Trivia: The son of an Oklahoma carpet layer, James Garner did stints in the Army and merchant marines before working as a model. His professional acting career began with a non-speaking part in the Broadway play The Caine Mutiny Court Martial (1954), in which he was also assigned to run lines with stars Lloyd Nolan, Henry Fonda, and John Hodiak. Given that talent roster, and the fact that the director was Charles Laughton, Garner managed to earn his salary and receive a crash course in acting at the same time. After a few television commercials, he was signed as a contract player by Warner Bros. in 1956. He barely had a part in his first film, The Girl He Left Behind (1956), though he was given special attention by director David Butler, who felt Garner had far more potential than the film's nominal star, Tab Hunter. Due in part to Butler's enthusiasm, Garner was cast in the Warner Bros. TV Western Maverick. The scriptwriters latched on to his gift for understated humor, and, before long, the show had as many laughs as shoot-outs. Garner was promoted to starring film roles during his Maverick run, but, by the third season, he chafed at his low salary and insisted on better treatment. The studio refused, so he walked out. Lawsuits and recriminations were exchanged, but the end result was that Garner was a free agent as of 1960. He did quite well as a freelance actor for several years, turning in commendable work in such films as Boys' Night Out (1962) and The Great Escape (1963), but was soon perceived by filmmakers as something of a less-expensive Rock Hudson, never more so than when he played Hudson-type parts opposite Doris Day in Move Over, Darling and The Thrill of It All! (both 1963).Garner fared rather better in variations of his Maverick persona in such Westerns as Support Your Local Sheriff (1969) and The Skin Game (1971), but he eventually tired of eating warmed-over stew; besides, being a cowboy star had made him a walking mass of injuries and broken bones. He tried to play a more peaceable Westerner in the TV series Nichols (1971), but when audiences failed to respond, his character was killed off and replaced by his more athletic twin brother (also Garner). The actor finally shed the Maverick cloak with his long-running TV series The Rockford Files (1974-1978), in which he played a John MacDonald-esque private eye who never seemed to meet anyone capable of telling the truth. Rockford resulted in even more injuries for the increasingly battered actor, and soon he was showing up on TV talk shows telling the world about the many physical activities which he could no longer perform. Rockford ended in a spirit of recrimination, when Garner, expecting a percentage of the profits, learned that "creative bookkeeping" had resulted in the series posting none. To the public, Garner was the rough-hewn but basically affable fellow they'd seen in his fictional roles and as Mariette Hartley's partner (not husband) in a series of Polaroid commercials. However, his later film and TV-movie roles had a dark edge to them, notably his likable but mercurial pharmacist in Murphy's Romance (1985), for which he received an Oscar nomination, and his multifaceted co-starring stints with James Woods in the TV movies Promise (1986) and My Name Is Bill W. (1989). In 1994, Garner came full circle in the profitable feature film Maverick (1994), in which the title role was played by Mel Gibson. With the exception of such lower-key efforts as the noir-ish Twilight (1998) and the made-for-TV thriller Dead Silence (1997), Garner's career in the '90s found the veteran actor once again tapping into his latent ability to provoke laughs in such efforts as Space Cowboys (2000) while maintaining a successful small-screen career by returning to the role of Jim Rockford in several made-for-TV movies. He provided a voice for the popular animatedfeature Atlantis: The Lost Empire (2001) and appeared in the comedy-drama The Divine Secrets of the Ya-Ya Sisterhood (2002). Garner enjoyed a career resurgance in 2003, when he joined the cast of TV's 8 Simple Rules, acting as a sort of replacement for John Ritter, who had passed away at the beginning of the show's second season. He next appeared in The Notebook (2004), which earned Garner a Screen Actors Guild nomination and also poised him to win the Guild's Lifetime Achievement Award. His last on-screen role was a small supporting role in The Ultimate Gift (2007). In 2008, Garner suffered a stroke and retired acting. He died in 2014, at age 86.

