Trivia: Gig Young started his movie career billed under his birth name, Byron Barr. He made his debut in You're in the Army Now (1941). The following year, he played in The Gay Sisters playing a larger supporting role, a character called Gig Young. While he would he would still continue going by Byron Barr for a while, he would eventually change it to Gig Young because there was an actor named Byron Barr already in Hollywood. When not going by his birth name, Young sometimes billed himself as Bryant Fleming. During WWI, Young was part of the Coast Guard. Upon his discharge, he returned to his movie career. Dashing and witty, Young often played second bananas and was frequently cast as a carefree bachelor who was more interested in fun than commitment. He also played guys who were always unlucky in love in romantic comedies. Occasionally Young would win the lead in B-movies. In 1969, Young earned an Oscar for his performance in They Shoot Horses, Don't They? On television, Young occasionally guest starred on series and movies. In 1976, he starred in the short-lived series Gibbsville. In 1978, Young and his bride of three weeks (he had been married four times before) were found dead of gunshot wounds in his Manhattan apartment. In Young's hand was the pistol and police surmised that he had shot her and then himself. His wife was Kim Schmidt, a 31-year-old German actress.

Trivia: Born August 18th, 1937, the rugged, dashingly handsome Robert Redford was among the biggest movie stars of the 1970s. While an increasingly rare onscreen presence in subsequent years, he remained a powerful motion-picture industry force as an Academy Award-winning director as well as a highly visible champion of American independent filmmaking. Born Charles Robert Redford Jr. on August 18, 1937, in Santa Monica, CA, he attended the University of Colorado on a baseball scholarship. After spending a year as an oil worker, he traveled to Europe, living the painter's life in Paris. Upon returning to the U.S., Redford settled in New York City to pursue an acting career and in 1959 made his Broadway debut with a small role in Tall Story. Bigger and better parts in productions including The Highest Tree, Little Moon of Alban, and Sunday in New York followed, along with a number of television appearances, and in 1962 he made his film debut in Terry and Dennis Sanders' antiwar drama War Hunt. However, it was a leading role in the 1963 Broadway production of Barefoot in the Park which launched Redford to prominence and opened the door to Hollywood, where in 1965 he starred in back-to-back productions of Situation Serious but Not Hopeless and Inside Daisy Clover. A year later he returned in The Chase and This Property Is Condemned, but like his previous films they were both box-office failures. Offered a role in Mike Nichols' Who's Afraid of Virginia Woolf?, Redford rejected it and then spent a number of months relaxing in Spain. His return to Hollywood was met with an offer to co-star with Jane Fonda in a film adaptation of Barefoot in the Park, released in 1967 to good reviews and even better audience response. However, Redford then passed on both The Graduate and Rosemary's Baby to star in a Western titled Blue. Just one week prior to shooting, he backed out of the project, resulting in a series of lawsuits and a long period of inactivity; with just one hit to his credit and a history of questionable career choices, he was considered a risky proposition by many producers. Then, in 1969, he and Paul Newman co-starred as Butch Cassidy and the Sundance Kid, a massively successful revisionist Western which poised Redford on the brink of superstardom. However, its follow-ups -- 1969's Tell Them Willie Boy Is Here and The Downhill Racer -- both failed to connect, and after the subsequent failures of 1971's Fauss and Big Halsey and 1972's The Hot Rock, many industry observers were ready to write him off. Both 1972's The Candidate and Jeremiah Johnson fared markedly better, though, and with Sydney Pollack's 1973 romantic melodrama The Way We Were, co-starring Barbra Streisand, Redford's golden-boy lustre was restored. That same year he reunited with Newman and their Butch Cassidy director George Roy Hill for The Sting, a Depression-era caper film which garnered seven Academy Awards, including Best Picture honors. Combined with its impressive financial showing, it solidified Redford's new megastar stature, and he was voted Hollywood's top box-office draw. Redford's next project cast him in the title role of director Jack Clayton's 1974 adaptation of The Great Gatsby; he also stayed in the film's 1920s milieu for his subsequent effort, 1975's The Great Waldo Pepper. Later that same year he starred in the thriller Three Days of the Condor before portraying Washington Post reporter Bob Woodward in 1976's All the President's Men, Alan J. Pakula's masterful dramatization of the investigation into the Watergate burglary. In addition to delivering one of his strongest performances to date in the film, Redford also served as producer after first buying the rights to Woodward and Carl Bernstein's book of the same name. The 1977 A Bridge Too Far followed before Redford took a two-year hiatus from the screen. He didn't resurface until 1979's The Electric Horseman, followed a year later by Brubaker. Also in 1980 he made his directorial debut with the family drama Ordinary People, which won four Oscars including Best Picture, Best Director, and Best Supporting Actor (for Timothy Hutton). By now, Redford's interest in acting was clearly waning; he walked out of The Verdict (a role then filled by Newman) and did not appear before the camera again for four years. When he finally returned in 1984's The Natural, however, it was to the usual rapturous public reception, and with 1985's Out of Africa he and co-star Meryl Streep were the focal points in a film which netted eight Oscars, including Best Picture. The 1986 film Legal Eagles, on the other hand, was both a commercial and critical stiff, and in its wake Redford returned to the director's chair with 1988's The Milagro Beanfield War. Apart from narrating the 1989 documentary To Protect Mother Earth -- one of many environmental activities to which his name has been attached -- Redford was again absent from the screen for several years before returning in 1990's Havana. The star-studded Sneakers followed in 1992, but his most significant effort that year was his third directorial effort, the acclaimed A River Runs Through It. In 1993 Redford scored his biggest box-office hit in some time with the much-discussed Indecent Proposal. He followed in 1994 with Quiz Show, a pointed examination of the TV game-show scandals of the 1950s which many critics considered his most accomplished directorial turn to date. After the 1996 romantic drama Up Close and Personal, he began work on his adaptation of Nicholas Evans' hit novel The Horse Whisperer. The filmmaker was back behind the camera in 2000 as the director and producer of The Legend of Bagger Vance. The film's sentimental mixture of fantasy and inspiration scored with audiences, and Redford next turned back to acting with roles in The Last Castle and Spy Game the following year. Though Castle garnered only a lukewarm response from audiences and critics alike, fans were nevertheless primed to see the seasoned actor share the screen with his A River Runs Through It star Brad Pitt in the eagerly anticipated Spy Game. 2004 brought with it a starring role for Redford, alongside Helen Mirren and Willem Dafoe, in The Clearing; he played a kidnapping victim dragged into the woods at gunpoint. The film drew a mixed response; some reviewers praised it as brilliant, while others felt it only average. In 2005, Redford co-starred with Morgan Freeman and Jennifer Lopez in the Lasse Hallstrom-directed An Unfinished Life. In addition to his acting and directing work, Redford has also flexed his movie industry muscle as the founder of the Sundance Institute, an organization primarily devoted to promoting American independent filmmaking. By the early '90s, the annual Sundance Film Festival, held in the tiny community of Park City, Utah, had emerged as one of the key international festivals, with a reputation as a major launching pad for young talent. An outgrowth of its success was cable's Sundance Channel, a network similarly devoted to promoting and airing indie fare; Redford also planned a circuit of art house theaters bearing the Sundance name.

Trivia: The daughter of a Texas judge, Martha Hyer majored in speech and drama at Northwestern University. Her work at the Pasadena Playhouse led to a 1946 contract with RKO. Free from her contract in 1951, Hyer free-lanced in films made both in the U.S. and abroad. In 1954, she played the role of William Holden's fiancée in Sabrina. She earned an Academy Award nomination for her portrayal of a prim small schoolteacher in Some Came Running (1958), but has also played "hot to trot" roles in films like Pyro (1966) and spoiled-little-rich-girl types in films such as The Happening (1967). She retired from acting in the '70s. The widow of producer Hal B. Wallis, Martha Hyer has set forth her life story in the 1990 autobiography Finding My Way. Hyer died in 2014 at age 89.

Trivia: A professional actor since his teens, Gene Evans made his first film appearance in 1947's Under Colorado Skies. Evans' gritty, no-nonsense approach to his craft attracted the attention of like-minded director Sam Fuller, who cast the actor in several of his 1950s film projects. Many consider Evans' portrayal as the grim, born-survivor sergeant in Fuller's The Steel Helmet (1951) to be not only the actor's best performance, but also one of the best-ever characterizations in any war film. Active in films until 1984, Gene Evans also co-starred in the TV series My Friend Flicka (1956), Matt Helm (1975) and Spencer's Pilots (1976).

Trivia: Born into a poor San Francisco family, Raymond Bailey dropped out of school in the 10th grade to help make ends meet. He took on a variety of short-term jobs before escaping his lot by hopping a freight to New York. He tried in vain to find work as an actor, eventually signing on as a mess boy on a freighter. While docked in Honolulu, Bailey once more gave acting a try, and also sang on a local radio station. In Hollywood from 1932 on, Bailey took any nickel-and-dime job that was remotely connected to show business, but when World War II began, he once more headed out to sea, this time with the Merchant Marine. Only after the war was Bailey able to make a living as a character actor on stage and in TV and films. In 1962, he was cast as covetous bank president Milburn Drysdale on The Beverly Hillbillies, a role that made him a household name and one which he played for nine seasons (ironically, he'd once briefly worked in a bank during his teen years). After the show was cancelled in 1971, Bailey dropped out of sight and became somewhat of a recluse.

