Pat Proft - Filmography - As Writer

As Writer

  • The Smothers Brothers Show (1965) (TV)
  • The Jim Stafford Show (1975) (TV)
  • When Things Were Rotten (1975) (TV)
  • Welcome Back, Kotter (1975) (TV)
  • Van Dyke and Company (1976) (TV)
  • What's New, Mr. Magoo? (1977) (TV)
  • The Redd Foxx Comedy Hour (1977) (TV)
  • Mary (1978) (TV)
  • The Star Wars Holiday Special (1978) (TV)
  • Detective School (1979) (TV)
  • Twilight Theater (1982) (TV)
  • Police Squad! (1982) (TV)
  • Police Academy (with Neal Israel and Hugh Wilson) (1984)
  • Bachelor Party (with Neal Israel) (1984)
  • Moving Violations (with Neal Israel) (1985) (TV)
  • Real Genius (with Neal Israel and Peter Torokvei) (1985)
  • High School USA 2 (1985) (TV)
  • The Naked Gun: From the Files of Police Squad! (with Jerry Zucker, David Zucker and Jim Abrahams) (1988)
  • Lucky Stiff (1988)
  • The Naked Gun 2½: The Smell of Fear (with Jerry Zucker, David Zucker and Jim Abrahams) (1991)
  • Hot Shots! (with Jim Abrahams) (1991)
  • Brain Donors (1992)
  • Hot Shots! Part Deux (with Jim Abrahams) (1993)
  • Naked Gun 33⅓: The Final Insult (with Jerry Zucker, David Zucker and Jim Abrahams) (1994)
  • High School High (with David Zucker and Robert LoCash) (1996)
  • Mr. Magoo (with Tom Sherohman) (1997)
  • Wrongfully Accused (1998) (also Director)
  • Scary Movie 3 (with Craig Mazin) (2003)
  • Scary Movie 4 (with Craig Mazin and Jim Abrahams) (2006)
  • Mostly Ghostly (with Richard Correll) (2008)
  • Super Dave's Spike-Tacular (2009) (TV)
  • Scary Movie 5 (with David Zucker) (2013)

Read more about this topic:  Pat Proft, Filmography

Famous quotes containing the word writer:

    “A serious writer is not to be confounded with a solemn writer. A serious writer may be a hawk or a buzzard or even a popinjay, but a solemn writer is always a bloody owl.”
    —Ernest Hemingway (1899–1961)

    “I am a writer and a feminist, and the two seem to be constantly in conflict.... ever since I became loosely involved with it, it has seemed to me one of the recurring ironies of this movement that there is no way to tell the truth about it without, in some small way, seeming to hurt it.”
    —Nora Ephron (b. 1941)