Trivia: An actor whose name became synonymous with all-American entertainment, Tom Cruise spent the 1980s as one of Hollywood's brightest-shining golden boys. Born on July 3, 1962 in Syracuse, NY, Cruise was high-school wrestler until he was sidelined by a knee injury. Soon taking up acting, he found that the activity served a dual purpose: performing satiated his need for attention, while the memorization aspect of acting helped him come to grips with his dyslexia. Moving to New York in 1980, Cruise's first big hit was Risky Business in 1982, in which he entered movie-trivia infamy with the scene wherein he celebrates his parents' absence by dancing around the living room in his underwear. The Hollywood press corps began touting Cruise as one of the "Brat Pack," a group of twenty-something actors who seemed on the verge of taking over the movie industry in the early '80s. Top Gun 1985 established Cruise as an action star, but again he refused to be pigeonholed, and followed it up with a solid characterization of a fledgling pool shark in the Martin Scorsese film The Color of Money in 1986, for which co-star Paul Newman earned an Academy Award. In 1988, he played the brother of an autistic savant played by Dustin Hoffman in Rain Man, a dramatic turn for sure, though Cruise had not yet totally convinced critics he was more than a pretty face.His chance came in 1989, when he played a paraplegic Vietnam vet in Born on the Fourth of July. Though his bankability faltered a bit with the expensive disappointment Far and Away in 1990 (though it did give him a chance to co-star with his-then wife Nicole Kidman), 1992's A Few Good Men brought him back into the game. By 1994, the star was undercutting his own leading man image with the role of the slick, dastardly vampire Lestat in the long-delayed film adaptation of the Anne Rice novel Interview with the Vampire. Although the author was vehemently opposed to Cruise's casting, Rice famously reversed her decision upon seeing the actor's performance, and publicly praised Cruise's portrayal.In 1996, Cruise scored financial success with the big-budget action film Mission: Impossible, but it was with his multilayered, Oscar-nominated performance in Jerry Maguire that Cruise proved once again why he is considered a major Hollywood player. 1999 saw Cruise reunited onscreen with Kidman in a project of a very different sort, Stanley Kubrick's Eyes Wide Shut. The film, which was the director's last, had been the subject of controversy, rumor, and speculation since it began filming. It opened to curious critics and audiences alike across the nation, and was met with a violently mixed response. However, it allowed Cruise to once again take part in film history, further solidifying his position as one of Hollywood's most well-placed movers and shakers.Cruise's enviable position was again solidified later in 1999, when he earned a Best Supporting Actor nomination for his role as a loathsome "sexual prowess" guru in Paul Thomas Anderson's Magnolia. In 2000, he scored again when he reprised his role as international agent Ethan Hunt in John Woo's Mission: Impossible II, which proved to be one of the summer's first big moneymakers. He then reteamed with Jerry Maguire director Cameron Crowe for a remake of Spanish director Alejandro Amenábar's Abre los Ojos titled Vanilla Sky. Though Vanilla Sky's sometimes surreal trappings found the film receiving a mixed reception at the box office, the same could not be said for the following year's massively successful sci-fi chase film Minority Report, directed by Steven Spielberg , or of the historical epic The Last Samurai, directed by Edward Zwick.For his next film, Cruise picked a role unlike any he'd ever played; starring as a sociopathic hitman in the Michael Mann psychological thriller Collateral. He received major praise for his departure from the good-guy characters he'd built his career on, and for doing so convincingly. By 2005, he teamed up with Steven Spielberg again for the second time in three years with an epic adaptation of the H.G. Wells alien invasion story War of the Worlds.The summer blockbuster was in some ways overshadowed, however, by a cloud of negative publicity. It began in 2005, when Cruise became suddenly vocal about his beliefs in Scientology, the religion created by science fiction author L. Ron Hubbard. Cruise publicly denounced actress Brooke Shields for taking medication to combat her postpartum depression, calling going so far as to call the psychological science a "Nazi science" in an Entertainment Weekly interview. On June 24, 2005, he was interviewed by Matt Lauer for The Today Show during which time he appeared to be distractingly argumentative in his insistence that psychiatry is a "pseudoscience," and in a Der Spiegel interview, he was quoted as saying that Scientology has the only successful drug rehabilitation program in the world.This behavior caused a stirring of public opinion about Cruise, as did his relationship with 27-year-old actress Katie Holmes. The two announced their engagement in the spring of 2005, and Cruise's enthusiasm for his new romantic interest created more curiosity about his mental stability. He appeared on The Oprah Winfrey Show on May 23, where he jumped up and down on the couch, professing his love for the newly-Scientologist Holmes. The actor's newly outspoken attitude about Scientology linked to the buzz surrounding his new relationship, and the media was flooded with rumors that Holmes had been brainwashed.Some audiences found Cruise's ultra-enthusiastic behavior refreshing, but for the most part, the actor's new public image alienated many of his viewers. As he geared up for the spring 2006 release of Mission: Impossible III, his ability to sell a film based almost purely on his own likability was in question for the first time in 20 years.Despite this, the movie ended up performing essentially as expected, and Cruise moved on to making headlines on the business front, when -- in November 2006 -- he and corporate partner Paula Wagner (the twin forces behind the lucrative Cruise-Wagner Productions) officially "took over" the defunct United Artists studio. Originally founded by such giants as Douglas Fairbanks and Charles Chaplin in 1921, UA was all but completely defunct. The press announced that Cruise and Wagner would "revive" the studio, with Wagner serving as Chief Executive Officer and Cruise starring in and producing projects.One of the fist films to be produced by the new United Artists was the tense political thriller Lions for Lambs, which took an earnest and unflinching look at the politics behind the Iraq war. This was followed by the World War II thriller Valkyrie. Cruise would find a solid footing as the 2010s progressed, with films like Mission: Impossible - Ghost Protocol and Rock of Ages. Cruise and Holmes would announce they were divorcing in 2012.

Trivia: Primarily a supporting and character actor, Philip Baker Hall has also played the occasional lead on stage, screen, and television. Hall made his film debut playing a priest in Cowards (1970). He then appeared in three television series during the mid-'70s, including Man From Atlantis (1977). He became best known during the '80s for his portrayal of Richard Nixon in Robert Altman's brilliant Secret Honor (1984), for which Hall also wrote the screenplay. Though the film garnered mixed reviews, the actor's portrayal of Nixon was hailed as a tour de force. Through the '80s and '90s, Hall continued to work steadily in films and on television; his talents were perhaps best, and most famously, utilized by director Paul Thomas Anderson, who cast Hall in substantial roles in Hard Eight (1996), Boogie Nights (1997), and Magnolia (1999), the last of which saw the actor in fine form as a game show host dying of cancer. Hall also had a memorable turn as a private investigator who is far too convinced of the infallibility of his own instincts in Anthony Minghella's The Talented Mr. Ripley (1999); that same year, he gave a strong performance as CBS producer Don Hewitt in Michael Mann's The Insider. Clearly, Hall had no intention of slowing down, and he would spend the next several years remaining extremely active, appearing in such films as The Matador, Rush Hour 3, The Lodger, 50/50, and Mr. Popper's Penguins.

