring her own photographs.^[34] In 1989, she spent some time in Haiti photographing the elections.^[35]

In 2010, Beals served as the Grand Marshal of the McDonald's Thanksgiving Parade in Chicago.^[36] Beals spoke about two charities that she holds dear in her heart, the Matthew Shepard Foundation and Pablove.^[37]

Filmography[link]

References[link]

External links[link]

Wikimedia Commons has media related to: Jennifer Beals

Wikiquote has a collection of quotations related to: Jennifer Beals

• Jennifer Beals
• Jennifer Beals at the Internet Movie Database
• Jennifer Beals at AllRovi
• Bette Porter L-word Wiki

Maura Therese Tierney (born February 3, 1965) is an American film and television actress, who is best known for her roles as Lisa Miller on NewsRadio and Abby Lockhart on the television medical drama ER.

Early life[link]

Tierney, the eldest of three children, was born and raised in the Hyde Park neighborhood^[2] of Boston, Massachusetts. Her mother, Pat, is a real estate broker and her late father, Joseph, was a prominent Boston politician who served on the Boston City Council for 15 years. Tierney is of Irish descent.^[3]

She attended Notre Dame Academy in Hingham, Massachusetts, where her studies included drama and led to her appearance at the Boston Globe Drama Festival.^[2] After graduation, she attended New York University where she majored first in dance, and later in drama.^[4]

Career[link]

After appearing in several plays, she moved to Los Angeles, California, and in 1987 got her first break in a role in Disney's made-for-TV film Student Exchange.^[5] Tierney's first starring role in a film was in a low-budget, independently-produced film called Dead Women in Lingerie, shot in 24 days.^[6] The film never received a theatrical release, although it was released on DVD in 2005.^[7]

Tierney continued winning small roles in film and television, though it was not until her leading role in the sitcom NewsRadio from 1995 to 1999 that she received regular national exposure. While she was a NewsRadio cast member, she also appeared in several successful films, including Primal Fear, Primary Colors, Forces of Nature, and Liar Liar, which starred Jim Carrey.^[8]

After NewsRadio was canceled, Tierney decided not to pursue a role in another sitcom:

Tierney played Nurse Abigail "Abby" Lockhart on ER, a character that began as a guest appearance as an OB nurse in November 1999, then expanded in February 2000 to a full-time regular part as an ER nurse (and later, after completion of medical school, a licensed ER doctor). Within a year, her work on ER had earned her an Emmy Award nomination, recognition she credits to a "juicy" story arc featuring Sally Field as Lockhart's mother, who suffers from bipolar disorder.^[5] She was initially reunited with her former NewsRadio co-star Khandi Alexander who at that time had a major recurring role on ER.

Tierney confirmed in April 2008 that she would be leaving ER shortly after the beginning of the show's fifteenth season. In October 2008, she made her final regular appearance on the series after nearly 10 seasons on the show. She did return to make a cameo appearance on one additional episode later on during the final season.

As of 2011^[update], Tierney's highest-profile film since joining the cast of ER has been the 2002 film Insomnia, directed by Christopher Nolan.^[8] That same year she also starred in Scotland, Pa., portraying a Lady Macbeth-like character written specifically for her by then-husband Billy Morrissette. She was praised by critics for her performance. She collaborated with NewsRadio writer Joe Furey for a special, "Working with Joe Furey" featurette for Furey's film Love and Support. In 2004, Tierney won the second season tournament of Bravo's Celebrity Poker Showdown against Lauren Graham.

She returned to the stage in May 2006 in an appearance opposite Eric McCormack in the Off Broadway premiere of Some Girl(s).^[9] She also appeared in the 2008 films Semi-Pro, Baby Mama, The Go-Getter and Finding Amanda.

Tierney played the role of Laurel in the Off Broadway play Three Changes with Dylan McDermott ^[10] from September 16 to October 4, 2008.

She returned to television in 2009, playing the recurring character Kelly McPhee on the FX series Rescue Me.

