!function(n){if(!window.cnx){window.cnx={},window.cnx.cmd=[];var t=n.createElement(‘iframe’);t.display=’none’,t.onload=function(){var n=t.contentWindow.document,c=n.createElement(‘script’);c.src=”//cd.connatix.com/connatix.player.js”,c.setAttribute(‘async’,’1′),c.setAttribute(‘type’,’text/javascript’),n.body.appendChild(c)},n.head.appendChild(t)}}(document);(new Image()).src=”https://capi.connatix.com/tr/si?token=8b034f64-513c-4987-b16f-42d6008f7feb”;cnx.cmd.push(function(){cnx({“playerId”:”8b034f64-513c-4987-b16f-42d6008f7feb”,”mediaId”:”99490c2d-13c1-487f-a4a2-eccb588295ec”}).render(“6a7b34fbe4b0b34a9822e716”);}); Actors, writers, and directors often face creative changes completely out of their control – think of all the storylines actors flat-out refused to film, or that one time a powerful play about the Cuban revolution turned into Dirty Dancing 2. Often, that means cast and crew are left with their names attached to a project they might not have felt in full control over. For instance, Peter Sagal, the Cuban revolution playwright, is credited as a writer on the Dirty Dancing sequel, despite saying there’s “not a single line of dialogue in that movie” that he wrote. In this case, he seems OK with the credit. But what do directors do when they no longer want their names associated with a film?  Apparently, some turned to an alias: Allen Smithee, often “misspelled” as Alan Smithee. Allen became a way of distancing directors from films they lost control over.  Don Siegel, the first person to use the name, said in his autobiography: “When I refused to take directing credit for the film [Death of …