Trivia: One of the most original, versatile, and steadily employed actors in Hollywood, Philip Seymour Hoffman made a name for himself playing some of the most dysfunctional characters in movie history. Although he had been acting for years, most audiences were first introduced to the actor in the award-winning Boogie Nights, where he played a nebbishy soundman with a jones for Mark Wahlberg's Dirk Diggler. Imbuing his character with both humor and poignant complexity, Hoffman was one of the more memorable aspects of an unforgettable film.Born in Fairport, NY, in 1968, Hoffman trained at New York's Tisch School of Drama. Before breaking into film, he did a host of theater work, performing in New York, Chicago, and on a European tour. He made his film debut in the 1992 film Scent of a Woman, a critically acclaimed picture starring Al Pacino and Chris O'Donnell. Roles in a number of films of varying quality followed, including My New Gun (1992) and When a Man Loves a Woman (1994). The actor then nabbed a sizable role in Jan de Bont's 1996 tornado thriller Twister and the same year began an ongoing working relationship with Paul Thomas Anderson by appearing in his directorial debut Hard Eight. The crime drama, which also starred Gwyneth Paltrow and Samuel L. Jackson, received positive critical attention, although it didn't create more than a minor blip at the box office. However, Hoffman's next feature and second collaboration with Anderson, Boogie Nights (1997), was both a critical and financial success, scoring a host of Academy Award nominations and simultaneously reviving the careers of some of its stars, such as Burt Reynolds and Mark Wahlberg, while providing a breakthrough for others, such as Heather Graham and Hoffman himself. He next appeared in the Robin Williams comedy Patch Adams (1998), and the same year starred in two critically acclaimed independent films, Todd Solondz's Happiness and Brad Anderson's Next Stop Wonderland. The prolific actor added an appearance in The Big Lebowski (also 1998) to his already impressive resumé. In addition to his burgeoning acting career, Hoffman won favorable notices for his directing debut with the off-Broadway In Arabia, We'd All Be Kings. Hoffman came into his own with three notable performances in 1999. He reunited with Paul Thomas Anderson to play empathic hospice nurse Phil Parma, one of the emotional anchors in Magnolia. His portrayal of upper-crust snob Freddie Miles in The Talented Mr. Ripley earned him strong notices from many critics. Hoffman's peers awarded him with a Screen Actors Guild nomination for his role as a cross dresser in Flawless opposite Robert De Niro. He returned to the Broadway stage with fellow Anderson regular John C. Reilly to play very different brothers in Sam Shepard's True West. They took a risk by switching the lead roles every three days. Their hard work earned critical raves, and each was nominated for a Tony award. In 2000, Cameron Crowe cast Hoffman as Crowe's childhood hero Lester Bangs in Almost Famous, and David Mamet tapped him to be part of the impressive ensemble in State and Main.Hoffman maintained his status as one of the most respected and hardest-working actors in the new decade by delivering an excellent supporting turn in Red Dragon as an unctuous tabloid reporter. That same year he co-starred in Spike Lee's 25th Hour, and played the bad guy for old collaborator Paul Thomas Anderson in the offbeat romantic comedy Punch-Drunk Love. 2002 also saw the release of Love Liza, a very low-budget film scripted by Hoffman's brother and directed by actor Todd Louiso that starred Phil as a grieving husband addicted to huffing gas fumes. The next year found Hoffman starring as a gambling addict in the small scale Canadian drama Owning Mahowny, and turning in a memorable supporting performance as an amoral preacher in the big screen adaptation of Cold Mountain. Hoffman was in theaters again at the beginning of 2004 as the best friend in the Ben Stiller comedy Along Came Polly. He was also part of yet another outstanding ensemble in the small screen adaptation of Richard Russo's Pulitzer prize-winning novel Empire Falls.In 2005, Hoffman took the role of a lifetime when he assumed the title role in Bennett Miller's Capote. The film had critics in agreement that Hoffman's portrayal of complex and idiosyncratic real-life author Truman Capote was the stuff of Hollywood legend. Hoffman not only mastered the character's distinct body-language and speech but also hauntingly interpreted the subtle psychological and emotional self that made the character whole-leading many to declare that he very nearly made the film everything it was. The performance earned him the Oscar for Best Actor, as well as a Golden Globe and countless other accolades. The attention also provided a boost in profile for the actor who had for so long proved his worth in the background. After playing the bad guy in the third Mission Impossible movie opposite Tom Cruise, Hoffman had a remarkable 2007, a year that saw him play a central part in three well-regarded films. His conniving brother in Sidney Lumet's Before the Devil Knows You're Dead was a model of self-loathing fermenting into fatal action. In addition to a Golden Globe nomination for Best Actor, his highly-educated, emotionally fractured brother to Laura Linney's neurotic sister in The Savages offered him the chance to play numerous subtle and sharply observed scenes with her, the first meeting of these two revered performers. But it was his turn as the intense CIA operative in Charlie Wilson's War that won Hoffman the most widespread praise including Golden Globe and Oscar nominations for Best Supporting Actor.Hoffman continued to solidify his status as one of his generation's finest actors in 2008 with two very different roles. By choosing to play the lead in Charlie Kaufmann's directorial debut Synecdoche, New York, Hoffman again displayed his fearlessness, as well as his desire to work with the very best writers and directors he can find. That willfully difficult film never connected with mainstream audiences, but that was not true at all for Hoffman's other picture of 2008, Doubt. John Patrick Shanley's cinematic adaptation of his own award-winning play earned acting nominations for Hoffman and his three costars (Meryl Streep, Amy Adams, and Viola Davis) from both the Screen Actors Guild, and the Academy.Over the following years, Hoffman would continue to appear in a variety of interesting films, like Pirate Radio, The Ides of March, and Moneyball. In 2012 he again collaborated with Paul Thomas Anderson, playing a cult leader in the drama The Master opposite Joaquin Phoenix. For his work in that movie, Hoffman got a Best Supporting Actor nomination from both the Screen Actors Guild and the Academy of Motion Picture Arts and Sciences. The following year, he appeared in the smash The Hunger Games: Catching Fire as rebel Gamemaker Plutarch Heavensbee. Sadly, personal problems cut his illustrious career short, as Hoffman was found dead in his apartment of an apparent drug overdose at age 46.

Trivia: Boasting talent, versatility, and one of the most distinctive heads of hair in Hollywood, Julianne Moore has proven herself equally adept in both mainstream blockbusters and smaller, more intelligent films. The daughter of a military judge and a Scottish social worker, Moore was born in Fayetteville, NC, on December 3, 1961. After attending Boston University, she began her acting career via the taxing world of soap opera. From 1985 until 1988, she was best-known for her role as Franny Hughes on As the World Turns. The part, which on occasion required her to play twins, won Moore a 1988 Daytime Emmy Award.The actress made her entrance into the big-screen arena with a 1990 debut in the schlocktastic Tales From the Darkside: The Movie (which also featured Steve Buscemi). Two years later, after making various TV movies, Moore reappeared in feature films with supporting parts in Curtis Hanson's tale of a babysitter gone bad, The Hand That Rocks the Cradle, and the comedy The Gun in Betty Lou's Handbag. The following year, her exposure increased further thanks to roles in four different films that ranged from the half-baked thriller Body of Evidence to the sweetly quirky Benny and Joon to the big-budget smash The Fugitive to Robert Altman's epic Short Cuts. The last film gave Moore literal exposure in addition to the more figurative kind: she was required to play one scene naked from the waist down, something that predictably won the attention of critics and filmgoers.The intermittent praise that had been afforded Moore was amplified in 1994 with her performance as Yelena in Vanya on 42nd Street. The object of adjectives ranging from "luminescent" to "radiant" to "revelatory," the actress went on to play a very different character in Todd Haynes' Safe (1995). Moore won an Independent Spirit Award nomination for her portrayal of a woman (literally) sickened by the environment around her and further proved that she was an actress of distinct versatility. The same year she again demonstrated this ability with a starring role opposite Hugh Grant in the comedy Nine Months.Following a turn as one of Picasso's numerous lovers in Surviving Picasso (1996), a lead in the family drama The Myth of Fingerprints (she would later have a son with the film's director, Bart Freundlich), and a substantial part in The Lost World: Jurassic Park, Moore nabbed what was one of the plum roles of her career in Paul Thomas Anderson's Boogie Nights. For her portrayal of a porn actress, she won Golden Globe and Academy Award nominations. A substantial role as an erotic artist in Ethan Coen's and Joel Coen's The Big Lebowski followed in 1998, along with a turn as Marion Crane's sister in Gus Van Sant's Psycho remake. The next year, Moore starred in a number of high-profile projects, beginning with Robert Altman's Cookie's Fortune, in which she was cast as the dim sister of a decidedly unhinged Glenn Close. A portrayal of the scheming Mrs. Cheveley followed in Oliver Parker's An Ideal Husband, with a number of critics asserting that Moore was the best part of the movie. The actress then enjoyed another collaboration with director Anderson in Magnolia, an epic telling of nine interweaving stories inspired by Short Cuts and featuring an impressive cast that included Anderson regulars Philip Seymour Hoffman, Philip Baker Hall, and John C. Reilly. The same year, Moore also starred in the drama The End of the Affair, with Ralph Fiennes and Stephen Rea, and portrayed a grieving mother in A Map of the World, which premiered at the 1999 Toronto Film Festival.2001 found the popular actress stepping into dark territory with the role of FBI Agent Clarice Starling in Ridley Scott's Hannibal, the long-awaited and eagerly anticipated follow-up to Jonathan Demme's numbingly suspenseful Silence of the Lambs. A few short months later, Moore lightened the mood substantially with her humorous turn as a bumbling government scientist in the sci-fi comedy Evolution. Increasingly comfortable alternating between big-budget features and more personal art-house films, Moore bowled over audiences with a pair of powerhouse performances in both Far From Heaven and The Hours. A detailed throwback to the forgotten Hollywood melodrama, the former featured Moore's Oscar nominated role as a housewife who enters into a controversial relationship after discovering her husband's homosexuality and provided audiences a dose of Douglas Sirk that hadn't been tasted since the mid-1950s. A variation on the themes presented in Virginia Woolf's Mrs. Dalloway, the film version of Michael Cunningham's Pulitzer prize winning novel The Hours once again found Moore Oscar nominated for her role as a repressed 1950s era housewife, this time taking a special shine to Mrs. Dalloway while pondering an escape from her stifling marriage. In the wake of arguably her most successful year to date, Moore began to dabble behind the scenes for the first time, serving as executive producer on the 2003 independent adaptation of Wallace Shawn's play Marie and Bruce, a film that she also starred in. The following year, audiences could find Moore onscreen opposite Pierce Brosnan in the romantic comedy The Laws of Attraction and in the poorly-received thriller The Forgotten. In 2005 she earned good reviews for The Prize Winner of Defiance, OH, but the film failed to catch on with audiences. She continued to work steadily starring opposite Sam Jackson in the adaptation of Richard Price's Freedomland, and starring opposite Clive Owen in Alfonso Cuaron's futuristic thriller Children of Men. She once again teamed with her director husband Bart Freundlich in the relationship comedy Trust the Man. Shortly after returning to television with a recurring role on the hit comedy series 30 Rock, the talented actress earned numerous positive reviews for her nuanced performance in The Kids Are All Right, and while she failed to earn a BAFTA Award as one half of a same sex couple attempting to help their children come to terms with being adopted, Moore's memorable performance as a frustrated housewife in 2011's Crazy, Stupid, Love. showed an actress still capable of balancing drama and comedy to striking effect. On the heels of her performance in Paul Weitz's Being Flynn the following year, it was announced that Moore would be following in the formidable footsteps of Piper Laurie in the 2013 remake of the Stephen King's Carrie starring Chloe Grace Moritz (Let Me In, Hugo). One year later she earned a slew of year-end accolades, including an Oscar nomination for Best Actress, for her work playing an accomplished professor deteriorating from Alzheimer's in Still Alice.