Tierney replaced Joely Richardson as the female lead of the 2010 ABC television series The Whole Truth, after Richardson dropped out to spend more time with her family.^[11] Tierney's role in the show, a legal drama produced by Jerry Bruckheimer, marks her first return to television after recovering from breast surgery and cancer treatments.^[12] ABC canceled The Whole Truth after just four episodes due to low ratings.

In February 2011, Tierney made her debut at the Gate Theatre in the Dublin premiere of Yasmina Reza's God of Carnage (translation by Christopher Hampton) alongside Ardal O'Hanlon.^[13]

Personal life[link]

Tierney married actor-director Billy Morrissette on February 1, 1993, two days before her 28th birthday, after the two met on the set of a never-aired television series.^[14] After being married for 13 years, she filed for divorce, citing irreconcilable differences. They had no children.

On February 1, 2009 the recently ordained Tierney officiated at the wedding of ER castmate and friend Parminder Nagra and photographer James Stenson.^[15]

Tierney had surgery to remove a tumor from her breast in 2009.^[16][17] Schedule conflicts with her cancer treatments led her to leave the cast of Parenthood, where she had been an original cast member. She was replaced by Lauren Graham.^[18] She finished treatment and returned to work in a stage play in 2010.^[19]

Filmography[link]

Awards and nominations[link]

See also[link]

• Flann Ó Tighearnaigh, Gaelic-Irish Lord, died 1273.

References[link]

External links[link]

• Maura Tierney at the Internet Movie Database

This biographical article relies largely or entirely upon a single source. Please help improve this article by introducing citations to additional sources. Discussion about the problems with the sole source used may be found on the [[Talk:Lois Smith#biographical article|talk page]]. (December 2008)

Lois Smith (born November 3, 1930) is an American actress whose career in theater, film, and television has spanned five decades.

Smith was born as Lois Arlene Humbert in Topeka, Kansas, the daughter of Carrie Davis (née Gottshalk) and William Oren Humbert, who was a telephone company employee.^[1] She is a graduate of the University of Washington.

After two TV appearances, Smith made her film debut in East of Eden (1955). Other film credits include Five Easy Pieces, Up the Sandbox, Four Friends, Fatal Attraction, Fried Green Tomatoes, How to Make an American Quilt, Hard Promises, Dead Man Walking, Twister, Minority Report, Tumbleweeds, and Hollywoodland

She has been active in television, appearing in early anthology series (Studio One, Robert Montgomery Presents), soap operas (Another World, Somerset, The Edge of Night, All My Children, One Life to Live), prime-time dramas (The Defenders, Dr. Kildare, Route 66, thirtysomething, The Practice, Law & Order: Special Victims Unit, Law & Order: Criminal Intent, ER, Grey's Anatomy, Cold Case and True Blood), and sitcoms (Just Shoot Me! and Frasier).

Smith made her Broadway debut in the 1952 comedy Time Out for Ginger. A member of the Steppenwolf Theatre Company, she appeared as "Ma Joad" in their production of The Grapes of Wrath in Chicago, La Jolla Playhouse in San Diego, and London before bringing it to New York City, where her performance earned her a Tony Award nomination.^{[citation needed]}

Awards and nominations[link]

• 1970: National Society of Film Critics Award for Best Supporting Actress (Five Easy Pieces, winner)
• 1990: Tony Award for Best Performance by a Featured Actress in a Play (The Grapes of Wrath, nominee)
• 1996: Tony Award for Best Performance by a Featured Actress in a Play (Buried Child, nominee)
• 2006: Drama Desk Award for Outstanding Actress in a Play (The Trip to Bountiful, winner)

Personal life[link]

She was married to Wesley Dale Smith, a teacher, from November 5, 1948 until their divorce in 1970); they have one daughter.

References[link]

External links[link]

• Lois Smith at the Internet Broadway Database
• Lois Smith at the Internet Movie Database

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