Trivia: Onstage, on television, in the movies or in a serious interview, listening to and watching comedian/actor Robin Williams was an extraordinary experience. An improvisational master with a style comparable to Danny Kaye, his words rushed forth in a gush of manic energy. They punctuated even the most basic story with sudden subject detours that often dissolved into flights of comic fancy, bawdy repartee, and unpredictable celebrity impressions before returning earthward with some pithy comment or dead-on observation.Born in Chicago on July 21st, 1951, Williams was raised as an only child and had much time alone with which to develop his imagination, often by memorizing Jonathan Winters' comedy records. After high school, Williams studied political science at Claremont Men's College, as well as drama at Marin College in California and then at Juilliard. His first real break came when he was cast as a crazy space alien on a fanciful episode of Happy Days. William's portrayal of Mork from Ork delighted audiences and generated so great a response that producer Garry Marshall gave Williams his own sitcom, Mork and Mindy, which ran from 1978 to 1982. The show was a hit and established Williams as one of the most popular comedians (along with Richard Pryor and Billy Crystal) of the '70s and '80s.Williams made his big screen debut in the title role of Robert Altman's elaborate but financially disastrous comic fantasy Popeye (1980). His next films included the modestly successful The World According to Garp, The Survivors, Moscow on the Hudson, Club Paradise, The Best of Times. Then in 1987, writer-director Barry Levinson drew from both sides of Williams - the manic shtickmeister and the studied Juliard thesp - for Good Morning, Vietnam, in which the comedian-cum-actor portrayed real-life deejay Adrian Cronauer, stationed in Saigon during the late sixties. Levinson shot the film strategically, by encouraging often outrageous, behind-the-mike improvisatory comedy routines for the scenes of Cronauer's broadcasts but evoking more sober dramatizations for Williams's scenes outside of the radio station. Thanks in no small part to this strategy, Williams received a much-deserved Oscar nomination for the role, but lost to Michael Douglas in Wall Street.Williams subsequently tackled a restrained performance as an introverted scientist trying to help a catatonic Robert De Niro in Awakenings (1990). He also earned accolades for playing an inspirational English teacher in the comedy/drama Dead Poets Society (1989) -- a role that earned him his second Oscar nomination. Williams's tragi-comic portrayal of a mad, homeless man in search of salvation and the Holy Grail in The Fisher King (1991) earned him a third nomination. In 1993, he lent his voice to two popular animated movies, Ferngully: The Last Rain Forest and most notably Aladdin, in which he played a rollicking genie and was allowed to go all out with ad-libs, improvs, and scads of celebrity improvisations.Further successes came in 1993 with Mrs. Doubtfire, in which he played a recently divorced father who masquerades as a Scottish nanny to be close to his kids. He had another hit in 1995 playing a rather staid homosexual club owner opposite a hilariously fey Nathan Lane in The Birdcage. In 1997, Williams turned in one of his best dramatic performances in Good Will Hunting, a performance for which he was rewarded with an Oscar for Best Supporting Actor.Williams kept up his dramatic endeavors with both of his 1998 films: the comedy Patch Adams and What Dreams May Come, a vibrantly colored exploration of the afterlife. He next had starring roles in both Bicentennial Man and Jakob the Liar, playing a robot-turned-human in the former and a prisoner of the Warsaw ghetto in the latter. Though it was obvious to all that Williams' waning film career needed an invigorating breath of fresh air, many may not have expected the dark 180-degree turn he attempted in 2002 with roles in Death to Smoochy, Insomnia and One Hour Photo. Catching audiences off-guard with his portrayal of three deeply disturbed and tortured souls, the roles pointed to a new stage in Williams' career in which he would substitute the sap for more sinister motivations.Absent from the big-screen in 2003, Williams continued his vacation from comedy in 2004, starring in the little-seen thriller The Final Cut and in the David Duchovny-directed melodrama The House of D. After appearing in the comic documentary The Aristocrats and lending his voice to a character in the animated adventure Robots in 2005, he finally returned full-time in 2006 with roles in the vacation laugher RV and the crime comedy Man of the Year. His next project, The Night Listener, was a tense and erosive tale of literary trickery fueled by such serious issues as child abuse and AIDS.Williams wasn't finished with comedy, however. He lent his voice to the cast of the family feature Happy Feet and Happy Feet 2, played a late night talk show host who accidentally wins a presidential election in Man of the Year, portrayed an enthusiastic minister in License to Wed, and played a statue of Teddy Roosevelt that comes to life in Night at the Museum and its sequel Night at the Museum: Battle of the Smithsonian. He would also enjoy family-friendly comedic turns in World's Greatest Dad, Shrink, and Old Dogs.In 2013, he returned to television, playing the head of an advertising agency in The Crazy Ones; the show did well in the ratings, but was canceled after only one season. He also played yet another president, Dwight Eisenhower, in Lee Daniel's The Butler. Williams died in 2014 at age 63.