Trivia: William H. Macy came to acting by way of Bethany and Goddard Colleges. At the latter school, Macy studied under playwright David Mamet, with whom he would be frequently associated throughout his career. After college, Macy was a member of Mamet's theater troupe, the St. Nicholas Company. The actor performed in a number of productions, many of them written by Mamet, until 1978 when he left the company and headed to New York. Some of his earliest work there included commercial voice-overs, such as the now infamous "Secret: Strong enough for a man, but PH balanced for a woman." Macy also continued his theater work, forming the Atlantic Theatre Company with Mamet in 1985 and acting in Broadway and off-Broadway shows. In addition, he worked in television and began doing feature films, debuting in '80s Foolin' Around. He continued to act in supporting roles throughout the decade, appearing in such films as Mamet's directorial debut, House of Games (1987) and Woody Allen's Radio Days (1987). In 1991, he won a more substantial role, in Mamet's Homicide, and subsequently began to find work in more well-known films, including Benny and Joon and The Client.Macy finally got a shot at a leading role with his turn in Mamet's Oleanna. He won positive notices and an Independent Spirit Award nomination for his portrayal of a professor accused of sexual harassment. More acclaim followed with his starring role as a hapless car salesman in Joel Coen and Ethan Coen's Fargo (1996), for which he garnered a Best Supporting Actor Oscar nomination. The next year, Macy's star rose a little higher, thanks to his work in three high-profile films, Wag the Dog, Air Force One, and Paul Thomas Anderson's Boogie Nights. He was similarly lauded for his versatility through work in such films as Psycho and Pleasantville, and in 1999 he continued his winning streak as an unconventional superhero in Mystery Men, a gay sheriff in Happy, Texas, and a member of the ensemble cast of Paul Thomas Anderson's Magnolia. Despite the fact that Macy drew praise for his turn as a reluctant hit man in the 2000 drama Panic, the film went largely unseen, and his next substantial role found him running from dinosaurs in Jurassic Park III. As always Macy continued to intercut his more commercial efforts with such decidedly non-mainstream fare as Focus and Stealing Sinatra. Surprisingly, it was just such work that netted Macy some of his most glowing reviews. Case in point was a memorable performance as a disabled traveling salesman in the 2003 drama Door to Door; a role that earned its convincing lead an Emmy. After sticking to the small screen with the Showtime miniseries Out of Order, Macy went wide with the theatrical hit Seabiscuit and the breathless Larry Cohen-scripted thriller Cellular. That same year, the actor would continue to nurture a succesful ongoing collaboration with famed writer/director David Mamet in the widely-praised but little-seen crime drama Spartan. Macy has also continued to do television work, appearing on such series as Spencer, Law & Order, and ER. For his role in the 2004 made for television drama The Wool Cap (which also found him teaming with writer Steven Schachter to adapt a story originally written by Jackie Gleason), Macy was nominated for multiple awards including a Best Actor at the Golden Globe and an Emmys. In 2005, Macy returned to home turf with the Mamet-scripted thriller Edmond, directed by Stuart "Reanimator" Gordon. The picture reunited the actor and director, who originally collaborated in the early eighties on the stage version of the playwright's Sexual Perversity in Chicago. Adapted from Mamet's 1982 one-acter, Edmond dramatizes the descent of a seemingly normal man (Macy) from sanity to unbridled psychosis. While Edmond didn't exactly bomb critically or commercially after its July 14, 2006 premiere, it fell below the bar of previous Mamet efforts on two levels: first, the studio opened it to decidedly more limited release than Mamet's directorial projects over the previous several years (such as Spartan and Heist), thus ensuring that fewer would see it, and it also suffered from somewhat lackluster reviews. Surprisingly, those who did complain of the work attacked Mamet's script in lieu Gordon's direction. Variety's Scott Foundas observed, "The problem is that, too often, we don't fully understand what motivates Edmond, and many of Mamet's efforts toward explanation -- that life is one big shell game, that we're all latent racists at heart -- feel like specious armchair philosophizing." Macy produced that same year's Transamerica, and graced the cast of Jason Reitman's hearty satire Thank You For Smoking, with a funny turn as senator and anti-tobacco promulgator Ortolan Finistirre. At around the same time, he also voiced a crooked, baseball bat-swiping security guard in that year's family friendly animated feature Everyone's Hero. Meanwhile, audiences geared up for Macy's contribution to the ensemble of actor-cum-director Emilio Estevez's semi-fictional, Altmanesque docudrama Bobby, which recounts the events that preceded RFK's assassination by Sirhan Sirhan at the Ambassador Hotel. As the hotel manager, Macy joins a line-up of formidable heavyweights: Helen Hunt, Elijah Wood, Harry Belafonte, Martin Sheen, Estevez himself, Anthony Hopkins, Sharon Stone, and many others. The picture had journalists and moviegoers across America whispering 'Oscar contender' long before its initial release on November 22, 2006. Shortly after production wrapped, Macy made headlines in mid-late 2006 for a comment that involved his allegedly berating Bobby co-star Lindsay Lohan's on-set behavior, in reference to her constant tardiness. Meanwhile, the trades reported the everpresent Macy's involvement in two 2007 features: the animated Bee Movie (with a lead voice by Jerry Seinfeld), about a honeybee who decides to sue mankind for its use of honey, and Wild Hogs, a farce with Tim Allen, Martin Lawrence and John Travolta as a trio of Hell's Angels. Over the coming years, Macy would appear in movies like Shorts, Dirty Girl, and The Lincoln Lawyer, as well as the critically acclaimed series Shameless.In 1997, William H. Macy married Felicity Huffman, with whom he appeared in Magnolia.

Trivia: One of the screen's most versatile and woefully under-appreciated character actors, John C. Reilly has appeared in a series of films united only in their complete lack of similarity. To date, he has been used most intelligently by director Paul Thomas Anderson, who has cast him in Hard Eight, Boogie Nights, and Magnolia.A native of Chicago, where he was born May 24, 1965, Reilly broke into film in 1989, the year he starred in Casualties of War and We're No Angels, both of which featured Sean Penn and a less than stellar reception. Reilly subsequently spent the early '90s appearing in films of every conceivable genre, from the Tom Cruise testosterone extravaganza Days of Thunder (1990) to Woody Allen's Shadows and Fog (1992) to What's Eating Gilbert Grape (1993). Thanks to his unglamorous appearance, Reilly also did an obligatory turn as a backwoods psycho, popping up alongside Kevin Bacon in The River Wild (1994) long enough to freak out Meryl Streep and her family.1996 marked the beginning of Reilly's collaboration with director Anderson. That year, he starred as a none-too-bright loser stranded in Vegas in Hard Eight, Anderson's feature-length directorial debut. Reilly earned wide praise for his work in the film, which went largely unseen by audiences. The same couldn't be said of Reilly and Anderson's second collaboration, Boogie Nights, the following year. One of the most critically lauded films of 1997, it featured Reilly as another loser, a dim porn actor with dreams of becoming a magician/songwriter.Thanks to the film's success, Reilly finally earned a bit of long-overdue recognition, as was evidenced by his subsequent casting in Terrence Malick's adaptation of The Thin Red Line (1998). The actor's visibility further increased the following year, thanks to prominent roles in no less than four films. One of these was Magnolia, Anderson's follow-up to Boogie Nights. Like his previous film, Magnolia boasted a large ensemble cast of first-rate actors; among them, Reilly stood out as a lonely police officer who becomes involved with an emotionally unstable woman.With his career continuing to build momentum, Reilly was next cast alongside George Clooney and Mark Wahlberg in the 2000 big-budget adaptation of the best-selling book The Perfect Storm. However, his biggest year to date came in 2002. Not only could Reilly be seen in prominent roles in four high-profile films, but his scene-stealing turn in the musical Chicago netted him his first Academy Award nomination. Riding high on his escalating stardom, Reilly spent 2003 hard at work on three big releases, The Aviator, Dark Water, and Criminal. Of Reilly's 2004 projects, Criminal arrived first - in September of that year. A remake of the late Argentinian director Fabian Bielinsky's debut crime, the American version tells the story of a couple of scammers (Reilly and Diego Luna) who con members of the Beverly Hills upper-crust, the picture (brought to fruition by Steven Soderbergh) received average to positive reviews. On the enthusiastic end, The Los Angeles Times's Carina Chocano called the picture "funny, original and very well observed," and The Philadelphia Inquirer's Carrie Rickey remarked, "Gregory Jacobs' zircon remake of that glowing Argentine gem Nine Queens is the film equivalent of Chinese boxes or Russian matrushka dolls. If you've never played with them before, then there's a prize inside for you." Less enthused was The Charlotte Observer's Lawrence Toppmann, who compared the film somewhat unfavorably to its original: "a watered-down version of the same pleasures." Issued in December 2004, Martin Scorsese's The Aviator fared immeasurably better (with critics and at the box) and left in its wake the most enduring legacy of Reilly's 2004 efforts. As Noah Dietrich, the individual who manages Howard Hughes's (Leonardo di Caprio) business affairs, Reilly contributed to a strong ensemble cast that included Cate Blanchett and the splendid Alan Alda. Dark Water, Walter Salles's gothic horror opus, hit cinemas in July 2005. As the real estate agent who leases young mother Jennifer Connelly a possessed New York City apartment, Reilly delivers effective and substantial menace, even as the motion picture divided critics. In 2006, Reilly starred in two key A-list releases. Released in June 2006, Bob Altman's Garrison Keillor cinematization A Prairie Home Companion lays out a "genial" Altmanesque tapestry of the backstage shenanigans at a fictionalized version of Prairie, that transpire between the cast members. Reilly (who established himself with such force in Altman protege Paul Anderson's similar films) portrays Lefty, one half of a cowboy duo opposite Woody Harrelson's Dusty; they bicker throughout the film and ultimately perform a dirty-lyrics musical number together. The picture opened, almost unanimously, to glowing reviews. The supporting cast includes Keillor, Meryl Streep, Lindsay Lohan, and Kevin Kline. Reilly showcased his versatility by following up his work in the Altman film by co-starring opposite Will Farrell in the NASCAR comedy Talladega Nights: The Ballad of Ricky Bobby.In 2007 he was the lead in the musical biopic spoof Walk Hard: The Dewey Cox Story, also singing a number of song spoofs for the movie. The next year he reteamed with Will Farrell in Step Brothers. He had a major role in Cirque Du Freak in 2009. It was easy to find the well-respected character actor on screen in 2011, a year in which he appeared in the winning comedy Cedar Rapids, Roman Polanski's adaptation of the award-winning play Carnage, and the husband of Tilda Swinton in the psychological drama We Need to Talk About Kevin.