Trivia: As the son of multi-talented comedic genius Carl Reiner (Your Show of Shows), Rob Reiner instantly outgrew his father's legacy to establish himself as an independent force in multiple facets of the entertainment industry. Born in the Bronx in 1945, Reiner moved to Los Angeles with his folks at the age of 12 (not coincidentally, the very same year that the NYC-based Caesar's Hour, with Carl Reiner as a regular contributor, wrapped) and soon began acting in regional theater and improv ensembles. After appearing on various episodes of Alfred Hitchcock Presents from the age of 16 and studying drama at UCLA, Reiner co-founded the improvisational comedy troupe The Session, then made his onscreen cinematic debut in his father's Enter Laughing (1967) and contributed scripts (in his dad's vein) to CBS's controversial The Smothers Brothers Comedy Hour. His first massive break arrived when he landed the role of Mike "Meathead" Stivic, the liberal, Polish son-in-law to Carroll O'Connor's racist working stiff Archie Bunker, on Norman Lear's groundbreaking network hit All in the Family. In 1971, Reiner wed Penny Marshall (the sister of another comic demagogue, Garry Marshall); the marrieds frequently appeared together on ABC's The Odd Couple. Reiner earned two Emmys for All in the Family, but ended his role in 1978 (after seven seasons) as the series transitioned into Archie Bunker's Place. A now-forgotten telemovie followed -- the romantic comedy More Than Friends, written by and starring Reiner and Marshall (and directed by future Cheers progenitor James Burrows) -- but by that point, the Reiners' marriage was in disarray; a divorce ensued in 1979, followed by several years of inactivity on Reiner's end.Reiner bounced back as a director, however (and then some) in 1984, with the hysterical mockumentary This Is Spinal Tap, ostensibly a spoof of The Song Remains the Same, The Kids Are Alright, The Last Waltz, and other mid-'70s concert films, about a gleefully moronic glam rock band (Christopher Guest, Michael McKean, and Harry Shearer) whose hits include "Sex Farm," "Smell the Glove," and "Hellhole." The picture became a sensation (a massive cult hit), led to several Reiner-less follow-ups with the principal cast (Waiting for Guffman, Best in Show, A Mighty Wind), and -- most importantly -- launched Reiner as a directorial force. He helmed a cute and charming sophomore effort, the teen comedy The Sure Thing (1985), which boasts two superb lead performances by John Cusack and Daphne Zuniga, and demonstrates great taste and sensitivity, but failed to make a splash despite solid reviews (Roger Ebert declared it "a small miracle" and Variety assessed it as "sweetly old fashioned" and "appealing.") The following year, the director struck box-office gold with his third effort, Stand by Me (1986). In this coming-of-age saga, adapted from a Stephen King short story by Ray Gideon and Bruce A. Evans, Reiner successfully blends comedy, drama, and sentiment, and elicits exemplary performances from an ensemble of teenage performers including River Phoenix and Wil Wheaton, in his story of a bunch of adolescent boys who venture out to find a local boy's corpse. For his fourth effort, Reiner helmed the legendary William Goldman's adaptation of his own 1973 fantasy novel, The Princess Bride (which had purportedly floated around Hollywood for 13 years), and scored in the process -- especially with young viewers, who immediately warmed to Cary Elwes' dashing adventurer and Robin Wright's heroine. (The picture's neat comic turns by Billy Crystal, Wallace Shawn, and Andre the Giant stretched its appeal to older viewers, as well.) Reiner followed this up with another four-star blockbuster, and one of the most lucrative (and affable) pictures of 1989, the romantic comedy When Harry Met Sally, written by Nora Ephron. It sports exceptional lead performances by Crystal and Meg Ryan, and -- in one of the most infamous movie bits of the past few decades, a cameo by Reiner's own mother, Estelle, who provides the film's funniest line.Reiner began the 1990s with another Stephen King outing: Misery, a claustrophobic horror picture adapted from a 1987 King novel. In directing the picture, Reiner elicited exceptional performances from James Caan and Kathy Bates. The latter won a Best Actress Academy Award for her portrayal of the psychopathic ex-nurse Annie Wilkes, who confines Caan's author in her home and forces him to write a new manuscript under the duress of torture and threatened homicide. With a trio of A-list actors including Jack Nicholson, Tom Cruise, and Demi Moore, the director's late 1992 courtroom thriller A Few Good Men (adapted by Aaron Sorkin from his play) earned a Best Picture Oscar nomination and another Golden Globe nomination for Reiner. Unfortunately, this marked the beginning of a decline, of sorts, for Reiner. He then helmed 1994's god-awful family-friendly comedy North (reviled by just about everybody). The following year's The American President charmed audiences, but 1996's Ghosts of Mississippi struck most viewers as uneven. In 1999, Reiner produced, directed, and co-starred