Trivia: At an early age, this stage and screen actress began her career by making several television appearances. She appeared twice in the series Coronation Street (1974, 1976); enacted the character of Angela Reed in the Emmerdale Farm series in 1977; and played Maureen Maskell in the episode "Shot Gun" in the Juliet Bravo series (1980). She played Dany in The Gentle Touch (1982), the character Ingrid Rotherwell in A Kind of Loving (1982), and Christine Bolton in the "Always Leave Them Laughing" episode of Bergerac (1983).At age 18, this eye-catching brunette, later to be chosen by People magazine as one of the 50 Most Beautiful People (1991), appeared at the Royal Court Theatre in England, and in her first film role, as one of the groupies chasing after rock star Bob Geldof in the musical Pink Floyd: The Wall (1982).After two more television appearances, as Ulla in Reilly: The Ace of Spies (1983) and in A Christmas Carol (1984), Whalley had roles in Peter Smith's comedy No Surrender (1985) as Cheryl; Mike Newell's crime story Dance With a Stranger (1985) as Christine; as Mary Hall in Newell's drama The Good Father (1987); and in Will You Love Me Tomorrow? (1987).Whalley was outstanding as the beautiful Nurse Mills in the TV miniseries The Singing Detective (1986), and was nominated for a BAFTA Award for Best Actress for her role as Emma Craven in the Edge of Darkness TV miniseries (1986).While enacting the part of Sorsha in the 1988 fantasy film Willow, a romance developed with her co-star Val Kilmer and they were married in March of that year. Their family grew to include a son and daughter. Whalley immediately began to be credited by her new hyphenated last name in the thrillers To Kill A Priest (1988) and Kill Me Again (1989). She gave a star-caliber performance as the infamous Christine Keeler, a central figure in the Profumo affair, in Scandal (1989).After her elegant appearance as Beatrice in the television piece A TV Dante: The Inferno Cantos I-VIII (1989), there followed two roles in the best-forgotten movies Navy SEALS (1990) and The Big Man (1990). However, Whalley was brilliant as Jenny Scott in the mystery thriller Shattered (1991).Many roles soon followed in Storyville (1992), The Secret Rapture (1993), Mother's Boys (1993), A Good Man in Africa (1994), Trial by Jury (1994), and she took over Vivien Leigh's classic role of Scarlett O'Hara in the TV sequel to Gone With the Wind entitled Scarlett (1995).In February 1996, Kilmer and Whalley were divorced and, except for Run the Wild Fields (2000), she went back to using her maiden name. She appeared as Lorelei in the comedy The Man Who Knew Too Little (1997), A Texas Funeral (1999), The Guilty (2000), and convincingly re-created the persona of Jackie Bouvier Kennedy Onassis in the TV miniseries (2000). Numerous film roles followed over the course of the next decade, including appearances in 44 Inch Chest and Francis Ford Coppola's Twixt, and in 2011 Whalley made a conspicuous return to television with recurring roles on both Gossip Girl and The Borgias.