Trivia: A versatile actress who can bring a keen emotional edge to either comic or dramatic roles, Melora Walters is best known for her work with director Paul Thomas Anderson, who, more than anyone, seems to have known how to best utilize her gifts onscreen. Melora Walters began her career in acting doing off-Broadway theater in New York before she began to make a name for herself in television, in 1989 scoring a small recurring role as Debbi on the popular sitcom Roseanne. After making her film debut in an undistinguished low-budget thriller, 1988's Underground Terror, Walters earned her Screen Actors Guild card for her work as Gloria in the 1989 hit Dead Poets Society. Over the next several years, Walters made a number of appearances on episodic television shows, including such hits as The Wonder Years, Seinfeld, and NYPD Blue, while playing small roles in several forgettable films, as well as occasional high-profile items such as Cabin Boy, Ed Wood, Eraser, and the critically respected indie film Twenty Bucks. In 1996, Walters was cast in a small role in a little-seen independent film called Hard Eight. However, the film's director, first-time feature filmmaker Paul Thomas Anderson, was impressed enough to cast her in a much meatier role in his second feature. Walters played Jessie St. Vincent, a soft-hearted second-string porn actress in the breakthrough hit Boogie Nights, and the film made a name for both Anderson and Walters. Walters' new notoriety helped her land a regular role as Felicity on the television drama series L.A. Doctors, but the show only lasted a single season. Thankfully, Anderson once again had plans for Walters, and cast her as Claudia, a cocaine-addled woman on the verge of emotional collapse in Magnolia; hers was one of the strongest performances in one of the year's most eagerly anticipated films, and the critical response to her intense portrayal led to a string of leading roles in independent films, including Rain, Desert Saints, and Jupiter City. She continued to work steadily, bouncing between Hollywood projects and indie fare like Wisegirls, Runaway Jury, Cold Mountain, Melvin Goes to Dinner, and The Butterfly Effect. In 2006 she was cast in the HBO drama series Big Love as Wanda Hendricks. After her run on that show came to an end, she could be seen in I Melt With You, and she made cameo in Paul Thomas Anderson's The Master.

Trivia: One of Hollywood's elder statesmen, Jason Robards Jr. had a rich, deep voice and authoritative aura that befit the distinguished citizens he often played. The son of stage and screen actor Jason Robards Sr., Robards kept alive his rich heritage throughout the second half of the 20th century.Born July 26, 1922, in Chicago, Robards was a military man before becoming an actor. He served seven years in the Navy, and was at Pearl Harbor when it was attacked in 1941 (he later received the Navy Cross). Following his service, Robards moved to New York to pursue an acting career. He found work in incidental plays, radio soap operas, and live television dramas, driving a cab and teaching school to support himself. After a decade of obscurity, he rose to prominence in 1956 in the Circle in the Square production of Eugene O'Neill's The Iceman Cometh. He appeared on Broadway the following year in Long Day's Journey Into Night, for which he won a New York Drama Critics Award. Following that success, he remained a busy and popular Broadway performer, and, in 1958, got the opportunity to appear with his father in The Disenchanted.Making his onscreen debut in The Journey (1959), Robards maintained a TV and screen career while continuing to work on the stage. He tended to appear in two or three movies per year during the '60s, including the acclaimed 1962 screen adaptation of Long Day's Journey Into Night and Sergio Leone's much lauded 1968 Western Once Upon a Time in the West. Two years after his role in the war epic Tora! Tora! Tora! (1970), the actor was in a near-fatal car crash, but managed to make a complete recovery, returning to Broadway two years later. He ended the '70s by winning Oscars for his supporting roles in All the President's Men (1976) and Julia (1977), and was nominated for the same award for his portrayal of reclusive billionaire Howard Hughes in Melvin and Howard (1980), The slew of awards and nominations during this period also served as a nice complement to the six Tony awards he had been nominated for between 1960 and 1974. In 1978, Robards returned to the material that had helped to cement his reputation by directing himself in a revival of Long Day's Journey Into Night, which opened at Brooklyn Academy of Music Opera House.Robards continued to act on-stage and in film throughout the '80s, in addition to working on a number of documentaries and made-for-TV movies. Among his more notable television portrayals were the title role in the acclaimed 1980 miniseries F.D.R.: The Last Year (1980) and a lead part in You Can't Take It With You (1984). He also participated in the 1982 documentary Burden of Dreams, a highly acclaimed film about the making of Werner Herzog's Fitzcarraldo. Robards' screen roles during that decade were usually limited to the part of the patriarch in such films as Square Dance (1987) and Parenthood (1989), although he was introduced to a younger audience with his lead in the 1989 comedy Dream a Little Dream, which featured Corey Haim and Corey Feldman and little else. Robards worked steadily throughout the '90s, taking on roles in such acclaimed features as Philadelphia (1993), A Thousand Acres (1997), and Beloved (1998). He also continued to appear in a number of TV miniseries. In 1999, Robards lent his voice to the widely lauded documentary The Irish in America: The Long Journey Home, further demonstrating that, in addition to being one of Hollywood's most respected figures, he was also one of its most versatile. One of Robards' last roles was a suitably complex one, a dying man longing for a reconciliation with his estranged son in Paul Thomas Anderson's Magnolia (1999). The actor died of cancer, himself, the following year.

Trivia: Though best known for her intense, sensitive dramatic portrayals, Melinda Dillon first attracted attention as an improvisational comedienne. Her Broadway break came about when she played the hypertense Honey in Edward Albee's Who's Afraid of Virginia Woolf (1962). Making her film debut playing a small role in The April Fools (1969). Since then Dillon has been Oscar-nominated for her portrayal of a mother whose young child is abducted by aliens in Close Encounters of the Third Kind (1977) and her performance as a suicidal grade-school teacher in Absence of Malice (1981). After seeing Melinda Dillon so often afflicted with trembling lip and moistened eyes, it was somewhat a relief to watch her return to comedy full-force on the 1971 TV revue series Story Theatre and as Peter Billingsley's overbearing mother ("You'll put your eye out!") in A Christmas Story (1983). Dillon continues working in a wide variety of feature films like How to Make an American Quilt (1995); she also occasionally appears in television movies such as Shattered Innocence (1984).