Trivia: The niece of musical comedy luminary Nanette Fabray, American actress Shelley Fabares was in show business almost as soon as she could walk. She was a model for children's fashions at age 3, a bit actress in the film The Bandit Queen at age 7, a peripheral character on the Annie Oakley TV series at 8, and Frank Sinatra's dance partner on a 1953 TV special. After doing the TV-anthology route from ages 10 through 13, Fabares was cast at age 14 as Donna Reed's daughter on The Donna Reed Show, a part she would virtually grow up in. Before the series' cancellation in 1966, Fabares had become a top recording artist, selling a million copies of "Johnny Angel" before quitting singing cold because she felt she had no talent in that endeavor. Except for co-starring stints in three Elvis Presley musicals, Fabares' employment outside Donna Reed was virtually nil, and from 1968 through 1970 she barely worked at all. She filmed six TV pilots before 1971, but none sold. Things began picking up in 1972 when she was signed for a Brian Keith series set in Hawaii, The Little People. This led to guest TV spots until the next sitcom hitch in 1977's The Practice, in which Fabares played Danny Thomas' daughter-in-law. Highcliffe Manor, a muddled TV satire of Gothic melodramas, followed in 1979, but lasted a scant four weeks. By this time, Fabares' characterizations were of the "snooty shrew" category, and in this capacity she was shown to good advantage as Bonnie Franklin's business partner on One Day at a Time in 1981. Off-camera, Fabares was very active in the prosocial and ecological activities of her new husband, former MASH star Mike Farrell--a far cry from her on-camera haughtiness and self-involvement. More recently, Shelley Fabares' acting career is alive and prospering via her continuing role as Craig T. Nelson's lady love, sportscaster Christine Armstrong, on the Emmy-winning sitcom Coach.

Trivia: Character actor Richard Schaal specialized in playing everymen with off-center, over-the-top or farcical personas. Born in 1925, Schaal first took his television bow in the early '60s, as a guest star on programs such as The Dick Van Dyke Show, That Girl, and The Doris Day Show. He also landed small roles in features including Carl Reiner's Cold War farce The Russians Are Coming! The Russians Are Coming! (1966) and George Roy Hill's nihilistic sci-fi saga Slaughterhouse-Five (1972). Fans of The Mary Tyler Moore Show may remember Schaal as Howard Arnell, the slightly goofy ex-boyfriend of Mary Richards (who irritates Mary from time to time by cropping up and engaging in eccentric behavior, such as proposing marriage to her over the loudspeakers at a gymnasium). Schaal also turned up on the two spin-offs of Mary Tyler Moore -- Rhoda and Phyllis; on the former, he played klutzy alcoholic Charlie Burke, while on the latter, he played the (comparatively more together) commercial photographer Leo Heatherton. Subsequent assignments for Schaal included small roles in the features Americathon (1979), The Hollywood Knights (1980), and Once Bitten (1985). He was married for a lengthy period to actress Valerie Harper (Rhoda) and is the father of actress Wendy Schaal (her mother is his first wife, Lois Treacy). Schaal retired from acting in the early 1990s, and passed away in 2014 at age 86.

Trivia: American actor William Traylor played character roles on stage and screen, but he is best remembered in Hollywood for opening the Loft Studio (established 1973), an acting school where such actors as Sean Penn, Anjelica Huston, and Nicholas Cage honed their craft. Traylor received his training at the Actors' Studio in New York. Upon moving to Los Angeles, he co-founded the Actors Studio/West and the Lee Strasberg Institute.

Trivia: Tall, bald and nearly always bearded, Sid Haig has provided hulking menace to many a low-budget exploitationer and high-priced actioner. A 1960 alumnus of the Pasadena Playhouse, Haig has been in films at least since 1964, when he played a lobotomized "poor relation" in the cult horror classic Spider Baby. He has proved quite valuable to such filmmakers as producer Roger Corman and director Jack Hill, playing abusive goons in such fare as The Big Doll House and The Big Bird Cage. Sid Haig's more "respectable" credits include George Lucas' THX 1138 and the 1970 James Bond opus Diamonds are Forever (he's the flunkey who tosses a topless Lana Wood from the window of a high-rise Vegas hotel).After decades of B-movie roles, Haig received a late-career boost in 1997, when he was given a small part in Quentin Tarantino's Jackie Brown. In the ensuing years, he would again work with Tarantino in Kill Bill, Vol. 2, and show up in the Rob Zombie horror flicks House of 1000 Corpses and The Devil's Rejects.

Trivia: Burly character actor Ramon Bieri made his first professional stage appearance in 1954. A film performer from 1970, Bieri has often shown up as rednecks and rabblerousers. One of his best-remembered screen assignments was also one of his smallest: as the strong-arm police captain in Warren Beatty's Reds, Bieri responded to Beatty's explanatory "I write" by growling "No...you wrong!" A more affable Bieri was seen as Babe Ruth in the 1977 TV movie A Love Affair: The Eleanor and Lou Gehrig Story. Ramon Bieri's many TV-series credits include the starring role of Detroit blue-collar worker Joe Wabash in Joe's World (1979-1980).