Trivia: Relegated to a series of low-budget thrillers in his later years despite impressive appearances in such films as Paradise Alley (1978) early on, Emmy-winning actor Armand Assante can always be relied upon to turn in a solid performance despite the fact that full-fledged stardom has eluded him throughout his long and varied career. A New York City native and a graduate of Cornwall Central High School, the handsome Irish-Italian actor got an impressive start to his acting career when he was awarded one of the American Academy of Dramatic Arts' highest honors while still a student at the renowned school. Assante is well versed in both stage and screen, and after he cut his teeth on such television dramas as How to Survive a Marriage and The Doctors, the fledgling actor got his big break opposite Sylvester Stallone in 1978's Paradise Alley. High-profile roles in Private Benjamin (1980) and Unfaithfully Yours (1984) found Assante gaining screen momentum in the early '80s, though the dedicated thespian continued to moonlight with numerous stage roles throughout the decade. From 1984 on, the majority of Assante's screen work was of the television variety, and in 1989 he was nominated for a Golden Globe for his role in the made-for-television feature Jack the Ripper. Assante started off the 1990s with a bang, and after gaining momentum with such efforts as Q & A (1990), The Mambo Kings (1992), and Hoffa (1992), an unrelentingly goofy performance in Fatal Instinct (1993) proved that he did indeed have a sense of humor despite his suave composure. With Judge Dredd (1995), Assante's feature career came to something of a head in the mid-'90s, and upon returning to the small screen he would take home an Emmy for his chilling performance as the eponymous character in the 1996 crime drama Gotti. Kudos would continue to roll in when Assante took the lead role in the television production of The Odyssey (1997), and after a strong few years onscreen he would usher in the new millennium with a voice role in the animated adventure The Road to El Dorado (2000). After taking the lead in the made-for-television remake of Stanley Kramer's nuclear war drama, On the Beach (2000), Assante spent the following few years appearing in such obscure action thrillers as Federal Protection (2001) and Partners in Action (2002). Despite his low profile, the tireless actor was in fact busier than ever as he appeared in no less than five films in 2003 alone.

Trivia: Whereas many stars are bitten by the acting bug early in life, Gabriel Byrne did not become interested in the craft until he was in his late twenties. Since then, he has worked steadily as a leading and supporting actor in a wide variety of Hollywood and international films, gaining a reputation as one of th e most reliably solid performers on either side of the Atlantic. As a youth, the Dublin-born and bred actor aspired to become a Catholic priest. He was thus sent to a seminary in England, where he studied for four years. His time there came to an abrupt end after the 16-year-old Byrne was caught smoking and expelled. Upon returning to Ireland, he worked at assorted jobs, eventually receiving a scholarship to Dublin's University College. After studying linguistics and archeology, Byrne worked as an archeologist for three years and then taught Spanish and Gaelic at a Catholic girls school for four years. During his teaching tenure, Byrne appeared in an amateur theatrical production and was good enough to attract the interest of an actor from the highly regarded Abbey Theatre, who encouraged him to try acting professionally.After appearing in a few more community theater productions, Byrne became a member of the Abbey Theatre. He also began to work in television, and in 1979 made his film debut in The Outsider. Although his film roles were steady -- albeit small -- TV was where he was most recognizable, particularly thanks to his work in the popular Irish series Bracken. Another notable television role was that of Christopher Columbus in an American miniseries of the same name. Byrne's film career during the 1980s was decidedly uneven. Although there were a few hits, such as the 1981 Excalibur, the number of misses was substantial. One of those misses was the 1987 film Siesta, in which he starred opposite Ellen Barkin. Although the film failed to do well, it did result in a marriage between Byrne and his co-star. The two married in 1988, and during the course of their marriage they collaborated on one film, the children's adventure Into the West (1993). They divorced in 1993.Byrne's film career did not take flight until he starred as an Irish mobster in the Coen brothers' memorable Miller's Crossing (1990). The film helped to establish him as an actor to be taken seriously, and since 1993 -- when he starred in The Point of No Return -- Byrne has enjoyed steady work, appearing in three to four films per year, notably, Little Women (1994), Dead Man (1995), The Usual Suspects (1995), Smilla's Sense of Snow (1997), and The Man in the Iron Mask (1998), in which he and Jeremy Irons, Gérard Depardieu, and John Malkovich starred as the Three Musketeers. In 1999, Byrne starred as a priest asked to investigate the case of a woman (Patricia Arquette) who has developed Christ-like wounds in Stigmata. That same year, he took on an entirely different role, playing Satan himself in the action-thriller End of Days.In 2000 Byrne had a huge success on Broadway as the lead in a revival of Moon for the Misbegotten, a role which earned him a Tony nomination. The next year he had a major role in David Cronenberg's psychological drama Spider. He continued to work steadily in projects including the 2004 adaptation of Vanity Fair, and got good notices for his work in 2006's Jindabyne. In 2008 he took the lead part as the psychiatrist on HBO's In Treatment, a role that earned him a pair of nominations for Outstanding Lead Actor in a Drama Series.