Trivia: The son of a Spanish waiter and an Italian housekeeper, Molina was born in London on May 24, 1953. Educated at London's Guildhall School of Music and Drama, he began his career as one half of a street-corner comedy team but then turned to acting. While most thesps start at the bottom and ascend the ladder, Molina is an anomaly: he began at the top of the heap, first earning professional credibility (and his pedigree) as a member of the Royal Shakespeare Company, and debuting cinematically in no less than Steven Spielberg's Raiders of the Lost Ark (1981), as the devious South American guide who leaves Harrison Ford for dead in an ancient temple before meeting his own end, courtesy of a particularly nasty booby trap. His subsequent resume for the rest of that decade reads like a "best of 1980s International Film": supporting roles in Mike Leigh's Meantime (1981), Peter Yates's Eleni (1985) , Richard Donner's Ladyhawke (1985),Chris Bernard's Letter to Brezhnev and Dusan Makavejev's Manifesto (1989), to name only a few. His contribution to Chris Bernard's gently underplayed, low-budget comedy Brezhnev (1985) (which, like Raiders, takes advantage of his slightly dark, Mediterranean complexion) is particularly a standout. He plays a Russian sailor who picks up Margi Clarke's Liverpool blue-collar worker Teresa King during leave, and whose only comprehensible line gives the film its biggest laugh: "Leeverpool. Bittles... Ahhhhh." Molina would spend the next several years appearing in a number of films, like An Education, as well as a number of TV projects like Harry's Law, Law & Order: L.A., and Roger & Val Have Just Got In.But Molina's most impressive contribution to cinema came in 1986, when he joined two fellow Brits, director Stephen Frears and actor Gary Oldman - and turned everyone's head in the process - in Prick Up Your Ears. That film, adapted from eccentric playwright Joe Orton's autobiography, casts Molina as Kenneth Halliwell, Orton's homosexual lover and eventual murderer, opposite Oldman. Practically unrecognizable as the bald, severely unhinged Halliwell, Molina is at once terrifying and pathetic, and gleaned a number of positive notices for his performance, though, for some odd reason, it was criminally overlooked at awards ceremonies and failed to earn Molina any acting laurels. A few years later, Molina joined the cast of Not Without My Daughter (1990). In this true-life account (adapted from Betty Mahmoody's memoir), he plays Moody, a Persian husband who takes his American wife (Sally Field) and daughter to Iran under the guise of "vacation," and virtually imprisons them, forcing her to plot escape. The role (and film) gleaned some controversy for its portrayal of Islam, but (the bearded) Molina glistened with dark, brooding intensity characteristic of the actor's finest work. Molina offered more sympathetic portrayals in such films as Mike Newell's Enchanted April (1992), Species (1995), and Mira Nair's The Perez Family (1995), as a Cuban immigrant struggling to make a new life for himself in Miami. In Paul Thomas Anderson's Boogie Nights, Molina evoked a deranged playboy precariously teetering on the edge of insanity - a role that further evinced boundless courage. 1999's ridiculous Dudley-do-Right, however (in which Molina) played the villain), didn't serve him as well; neither he, nor Brendan Fraser, nor Sarah Jessica Parker managed to rise above the silly script. Far more impressive (albeit smaller in scope) was the actor's sophomore collaboration with Anderson, that year's Magnolia, in a fleeting role as Solomon Solomon, the owner of the electronics shop where William H. Macy's Donnie Smith works. During 1999 and thereafter, Molina attempted to break into television sitcoms (1999's Ladies Man, 2002's Bram and Alice), but none of these efforts panned out. He continued to garner positive notices during this period, however, for his roles in such films as 2000's Chocolat and 2002's Frida. Molina earned a Screen Actors Guild Award nomination (finally!) in the latter, for his portrayal of chronically unfaithful painter Diego Rivera. In 2004, the actor traveled to megaplexes again, as the infamous Doc Oc in the critically-acclaimed box-office smash Spider-Man 2, and although ostensibly a defiantly commercial piece of Hollywood fluff, the film performed well on all fronts - critically and commercially. Considered by some to be the greatest example of the superhero genre ever produced, no small amount of the rave reviews given to the film were directed at Molina for his spot-on portrayal of the maniacal comic-book villain; The Los Angeles Times's Kenneth Turan rhapsodized, "As played by Alfred Molina with both computer-generated and puppeteer assistance, Doc Ock grabs this film with his quartet of sinisterly serpentine mechanical arms and refuses to let go."That same year (albeit in a much different cinematic arena and catering to a much different audience --- such is the magic of Molina's versatility), the actor played opposite John Leguizamo as Victor Hugo Puente, a sensationalism-hungry news anchor willing to do almost anything for ratings, in Sebastian Cordero's well-received psychological thriller Crónicas. Molina highlighted the cast of no less than six features throughout 2005 and 2006, but his highest-profile film from this period was Ron Howard's The Da Vinci Code, in which he plays the obese Bishop Aringarosa This May '06 release (adapted from Dan Brown's bestseller) sharply divided critics (most found it average). That same year, Molina contributed to two films by major directors: Kenneth Branagh drew on his background as a trained RSC member by casting Molina as Touchstone in his screen adaptation of Shakespeare's comedy of errors As You Like It, and he receives second billing (after Richard Gere) in Lasse Hallstrom's docudrama The Hoax. The picture tells the early-1970s story of Clifford Irving's (Gere) attempt to write and market a phony autobiography of Howard Hughes, with the assistance of right-hand man Richard Susskind (Molina). Molina married British actress Jill Gascoine (Northern Exposure, BASEketball) in 1985, who is sixteen years his senior. They have two sons.

Trivia: An offbeat renaissance man, Ricky Jay had distinguished himself as a magician, a sleight-of-hand artist, an author, and an archivist of unusual information, but he's become increasingly visible to filmgoers thanks to a series of choice supporting roles in notable motion pictures. Born in Brooklyn, NY, in 1948, Ricky Jay spent most of his childhood in New Jersey, where his grandfather, a professional magician, first showed him how to do card tricks. Jay made his first appearance on-stage at the age of four, when his grandfather brought him out during a performance for the Society of American Magicians. As he grew older, Jay developed a passionate interest in both magic and cardistry, as well as the stranger tributaries of entertainment history, and after graduating from Cornell University, he worked for a time as a barker and sideshow performer with a traveling circus. In the 1970s, Jay moved his act from the sideshow to night spots and theaters, performing his tricks and stunts (including spearing a watermelon with a playing card which was thrown at over 90 miles an hour) in comedy and magic clubs, and opening shows for the likes of Tina Turner and the Nitty Gritty Dirt Band. Jay also began sharing his historical research with the world in a series of books: Cards As Weapons (a history of card tricks as well as a guide to performing them), Learned Pigs and Fireproof Women (about odd and anomalous figures in the history of entertainment), and Jay's Journal of Anomalies, a compendium of information about "conjurers, cheats, hustlers, hoaxters, pranksters, jokesters, imposters, pretenders, side-show showmen, armless calligraphers, mechanical marvels, and popular entertainments." In the 1980s, Jay made the acquaintance of playwright and director David Mamet, with whom he shared an interest in the workings of confidence games; Jay became a consultant for the original stage production of Mamet's play The Shawl in 1985, and two years later Mamet called on Jay to play an unscrupulous card shark in his film House of Games. Jay soon became a regular in Mamet's screen productions, and appeared in six films he's directed, including The Spanish Prisoner and Heist. Mamet also gave Jay's offscreen career a boost, serving as director for Jay's one-man show Ricky Jay and his 52 Assistants, which became a major hit both off-Broadway and on the road. (The show was later videotaped for broadcast on HBO in 1996; a year later, Jay would host another TV special on the history of magic.) Jay's acting work also caught the eye of filmmaker Paul Thomas Anderson, who cast him in small but showy roles in two of his films, Boogie Nights and Magnolia (the latter featured Jay narrating a sequence on odd and anomalous crimes which could have come from one of his books...one of which was later shown on a library table). And Jay's research in magic has also given him another connection to the film industry: He runs a small company called Deceptive Practices, which specializes in creating trick props and illusions for the movies (their work as been featured in such pictures as Forrest Gump, Leap of Faith, and Congo).

Trivia: Of German, Irish and Russian Jewish descent.Started his career in Chicago, Illinois, at the Steppenwolf Theatre Company.In 1998, moved to Los Angeles, California.Former member of the comedy troupe The Pretty Okay Ho-hum Spectacular on Ice!Played two roles in Magnolia (1999), the pharmacist in the prologue and the pharmacist in the scene of Julianne Moore's profane meltdown.

Trivia: Comedic actor Neil Flynn cut his teeth with the renowned improv companies Second City and ImprovOlympic, the latter of which saw him study under the late improv guru Del Close. Despite his comedy-oriented aspirations, though, Flynn spent much of his early career taking bit parts in films like The Fugitive and Magnolia and on TV shows such as Doogie Howser, M.D. and Chicago Hope, often playing a cop. But in 2001, things took a decidedly positive turn when he was cast as the nameless Janitor on NBC's Scrubs, a role that was intended only for the pilot but was expanded to a regular series character in light of Flynn's performance. In addition to his live-action work, Flynn has also done a considerable amount of voice work on such animated projects as Clone High, Kim Possible, and Cloudy with a Chance of Meatballs. Flynn left Scrubs after season 8 and took a starring role in the ABC comedy The Middle, playing patriarch Mike Heck