in The Story of Us, a romantic comedy starring Michelle Pfeiffer and Bruce Willis, but it opened up to mediocre reviews. (Ebert gave it one star and moaned, "Watching it is like taking a long trip in a small car with the Bickersons"; Janet Maslin observed that it "offers such an arthritic vision of middle-aged marriage that it feels like the first Jack Lemmon comedy made expressly for the baby-boom generation.") Perhaps riled by these disappointments -- and seeking greater immersion in California politics -- Reiner took several years off as a director, until 2003's Alex & Emma, a romantic comedy about writer's block starring Luke Wilson and Kate Hudson. With one or two exceptions, critics universally panned the picture (giving Reiner his most terrible reviews to date). 2005's Rumor Has It..., yet another romantic comedy starring Jennifer Aniston as a woman who goes off in search of her family's roots, also opened to dismal reviews and lackluster box office, despite the star appeal of Aniston and her male lead, Kevin Costner. In 1987, Reiner co-founded Castle Rock Productions (the company's name refers to a fictional town created by Stephen King). In addition to directing and producing, Reiner has also pursued an acting career on the side, with supporting roles and cameos in such films as Postcards From the Edge (1990), Sleepless in Seattle (1993), Bullets Over Broadway (1994), The First Wives Club (1996), Primary Colors (1998), EDtv (1999), The Muse (1999), The Story of Us (1999), and The Majestic (2001). Later, he delivered a performance as Wirschafter in his own Alex & Emma (2003) and cameo'd as himself in the 2003 David Spade comedy Dickie Roberts: Former Child Star. Between 2004 and 2006, Reiner joined Whoopi Goldberg, Mandy Patinkin, William H. Macy, and others to voice the late Christopher Reeve's CG-animated feature Everybody's Hero, about a boy who attempts to retrieve a talking baseball bat from a crooked security guard. In 2007 he had one of his biggest late-career successes directing Jack Nicholson and Morgan Freeman in The Bucket List. Three years later he made the little-seen comedy Flipped. Reiner married his second wife, Michele Singer Reiner, in 1989.

Trivia: Greek-born actor Nick Dennis may have been short of stature, but that didn't prevent him from cutting a prominent and memorable image onscreen (and on-stage) in a career that crossed 40 years and two coasts. Indeed, his diminutive physique was more than matched by an outsized talent, and an ability to steal almost any scene he was in, working among the stars of whatever the production happened to be. Dennis was born in Thessaly in 1904, and his American stage career dated from the mid-'30s. He made his debut on Broadway in September 1935 playing a telegraph boy in the Howard Lindsay/Damon Runyon comedy A Slight Case of Murder; and in April 1936, he played a thug in the original Broadway production of Richard Rodgers' and Lorenz Hart's On Your Toes, starring Ray Bolger. His other early stage credits included On Borrowed Time and The World We Make, of which only the latter was a conspicuous success at the time. He continued to find steady work through the Second World War and beyond, including roles in José Ferrer's Broadway production of Cyrano De Bergerac. It was around the time of the latter's run that he made his big-screen debut with a role in the New York-filmed drama A Double Life (1947). But it was the part of Pablo Gonzales in A Streetcar Named Desire, directed by Elia Kazan, that brought him to Hollywood, to appear in the Kazan-directed film version. Dennis' screen credits multiplied by the dozens over the next few years, in pictures such as Sirocco (1951) and Eight Iron Men (1952), as well as television work on anthology shows such as Fireside Theatre. Kazan used him in East of Eden (1955), and Robert Aldrich gave him the role of extrovert garage mechanic and car enthusiast Nick in Kiss Me Deadly, which also offered him a prominent exit scene and key role in the plot. It was in that picture, with Dennis running on all cylinders, so to speak, that one could see him at his flamboyant best, stealing at least two key scenes from star Ralph Meeker. Aldrich also used Dennis in The Big Knife, and he would show up in numerous films and television shows across the 1950s, sometimes in delightfully bizarre moments; in a gypsy wedding scene in Nicholas Ray's Hot Blood, his character is leading a trained bear on a leash. Dennis became something of a cinematic specialty act during this period with his outsized, flamboyant persona, and he was much-loved by audiences in all genres. Additionally, he appeared in dozens of television shows over the next six years, and it was television where he made his biggest long-term impression as an actor. In 1962, he became a regular, recurring character as hospital orderly Nick Kanavaras on Ben Casey, where he frequently provided lighter moments in the drama. Following the series' cancellation, he continued to work, mostly in television, into the mid-'70s, including several made-for-TV features and a string of appearances on the series Kojak, starring Telly Savalas.