Trivia: One of the top leading men of the '80s, William Hurt, born March 20th, 1950, is notable for his intensity and effective portrayals of complex characters. Although born in Washington, D.C., Hurt had already seen much of the world by the time he was grown, as his father worked for the State Department. His early years spent in the South Pacific near Guam, Hurt moved to Manhattan with his mother after his parents divorced when he was six years old. He spent the summers with his father, vacationing in a variety of international locales, including Sudan. At the age of ten, Hurt's life again changed dramatically when he became a stepson to Henry Luce III, the heir to the Time-Life empire. His mother's second marriage indirectly led to Hurt's initial involvement with the theater: sent away to a boarding school in Massachusetts, he found comfort in acting.After going on to Tufts University to study theology for three years at his stepfather's urging, Hurt married aspiring actress Mary Beth Supinger and followed her to London to study drama. Upon their return to the U.S., Hurt studied drama at Juilliard. By this time, under the realization that his marriage was failing, Hurt divorced his wife, got a motorcycle, and headed cross country for the Shakespeare festival in Ashland, OR, where he made his professional debut in a production of Hamlet. He later joined New York's Circle Repertory Company, and went on to receive critical acclaim for his work on the New York stage.Hurt made his feature film debut in Ken Russell's Altered States in 1980, but it was not until he appeared opposite Kathleen Turner in Body Heat (1981) that he became a star and sex symbol. Four years later, he won Best Actor Oscar and British Academy awards as well as a similar honor at Cannes for his sensitive portrayal of a gay prisoner in Kiss of the Spider Woman (1985). He was again nominated for a Best Actor Oscar for his two subsequent films, Children of a Lesser God (1986) and Broadcast News (1987). Further success followed in 1988 when he starred in The Accidental Tourist.As bright as his star shone on stage and screen, by the end of the '80s, a darker side of Hurt was exposed when he was sued by his former live-in love and mother of his daughter Alex, ballet dancer Sandra Jennings, who claimed to be his common-law wife. Despite his personal problems, Hurt continued to stay relatively busy, beginning the new decade with a fine turn in Wim Wenders' Until the End of the World (1991). He subsequently appeared in such acclaimed films as Smoke (1995), Jane Eyre (1996), One True Thing (1998), and Dark City (1998). In 1998, Hurt appeared as the patriarch of one of televisions most beloved sci-fi families in the big-budgeted remake of Lost in Space, and as a gubernatorial candidate with a shadowy past in George Hickenlooper's political drama The Big Brass Ring (1999).Still alternating between stage and screen into the new millennium, Hurt stuck mainly to the small screen in the next few years. After lending his voice to the animated portrayal of the life of Jesus Christ in The Miracle Maker, appearing in the mini-series Dune, and taking the title role of The Contaminated Man in 2000, Hurt returned to features with his role in director Steven Spielberg's long anticipated (post-mortem) collaboration with the late Stanley Kubrick, A.I. As the well-intending scientist who sets the story of an artificial boy capable of learning and love into motion, Hurt's character seemed to provide the antithesis of the regressive experiments his previous character had flirted with in Altered States.Hurt played a supporting role in Changing Lanes (2002), an thought-provoking thriller following two very different New York City residents whose lives fatefully intersect following a car accident, and again in the political thriller Syriana, which would go on to win the Academy Award for Best Picture in 2005. The actor was praised the same year for his work as a supporting character in David Cronenberg's A History of Violence. In 2007, Hurt starred as the murderous alter ego of a businessman in Mr. Brooks, and co-starred with Matthew Fox, Forest Whitaker, and Dennis Quaid for the political thriller Vantage Point (2008). Hurt stars as an ex-con looking to start over for The Yellow Handkerchief (2008), and Gen. Thaddeus "Thunderbolt" Ross, Bruce Banner's nemesis, in The Incredible Hulk (2008).In 2009, Hurt reunited with Vantage Point director Pete Travis for the historical thriller Endgame, for which he played the leading role of philosophy Professor Willie Esterhuyse, an essential member of a team dedicated to securing the release of Nelson Mandela. Director Julie Gavras' 2011 romantic comedy found Hurt starring alongside the legendary Isabella Rossallini. Hurt is slated to work in the The Host, a dystopian thriller adapted from a novel from author Stephanie Meyers, in 2013.