Trivia: A Yale man, American actor Robert Ginty was of the Sid Haig / Harry Dean Stanton / Charles Napier school of film performing. Whether good guy or bad, Ginty's acting style was sullen and laconic, as if he held some appalling secret that it was best the world not know. He specialized in low-budget films, where his expertise shone all the more in his many performance as drifters, loners, and troubled war vets. Ginty has also directed from time to time, though no festival awards have been garnered by The Bounty Hunter (1989) and Vietnam, Texas (1990). Among Robert Ginty's TV series credits are Black Sheep Squadron (1976), The Paper Chase (1979), and Hawaiian Heat (1984) (a rare "establishment" role as a cop).

Trivia: Character actor/director Robert Ellenstein first appeared onscreen in 1955.

Trivia: Born in New York City while his father Noah Beery Sr. was appearing on-stage, Noah Beery Jr. was given his lifelong nickname, "Pidge," by Josie Cohan, sister of George M. Cohan "I was born in the business," Pidge Beery observed some 63 years later. "I couldn't have gotten out of it if I wanted to." In 1920, the younger Beery made his first screen appearance in Douglas Fairbanks' The Mark of Zorro (1920), which co-starred dad Noah as Sergeant Garcia. Thanks to a zoning mistake, Pidge attended the Hollywood School for Girls (his fellow "girls" included Doug Fairbanks Jr. and Jesse Lasky Jr.), then relocated with his family to a ranch in the San Fernando Valley, miles from Tinseltown. While some kids might have chafed at such isolation, Pidge loved the wide open spaces, and upon attaining manhood emulated his father by living as far away from Hollywood as possible. After attending military school, Pidge pursued film acting in earnest, appearing mostly in serials and Westerns, sometimes as the hero, but usually as the hero's bucolic sidekick. His more notable screen credits of the 1930s and '40s include Of Mice and Men (1939), Only Angels Have Wings (again 1939, this time as the obligatory doomed-from-the-start airplane pilot), Sergeant York (1941), We've Never Been Licked (1943), and Red River (1948). He also starred in a group of rustic 45-minute comedies produced by Hal Roach in the early '40s, and was featured in several popular B-Western series; one of these starred Buck Jones, whose daughter Maxine became Pidge's first wife. Perhaps out of a sense of self-preservation, Beery appeared with his camera-hogging uncle Wallace Beery only once, in 1940's 20 Mule Team. Children of the 1950s will remember Pidge as Joey the Clown on the weekly TV series Circus Boy (1956), while the more TV-addicted may recall Beery's obscure syndicated travelogue series, co-starring himself and his sons. The 1960s found Pidge featured in such A-list films as Inherit the Wind (1960) and as a regular on the series Riverboat and Hondo. He kicked off the 1970s in the role of Michael J. Pollard's dad (there was a resemblance) in Little Fauss and Big Halsey. Though Beery was first choice for the part of James Garner's father on the TV detective series The Rockford Files, Pidge was committed to the 1973 James Franciscus starrer Doc Elliot, so the Rockford producers went with actor Robert Donley in the pilot episode. By the time The Rockford Files was picked up on a weekly basis, Doc Elliot had tanked, thus Donley was dropped in favor of Beery, who stayed with the role until the series' cancellation in 1978. Pidge's weekly-TV manifest in the 1980s included Quest (1981) and The Yellow Rose (1983). After a brief illness, Noah Beery Jr. died at his Tehachapi, CA, ranch at the age of 81.

Trivia: Stuart Margolin was a published writer and off-Broadway playwright before he was old enough to vote. The pinch-faced, curly-headed Margolin began showing up in character parts in 1966, in films like Women of a Prehistoric Planet and TV series like Occasional Wife. He was a staff writer and member of the acting ensemble on the popular sitcom anthology Love American Style, which ran from 1969 through 1974. In 1971, Margolin co-starred on the western series Nichols, launching his long friendship and professional association with actor James Garner. He went on to win two Emmy awards for his portrayal of mildly larcenous Angel Martin on Garner's long-running (1974-80) series The Rockford Files; played Philo Sandine on the 1981 retro Garner TV vehicle Bret Maverick; and guest-starred on the first episode of Garner's short-lived "dramedy" Man of the People (1991). Stuart Margolin turned to directing in the 1980s, beginning with (inevitably) a brace of James Garner TV movies, The Long Summer of George Adams (1982) and The Glitter Dome (1984)); he has since helmed two theatrical features, Paramedics and Donna d'Onore (both 1990).