Trivia: Pam Dawber grew up in Detroit, where her father was a commercial artist and her mother ran a stock-photo agency. Blessed with a four-octave soprano voice, Dawber prepared for a singing career while attending Oakland Community College. After suffering the traditional setbacks, she began working as a model in New York. This led to a string of commercials, including one of the early "Tupperware Lady" musical ads. In 1977, she made her first film appearance in Robert Altman's A Wedding, making an unforgettable entrance on horseback. The following year, she was cast as Mindy McConnell on the weekly Robin Williams sitcom Mork & Mindy. Though Dawber was generally relegated to straight woman and sounding board for Mork's zany antics, Williams did his utmost to see that his co-star was given a few isolated moments to shine. After Mork & Mindy ended its four-year run, Williams went on to theatrical features, while Dawber busied herself in made-for-TV movies. In 1986, she was top-billed in another successful TV comedy, My Sister Sam, which came to an abrupt end in 1988 when her co-star, Rebecca Schaeffer, was murdered by a crazed fan who was stalking her. Since that time, Dawber has appeared on-stage and in a handful of films, including the much-delayed fantasy Stay Tuned (1992), in which, courtesy of animation director Chuck Jones, she was briefly glimpsed in cartoon form. She has also been active as national spokesperson for Big Brothers and Big Sisters of America. Pam Dawber is married to actor Mark Harmon.

Trivia: A New York-based radio actor from childhood, Conrad Janis was 16 when he made his first Broadway appearance in Junior Miss. Janis went on to star in the 1945 film comedy Snafu then played supporting roles in such 20th Century-Fox productions as Margie (1946) and The Brasher Doubloon (1947, as a teenaged murderer). His subsequent Broadway credits include The Brass Ring (for which he won a Theatre World Award), Time Out for Ginger and Visit to a Small Planet. Premature baldness compelled him to switch from leading-man assignments to character roles. A veteran of some 350 TV appearances, Janis was seen on a regular weekly basis as Otto Palindrome on the 1978 sci-fi spoof Quark, and as Mindy McConnell's dad Fred on the Robin Williams sitcom Mork and Mindy. Dropped from M & M after the 1978-79 season when the producers decided to retool the program, Janis was rehired in 1980, this time at a much heftier salary. Though justifiably proud of his acting accomplishments, Janis reportedly is prouder still of his activities as a jazz musician, fronting such prestigious musical aggregations as The Tailgaters and the Beverly Hills Unlisted Jazz Band (this latter group served as the subject of a lively PBS documentary). In addition, Janis is the owner operator of a prominent avant-garde art gallery, and is in charge of his own production company, MiraCom. In 1994, Conrad Janis made his film directorial bow with The Feminine Touch.

Trivia: Actress Morgan Fairchild was born Patsy McClenny, the daughter of an engineer father and high-school teacher mother. At age 14, she competed for the Miss Teenage Dallas crown by performing a scene from St. Joan (she lost). After a brief marriage, McClenny set her cap on professional show business; she chose the stage name "Morgan" from the 1966 British film of same name and "Fairchild" because it sounded nice. After a few seasons on the New York stage, Morgan Fairchild was cast as the truculent Jennifer Phillips on the Manhattan-based TV serial Search for Tomorrow. From there, she headed to LA, where, despite not having an agent or any tangible connections, she landed a TV job in less than two months. Briefly cast as Jenna Wade on the prime-time series Dallas, Fairchild chose not to be tied down to dramatics (at least not yet) and polished her comedy skills with several sitcom guest spots. She then was cast in her first starring TV role, as Constance Semple on the 1981 series Flamingo Road. After the series ran its course, Fairchild delivered a well-received star performance in the 1982 Broadway play Geniuses. Later series-TV assignments included the role of testy model agency owner Racine on Paper Dolls (1984) and the scheming Jordan Roberts on Falcon Crest (1985-86). Fairchild's TV-movie and miniseries credits include Honey Boy (1982), North and South, Book 2 (1986), and a return to comedy in The Zany Adventures of Robin Hood (1985). Morgan Fairchild's theatrical film work has been by and large unremarkable, save for an amusing extended cameo in 1985's Pee-Wee's Big Adventure.