Trivia: After limited stage experience, 19-year-old Kathleen Quinlan made her film debut in American Graffiti. The first stage of her movie career peaked with the starring role as a schizophrenic in I Never Promised You a Rose Garden (1977). She then spent most of the 1980s in secondary roles. Kathleen Quinlan reentered the consciousness of the American filmgoing public with her Oscar-nominated performance as Mrs. James Lovell in Apollo 13 (1995), directed by her American Graffiti co-star Ron Howard. Over the coming decades, Quinlan would prove she'd cemented herself as a bankable force on screen, appearing in such films as A Civil Action, Breach, Poundcake, and Made of Honor. She would also star on the series Family Law and Prison Break.

Trivia: Margaret Whitton billed herself as Peggy Whitton when she made her off-Broadway debut in 1973's Baba Goya. Whitton made her first Broadway appearance nine years later in Steaming. In films, she has been effectively cast as what is vulgarly known as the "rich bitch" -- never more effectively than as avaricious baseball-team owner (and former exotic dancer) Rachel Phelps in the two Major League pictures. Margaret Whitton's TV-series work included the 1991 soap-opera spoof Good and Evil, in which the producers cunningly pulled a typecasting reversal, hiring Whitton as "good" Genny and Teri Garr as "evil" Denise. She retired from acting in the mid-'90s and moved to directing and producing for the rest of her career. Whitton died in 2016, at age 67.

Trivia: An English major in college, Ed Lauter worked as a stand-up comic before entering films in 1971. The tall, menacing Lauter has generally been typecast as humorless, easily corruptible authority figures. He was at his meanest as the vindictive Captain Knaur in Robert Aldrich's The Longest Yard. His TV credits include such roles as Sheriff Cain in BJ and the Bear (1979-80) and General Louis Crewes in Stephen King's The Golden Years (1991). In 1976, Ed Lauter was afforded a rare leading role--and a sympathetic one to boot--in the made-for-TV murder mystery Last Hours Before Morning (1976). Lauter appeared in the 2005 remake of The Longest Yard and had a small role in the Oscar-winning film The Artist (2011). He also had a recurring role on the TV series Shameless. Lauter passed away in 2013 of mesothelioma at age 74, with several films in post-production, awaiting release.

Trivia: Character actor Richard Portnow has worked steadily in theater, feature films, and on television for many years. On stage, he has appeared both on and off Broadway, as well as in many regional productions, and at London's Royal Court Theatre. Portnow made his feature film debut with a bit part in Susan Seidleman's Desperately Seeking Susan (1985). On television, Portnow has guest starred on many series, including Seinfeld, NYPD Blue, and The Nanny.

Trivia: After making his acting debut onstage, bald, heavily mustached Canadian character actor Graham Jarvis began showing up in bits in such films as In the Heat of the Night (1967), Alice's Restaurant (1970, as the music teacher) and What's Up Doc. He is best known to TV addicts as Charlie Haggers, the unctuous husband/manager of would-be country singer Loretta Haggers (Mary Kay Place) in Mary Hartman, Mary Hartman (1976-77), and as officious-vice principal Dyrenforth in the syndicated version of Fame (1985-87). Of his many TV-movie credits, Graham Jarvis' convincing turn as John Ehrlichmann in Blind Ambition (1982) features prominently.