Trivia: The gifted young comedian Patton Oswalt first carved a name for himself as a bit player in television programs, where he seemingly made the perfect everyman. Even those who fail to recognize the comic's agnomen doubtless encountered him as early as the mid- to late '90s, on such hit programs as NewsRadio, Dr. Katz, Mr. Show, and Seinfeld. (He was particularly memorable in the latter, as the video-store clerk who refuses to proffer a customer's address to a conniving George Costanza.) Oswalt also penned sketches for the long-running series MADtv and frequently lent his voice to Comedy Central's Crank Yankers, as one of the program's below-the-belt prank callers. Beginning in 1996 (and for at least four years thereafter), Oswalt began touring the country with his standup act and hitting comedy clubs; in 1997, he hosted his first standup special on HBO and received a positive response. Unabashedly iconoclastic and atheistic, with many routines devoted to excoriating Christianity and what he perceives as the hypocrisies of middle-American values, Oswalt buries his anti-establishment cynicism beneath a deceptively soft exterior (setting himself apart from, say, the more openly caustic and rave-happy George Carlin). Whatever the subject at hand, Oswalt displays a quick wit, a fearlessness to speak his mind, and an ability to unveil ironies behind practically everything. Regardless of one's personal convictions, Oswalt is also frequently hilarious, with his well-known impersonations of such personalities as Robert Evans and Nick Nolte absolutely unparalleled and definite high points in his routines, as are his riffs on pornography and bizarre sexual proclivities. In 1998, Oswalt landed his second recurring role on a television series, and his highest billing up through that time: that of Spence Olchin, one of the three buddies of Kevin James' Doug Heffernan, on the sitcom The King of Queens; he remained with the series for several seasons. Scattered movie roles followed -- typically bit parts at first, such as that of the scuba diver who experiences a bizarre death in the prologue of Paul Thomas Anderson's Magnolia (1999) and Hedges in Blade: Trinity (2004). Around 2004, Oswalt took a temporary siesta from acting, and re-launched himself into the arena of standup comedy. He and several friends (Brian Posehn, Zach Galifianakis, and Maria Bamford) formed the "Comedians of Comedy" troupe and mounted a coast-to-coast tour; that ensemble headlined an eponymous 2005 concert film. Oswalt issued his first standup album, Feelin' Kinda Patton, in 2004; it drew critical raves and impressive sales. He followed it up with a joint effort alongside Galifianakis, the 2005 recording Patton vs. Alcohol vs. Zach vs. Patton, and the 2006 concert film Patton Oswalt: No Reason to Complain. A sophomore solo recording, Lollipops and Werewolves, appeared in the summer of 2007.That same year, Oswalt voiced the character of Remy -- a French rat with a refined culinary instinct who single-handedly overturns Parisian haute cuisine -- in the Pixar animated film Ratatouille. It marked Oswalt's first reception of premier billing in an A-list feature and his debut work for Pixar.In 2009 he had the lead in the underrated indie drama Big Fan, as a man assaulted by the best player on his favorite football team, appeared in The Informant, and recorded the stand-up special My Weakness Is Strong. In 2011 he had a memorable turn in A Very Harold & Kumar Christmas, released the stand-up concert Finest Hour, and earned the best reviews of his career playing opposite Charlize Theron in Young Adult.Oswalt's most consistent work, though, was in television. He amassed a slew of memorable TV roles, with one-offs, recurring gigs and voice-over roles. A seasons-long arc on United States of Tara coincided with other gigs on Bored to Death and Caprica. In 2013, he had a highly-regarded and publicized guest stint on Parks and Recreation, playing a character giving a filibuster on Star Wars. That same year, he started a recurring role on Justified and began doing narration work on The Goldbergs (playing an older version of the main character, Adam Goldberg). The following year, he played identical brothers on Marvel's Agents of S.H.I.E.L.D., allowing Oswalt to return even if his character had been killed. In 2015, he played the VP's Chief of Staff on Veep. Oswalt also voices several characters on shows like BoJack Horseman and We Bare Bears.

Trivia: An actor with handsome, everyman good looks and undeniable screen presence, Thomas Jane has turned up in everything from low-budget indies to sprawling, big-budget Hollywood action spectacles. Born January 29th, 1969, the Baltimore native's unusual entry into show business found him cast in a Romeo and Juliet-inspired Bollywood musical while still in high school. At just 17 years old, Jane was spotted by a pair of Indian producers looking to cast a young, fair-haired American to act as Romeo to a young Indian actress' Juliet. Alas, the lure of Bollywood weighed heavier than the prospect of another year in high school, so Jane soon dropped out to film Padamati Sandhya Ragam in Madras, India. When filming wrapped, he quickly returned stateside despite some tempting offers in India, and a year later, the struggling actor was making the move to Los Angeles. Finding work in L.A. didn't prove easy, but thanks to persistence and hard work, Jane eventually made his way into the local theater scene. A small role in the gay-themed drama I'll Love You Forever...Tonight was followed by a small part in the 1992 film Buffy the Vampire Slayer.Two short years later, Jane stepped into the lead for the quirky crime comedy At Ground Zero, and a role in the ill-fated Crow sequel The Crow: City of Angels followed in 1996. The next year, Jane was cast in the major starring role of real-life beatnik Neal Cassady for the independent film The Last Time I Committed Suicide with Keanu Reeves. By late 1997, Jane's star was steadily rising thanks to supporting parts in Face/Off and Boogie Nights. In 1998, he went indie once again with a role as a former heroin dealer looking to go straight in Thursday and then took a small part in the all-star ensemble cast of the war drama The Thin Red Line.With his role as a shark wrangler in the open-water thriller Deep Blue Sea in 1999, Jane graduated to full-on Hollywood action hero. After returning to Paul Thomas Anderson's fold for Magnolia later that year, he portrayed baseball legend Mickey Mantle in the acclaimed, made-for-HBO feature 61* (2001). His role as a quick-tempered detective working alongside Morgan Freeman's character in Under Suspicion (2000) found Jane at the top of his game, and though performances in The Sweetest Thing (2002) and Dreamcatcher (2003) went largely unseen due to poor box-office performances, audiences could rest assured that they would see plenty of the newly buff actor when he donned the famous skull T-shirt and loaded up to rid the streets of crime in the eagerly anticipated comic book adaptation The Punisher (2004). Two years later Jane would continue his onscreen love-affair with firearms as a Federal Witness Protection program particpant whose cover is dangerously blown in the Elemore Leonard adaptation Killshot. While Jane's performance as an infamous gangster was solid in the action thriller Give 'Em Hell Malone, he wouldn't find true success with mainstream audiences until he took on the leading role in HBO's Hung (2009-2012), a dark comedy following a history teacher (Jane) who moonlights as a prostitute.

Trivia: Prolific and versatile, actor Michael Bowen joined the casts of some of the most critically respected and lucrative pictures of the 1980s, 1990s, and 2000s, nearly always enlisted as an unremarkable everyman. Bowen launched his career with bit parts in such pictures as Valley Girl (1983), Iron Eagle (1985), and Less Than Zero (1987), then graduated to supporting roles by the late '90s. He was particularly memorable as cop Mark Dargus, the partner of ATF agent Ray Nicolette (Michael Keaton) in Quentin Tarantino's Pulp Fiction follow-up, Jackie Brown (1997), then turned in a haunting portrayal of Rick, the dysfunctional father of game show contestant Stanley (Jeremy Blackman) in Paul Thomas Anderson's mosaic of contemporary L.A. life, Magnolia (1999). In the following decade, Bowen re-teamed with Tarantino for the neo-martial arts opus Kill Bill Vol. 1 (2003) and delivered an intense performance as a cruel and vile counselor at a rehab center in first-time director Monty Lapica's psychodrama, Self-Medicated (2005). He also took on a recurring role on the hit TV drama Lost as Danny Pickett, a hotheaded, tough member of the Others, during the second and third seasons of the series (2006-2007).

Trivia: Was a theater major in college. In 1983, originated the role of Yvonne in the school stage production of Eleven-Zulu. Moved to New York City after college to work in the theater. First appeared on a national TV show in 1988 on the NBC comedy The Cosby Show in an episode called "If the Dress Fits, Wear It." Cinematic debut was in the 1989 drama Rooftops. Performed in the 1992 off-Broadway musical revue A...My Name Is Still Alice. First recurring small-screen series role was in the Fox drama Boston Public in 2001. In 2010, returned to TV in the CBS comedy Mike & Molly. Teaches acting classes.

Trivia: An alumna of the Royal Academy of Dramatic Arts in London, actress Felicity Huffman is one of many classically trained stage performers who have found a home on television. She appeared on Broadway in David Mamet's Feed the Plow and co-founded the New York Atlantic Theater Company, along with Mamet and her husband, film actor William H. Macy. Making her feature-film debut in 1988 in Mamet's comedy drama Things Change, Huffman continued her acting career in the world of made-for-TV movies. A few exceptions include small roles in Reversal of Fortune, Hackers, The Spanish Prisoner, and Magnolia. In 1997 she won an Obie award for her work in the off-Broadway production of David Mamet's Cryptogram. Moving to the small-screen, Huffman was bumped up to starring status for the role of Dana Whitaker on the sitcom Sports Night, which ran from 1998 to 2000 on ABC before moving over to Comedy Central in syndication. She earned Golden Globe and Screen Actors Guild nominations for her work on that show. After Sports Night's cancellation in 2000, Huffman had her first child and could be seen in a string of TV movies, notably as Lady Bird Johnson in John Frankenheimer's Path to War. She then lent her voice to Disney's animated series Kim Possible and made appearances on Frasier, The West Wing, and {Girls Club. In 2003 Huffman was back to lead status as Lorna Colm on the Showtime original series Out of Order, also starring Eric Stoltz and husband Macy. Though the show was soon cancelled, it wouldn't be long before Huffman was back at it with another new show. This time around, she starred in ABC's dark primetime dramatic comedy series Desperate Housewives, which premiered in the Fall of 2004. The wildly successful series proved to be a break unlike anything the actress had ever experienced, earning her an Emmy, a Screen Actor's Guild Award, multiple Golden Globe nominations, and a stardom that finally made her a household name. In 2006, she won a Golden Globe for Best Performance by an Actress in a Motion Picture - Drama for her role in Transamerica, in which she plays a pre-op male-to-female transsexual who learns she has a teenage son from a clumsy sexual encounter during her life as a man. Huffman's critical acclaim cemented that she had arrived as an actress and would not need to rely on the notoriety of Desperate Housewives in order to maintain a vibrant career. She would spend the next several years apperaing in films like Georgia Rule, Phoebe in Wonderland, and Rudderless.

Trivia: A well-respected character actor who specializes in playing tough guys with a heart, Luis Guzman has appeared in a dizzying array of film and television productions since he began his professional acting career in the early 1980s.Born August 28, 1956, Guzman graduated from City College and worked for some years as a youth counselor at the Henry Street Settlement House. During his time as a social worker, he began performing in street theatre and independent films. Guzman got his first big break in the early '80s with a role on the popular TV series Miami Vice. He went on to work sporadically in film and television throughout the rest of the decade, appearing in such films as Sidney Lumet's Family Business and Ridley Scott's Black Rain (both 1989).Guzman's work schedule grew increasingly crowded as the 1990s progressed; kicking off the decade with an appearance in another Lumet piece, Q & A (1990), the actor began popping up in films ranging from romantic comedy (Anthony Minghella's Mr. Wonderful, 1993) to crime drama (Brian De Palma's Carlito's Way, 1993) to gay and lesbian historical docudrama (Nigel Finch's Stonewall, 1995). Thanks to directors Steven Soderbergh and Paul Thomas Anderson, Guzman became more readily recognizable in the late 1990s. For Soderbergh, he had substantial roles in Out of Sight (1998), which cast him as a prisoner whose planned escape is ruined by George Clooney; and The Limey (1999), in which he played Terence Stamp's gruff but good-hearted partner in revenge. For Anderson, Guzman appeared in both Boogie Nights (1997) and Magnolia (1999), playing a wannabe porn star in the former and a game show contestant in the latter. 2002 proved Guzman's busiest year to date as the increasingly visible actor appeared in no less than five films, including a prominant role in the caper comedy Welcome to Collinwood and a re-teaming with director Anderson with Punch-Drunk Love. On television, Guzman became a regular presence thanks to a recurring role on the HBO prison drama Oz, as well as appearances on such shows as Law and Order, NYPD Blue, and Walker, Texas Ranger.

Trivia: A comic actor who began his Hollywood career working behind the scenes, Orlando Jones is more than just the popular pitch man exhorting the 2000-2001 TV audience to "Make 7-Up Yours." Raised in South Carolina, Jones discovered acting when he was cast in a school play while attending the College of Charleston. Aiming to make it in show business one way or another, Jones also formed Homeboy's Productions and Advertising while in college. Jones got his break, however, when a Hollywood visitor in Charleston saw him perform and signed him up, leading to a writing job on the Cosby Show spin-off A Different World. Jones then wrote for the sitcom Roc in 1991 and became a producer on The Sinbad Show in 1993. Jones finally got to act as well as write when he was cast in Fox's sketch comedy show Mad TV in 1995. After two seasons, Jones left the series and moved to films with a small part in Seinfeld co-creator Larry David's first feature Sour Grapes (1998). Jones managed to work consistently in movies from then on, with bit parts in Mike Judge's comedy Office Space (1999) and Paul Thomas Anderson's Magnolia (1999), as well as a starring role in Barry Levinson's praised but little-seen nostalgia piece Liberty Heights (1999). In 2000, Jones made his mark in TV advertising as the humorously incompetent advocate for 7-Up, enhancing his potential as a comic draw. Jones' lead role as one of the hapless scabs in The Replacements (2000) and a multi-character turn in Harold Ramis' version of Bedazzled (2000) further revealed his goofy versatility. After his action-comedy vehicle Double Take was a January 2001 washout, Jones was poised to team with Ivan Reitman for the latter's summer 2001 sci-fi comedy Evolution.Still, Jones retired as 7-Up's pitch man in early 2002, and would spend the 2000's nurturing his film and TV career, appearing in Runaway Jury and Drumline, as well as TV shows, like The Adventures of Chico and Guapo and Rules of Engagement.

Trivia: American comic actor Henry Gibson acted professionally since childhood, but didn't gain prominence until his discovery by Jerry Lewis for a role in The Nutty Professor (1963). Gibson quickly developed a comedy act for TV variety shows, in which he passed himself off as a fey, Southern-accented "blank verse" poet. So convincing was this persona that many viewers believed Gibson was a genuine Southerner, though he actually hailed from Pennsylvania. He played a cruder variation of his yokel character as a patron of the "Belly Button" bar in Billy Wilder's Kiss Me Stupid (1964), and was hilarious as a hip-talking Indian in the Three Stooges' feature film The Outlaws is Coming (1965). Gibson might have continued in small roles indefinitely had he not been catapulted to stardom in 1968 as part of the ensemble on TV's Rowan and Martin's Laugh-In, where his introductory "A poem...by Henry Gibson" became a national catchphrase. Gibson stayed with Laugh-In until 1971, whereupon he launched a reasonably successful career as a straight character actor. One of his best film roles of the '70s was Haven Hamilton, a hard-driving, flag-waving country-western star in Nashville (1975). Gibson not only delivered an expert performance but also co-wrote the songs sung by Haven Hamilton, including the deliberately banal Bicentennial ballad, "200 Years", in one of the film's early scenes. Henry Gibson continued throughout the next two decades playing strong movie character parts (the neo-Nazi commander in 1980's The Blues Brothers) and bright little cameos (the closet-smoking security guard in 1990's Gremlins 2). Gibson was also ubiquitously available as a guest star on such cable-TV reruns as Bewitched (he played a leprechaun) and F Troop (he was jinxed Private Wrongo Starr). He died of cancer in September 2009, about a week before his 74th birthday.

Trivia: Clark Gregg has spun a successful career on the New York stage into a growing profile in motion pictures and television as an actor, writer, and director. Clark Gregg's career as an actor began when he was a student at New York University, where he became a protégé of noted playwright and director David Mamet. Mamet cast Gregg in his first film role -- a small part in 1988's Things Change -- and that same year he made his off-Broadway debut in Howard Korder's play A Boy's Life. With Mamet's help, Gregg co-founded the esteemed Atlantic Theater Company in New York in the late '80s, and in 1990, Gregg made his Broadway debut in Aaron Sorkin's drama A Few Good Men. Through the 1990s, Gregg gave a number of strong supporting performances in such films as Clear and Present Danger, The Usual Suspects, and Magnolia, with Gregg earning a Best Supporting Actor nomination at the Independent Spirit Awards for his striking turn as a transsexual in the independent feature The Adventures of Sebastian Cole. In television, Gregg scored recurring roles on the shows The Commish and Sports Night, as well as guest appearances on Sex and the City and The West Wing. And he remained a near-constant presence on the New York stage, earning Outer Critics Circle, Obie, and Drama Desk nominations for his work. Gregg also began directing for the stage, including well-received productions of Mamet's Edmond and Kevin Heelan's Distant Fires. In the late '90s, Gregg developed an interest in screenwriting, and began working on a supernatural thriller in his spare time. As chance would have it, Gregg's script came to the attention of Robert Zemeckis, who was eager to direct a thriller; Gregg's first screenplay became What Lies Beneath, which starred Michelle Pfeiffer and Harrison Ford, and became a major box-office success. He continued to work in a variety of indie and big-budget films including Lovely & Amazing, the Steven Spielberg sci-fi film A.I., Spartan, and In Good Company. In 2006 he landed a recurring role on the well-respected CBS sitcom The New Adventures of Old Christine. He became part of the Marvel universe when he took the part of Agent Coulson in Iron Man, a role he would return to in different comic-book adaptations. He returned to screenwriting and directing with the 2008 adaptation of Chuck Palahniuk's novel Choke. His steady acting career continued with the indie hit (500) Days of Summer and Mr. Popper's Penguins.

Trivia: With a quiet exterior and a unique array of facial expressions that hint at something hilarious simmering beneath the surface, actress/comedian Mary Lynn Rajskub, born June 22nd, 1971, has come a long way since joining the cast of Mr. Show back in 1995. Born in Detroit, Michigan on June 22nd, 1971, Rajskub's entry into the comedy scene wasn't entirely intentional, the former performance artist decided to try her hand at humor when a non-comedic performance at the San Francisco Art Institute elicited unexpected laughs from the audience. Subsequently realizing the absurdity inherent in overly serious performance art, Rajskub soon adjusted her act to become a parody of performance art. The unique take on live comedy quickly caught on with audiences, and shortly thereafter, Rajskub was approached by Bob Odenkirk and David Cross and asked to join the cast of their upcoming HBO stream-of-consciousness comedy series Mr. Show. A somewhat bitter falling out with series co-creator Cross found Rajskub departing from the series after a year to take a job at Seattle's Best Coffee, but her career as a caffeine dealer would quickly come to an end when Garry Shandling caught wind of her act. Subsequently cast as the enthusiastic but somewhat awkward talent booker on The Larry Sanders Show, Rajskub also began to branch out into feature territory with supporting roles in such films as Bury Me in Kern County and the mockumentary The Thin Pink Line (both 1998). Blink-and-you'll-miss-her roles in such high-profile releases as Man on the Moon and Road Trip were quick to follow, with a small but memorable turn as a bubble-wrapped cult member in Dude, Where's My Car? preceding yet another fleeting appearance in the "Fiction" segment of director Todd Solondz's Storytelling. By this point, Rajskub had expanded her presence on television with a recurring role in Veronica's Closet, and after appearing with Girls Guitar Club bandmate Karen Kilgariff in the independent drama The Anniversary Party, she made a move back to the small screen with the ill-fated sketch comedy series The Downer Channel. If that series didn't last long, Rajskub didn't need to worry since appearances in such features as Punch-Drunk Love, Sweet Home Alabama, and Legally Blonde 2 found her slowly drifting toward more substantial roles on the silver screen. After becoming a frequent player in the 2003-2004 season of the wildly popular television series 24, Rajskub took an ominous turn with her role as Lynette "Squeaky" Fromme in the 2004 made-for-television remake Helter Skelter.In 2006 she took on supporting roles in the Academy Award winning comedy drama Little Miss Sunshine, and director Christine Jeffs slice-of-life comedy drama Sunshine Cleaning. The continued to deliver solid supporting performances in 2008's Julie & Julia, and 2011's Safety Not Guaranteed.

Trivia: Joined the United States Marine Corps with several of his close friends after graduating from high school.Previously worked as a newscaster and hosted jazz and classical music programs on Oklahoma City radio station KCSC.Made his professional stage debut as a student in a production of Rain at the Oklahoma Theatre Center in 1972.Worked with the Dallas Shakespeare Festival for 5 seasons.Served as historical consultant on 2006's Hollywoodland, the film about Superman actor George Reeves' life.

Trivia: William Mapother has staked out a peripheral film career thanks to his cousin, Tom Cruise. With haunting eyes and a brooding demeanor, Mapother was a memorable choice to play Marisa Tomei's vicious ex-husband in In the Bedroom (2001), his most recognizable role. Cruise gave the Kentucky native his start with production assistant jobs on Cocktail and Rain Man (both 1988), then a small role in Born on the Fourth of July (1989), where he also worked as the actor's assistant. Mapother has continued to appear in the margins of Cruise films, ranging from Magnolia (1999) to Minority Report (2002), as well as undertaking a larger role in the Cruise-produced Without Limits (1998).

Trivia: With his 1997 film Boogie Nights, then-27-year-old director Paul Thomas Anderson took his place on the list of Hollywood wunderkinds. A brash, ensemble-driven epic made as a tribute to the Los Angeles porn industry of the 1970s, the film was both an exploration of the industry and the '70s version of the American dream. Combining sharp humor, indelible poignancy, and painstaking detail, Boogie Nights was hailed by one critic as the first great film about the '70s to come out since the '70s. The wide acclaim surrounding it -- as well as Anderson's Best Screenplay Oscar nomination -- put Anderson at the forefront of young American filmmakers, establishing him as one of the most exciting talents to come along in years.The son of voice actor Ernie Anderson, he was born in Studio City, California, on January 1, 1970. Growing up in the Valley, where the porn industry thrived during the '70s, Anderson became obsessed with porn movies at a young age. He had a greater fascination with the medium than he did with school; by all accounts a poor student, he was kicked out of the sixth grade for bad behavior. Always interested in becoming a filmmaker, Anderson made his first movie in high school, a 30-minute mockumentary entitled Dirk Diggler. Inspired by an article he had read on porn star John Holmes, Anderson's short -- about a porn star and his 13-inch penis -- would later become the inspiration for Boogie Nights.After a brief stint as an English major at Emerson College and an even shorter stint at the New York University Film School, Anderson began his career as a production assistant on various TV movies, videos, and game shows in Los Angeles and New York. In 1992, he made Cigarettes & Coffee, a short with five vignettes set in a diner. After it was screened at the 1993 Sundance Festival, Hollywood came calling, and Anderson made his first full-length feature, Sydney -- retitled Hard Eight. Released in 1996, the making of the film -- a crime drama set in the world of gambling and prostitution -- proved disastrous for the director, who was fired by the film's production company and not allowed to release his own version of the movie until it had been selected for competition at Cannes. Hard Eight ultimately earned a fair number of positive notices, but went virtually unheard of by audiences. During the troubling production of Hard Eight in 1995, Anderson began writing Boogie Nights as a way to retain a hold on his sanity. The great success that surrounded the film's release all but ensured that the writer/director would be spared the kind of problems that had marred his previous effort. The recipient of numerous honors, including three Oscar and two Golden Globe nominations, Boogie Nights was widely hailed as one of the best films of the year, if not the decade.Anderson remained mum on what he would do next, but in 1999 he resurfaced with Magnolia. Like Boogie Nights, it was an ensemble film of epic length, and featured performances by such Anderson regulars as Philip Seymour Hoffman, John C. Reilly, Philip Baker Hall, William H. Macy, and Julianne Moore. Centered around themes of love, death, abandonment, and familial estrangement, it served up a lavish helping of the sort of sweeping narrative, visual flair, and off-kilter insight that Anderson had made his trademark. Critics responded in kind, once again praising Anderson's touch with actors, particularly his ability to evince a full-fledged supporting performance from the usually-plastic Tom Cruise. Though it turned up on a slew of 10-best lists and secured Oscar nods for Cruise, Aimee Mann's original song "Save Me", and Anderson's screenplay, Magnolia's three-hour-and-twenty-minute running time scared off audiences, and the film failed to break even Boogie Nights' $25 million tally.Scaling back his worldview somewhat, Anderson spent part of the next year honing his comic skills in the most unlikely of places: on NBC's venerable sketch show Saturday Night Live. Tagging along for an episode that featured then-girlfriend Fiona Apple as musical guest, Anderson was tapped for his writing talents as well as for a couple of pre-filmed mock-documentary segments. The comedy bug took hold, and it wasn't long before the auteur would team up with SNL alum Adam Sandler for a high-concept, low-budget (by Sandler standards, at least) romantic comedy. An off-kilter fusion of '50s Technicolor musical, extortion thriller, and the real-life tale of one man's pudding compulsion, Punch-Drunk Love premiered at the 2002 Cannes Film Festival, nabbing its creator a tie for the Best Director prize (shared with the legendary South Korean filmmaker Im Kwon-Taek). Though its fall release in the States was accompanied by ecstatic reviews and careful marketing, Punch-Drunk failed to connect with audiences -- who were perhaps expecting a conventional Sandler comedy -- and petered out at the box office after a promising limited-release run.Allegedly suffering from some burnout after the lack of response to Punch Drunk Love, Anderson took a job assisting one of his idols, Robert Altman, while he directed what would turn out to be his final film, A Prairie Home Companion. This process reinvigoratd him to some degree and Anderson returned to screens in 2007 with There Will Be Blood, a loose adaptation of Upton Sinclair's novel Oil. The story of an oilman (Daniel Day-Lewis) whose misanthropy and desire for success costs him his humanity opened to thunderous critical praise and was one of the two films to dominate the year end critics and industry awards. Anderson was cited for numerous writing and directing awards including Oscar nominations for each of those categories.With the exception of welcoming his third child with significant other Maya Rudolph in 2011, Anderson kept a low-profile for a few years. However, rumors continued to swirl about his next project. Though there was talk of Robert Downey Jr. joining him for an adaptation of Thomas Pynchon's Inherent Vice, word came early in 2012 that The Master, a religious drama supposedly modeled in part on Scientology, would hit screens in October of that year starring his regular collaborator Philip Seymour Hoffman as a cult leader.

Trivia: Esteemed British supporting actress and voice artist Miriam Margolyes has worked on radio, television, stage, and in many prestigious feature films. She launched her career in her native England but came to the U.S. after winning the Los Angeles Film Critics Circle Award for Best Supporting Actress for playing Flora Finching in Little Dorrit (1988). After settling in L.A., Margolyes starred in the short-lived CBS television series Frannie's Turn. As a voice artist, Margolyes provided the characterization for Babe's mother in the Oscar-nominated Babe (1996), as well as voicing the role of the glowworm in James and the Giant Peach (1996), in which she also played one of the wicked aunties.

Trivia: Singer/songwriter Aimee Mann is probably best known for her fights with major record labels regarding her artistic freedom, but she's also made a name for herself by scoring or taking small roles in quirky, acclaimed films. Mann was born in Virginia on September 8, 1960. After dropping out of the Berklee School of Music in the early '80s, Mann formed a few bands, most notably 'Til Tuesday, and launched a solo career after that band folded in 1989.But her solo career found her constantly at odds with various record labels (Imago, Geffen, Interscope) and she ended up buying back her master recordings. This left Mann with a lot of animosity towards the music industry and some spare time, wherein she took a memorable role as a German nihilist who sacrifices her toe for a big payoff in the Coen brothers' 1996 screwball-noir The Big Lebowski. Her most memorable contributions to cinema, however, were the haunting songs she penned for the soundtrack to pal Paul Thomas Anderson's Altman-esque multi-character opus Magnolia (1999). An unabashed fan, Anderson writes in the soundtrack's liner notes that his dysfunctional ensemble drama is basically an interpretation of Mann's music. The album earned Mann commercial and critical success, and resulted in a Best Song Oscar nomination for "Save Me", which was passed over in favor of popster-turned-Disney-troubadour Phil Collins. She is married to fellow singer/songwriter Michael Penn.