Trivia: When asked why he decided upon becoming an actor, Joe Santos tended to trot out the tried-and-true rationale "because I failed at everything else." While attending Fordham University, Santos excelled at football, but lost interest in the sport after a few semi-pro years. By the time he was 30, Santos had been remarkably unsuccessful in a variety of vocations, including railroad worker, tree cutter, automobile importer and tavern owner. While working a construction job in New York, Santos was invited by a friend to sit in on an acting class. This seemed like an easy way to make a living, so Santos began making the audition rounds, almost immediately landing a good part on a TV soap opera. This gig unfortunately led nowhere, and for the next year or so Santos drove a cab for 10 to 11 hours a day. The novice actor's first big break was a part in the 1971 film Panic in Needle Park, which he received at the recommendation of the film's star (and Santos' frequent softball partner) Al Pacino. With the plum part of Sergeant Cruz in the four-part TV drama The Blue Knight (1973), Santos inaugurated a fruitful, still-thriving career in "cop" roles, the best and longest-lasting of which was detective Dennis Becker on the James Garner series The Rockford Files (1974-80). Joe Santos' other series-TV credits include the top-billed part of deadbeat dad Norman Davis in Me and Maxx (1980), Hispanic nightclub comic Paul Rodriguez' disapproving father in AKA Pablo (1984), and Lieutenant Frank Harper in the 1985-86 episodes of Hardcastle and McCormick. One of his final roles was a recurring gig on The Sopranos. Santos died in 2016, at age 84.

Trivia: Stuart Whitman, with a rugged build and sensitive face, rose from bit player to competent lead actor, but never did make it as a popular star in film. The San Francisco-born Whitman served three years with the Army Corps of Engineers where he was a light heavyweight boxer in his spare time. He next went on to study drama at the Los Angeles City College where he joined a Chekhov stage group. He began his film career in the early '50s as a bit player. Although never a star, he did manage to quietly accumulate $100 million dollars through shrewd investments in securities, real estate, cattle, and Thoroughbreds. For his role as a sex offender attempting to change in the 1961 British film The Mark, Whitman was nominated for an Oscar. In addition to features, Whitman has also appeared extensively on television.

Trivia: A character actor whose beefy, imposing build (a magazine once listed him as 6'3" and 245 pounds) typecast him as thugs, hoods, and underworld heavies, performer Mike Starr was raised in the Manhattan area, as the son of a meatpacker and a five-and-dime clerk. He attended Long Island's Hofstra University on a drama scholarship, and -- after graduation -- toiled at menial jobs as a bartender and club bouncer before landing his first film role in William Friedkin's gay-themed cop thriller Cruising (1980). Many projects ensued over the following decades, including The Natural (1984), Uncle Buck (1989, in a memorable bit as a drunken clown), Ed Wood (1994), and Jersey Girl (2004). Fans of the gangster-themed comedy Mad Dog and Glory (1993), in particular, might remember Starr -- he played Harold, the wife-beater husband who gets on David Caruso's bad side, and physically suffers for it. In 2007, Starr essayed a rare lead in the character comedy Osso Bucco; he played a gangster unknowingly targeted for death and due for extermination by his cousin.

Trivia: Like Tobe Hooper and George Romero, David Cronenberg sprang into public consciousness with a series of low-budget horror films that shocked and surprised audiences for their sheer audacity and intelligence. Unlike the former two filmmakers, Cronenberg has been able to avoid being pigeonholed into a single restrictive genre category. His works, which consistently explore the same themes, have the mark of a true auteur in the strictest sense of the word. Cronenberg's films have the unnerving ability to delve into society's collective unconscious and dredge up all of the perverse, suppressed desires of modern life. His world features grotesque deformities, hallucinatory couplings, and carnality unhinged from its corporeal moorings.Born on March 15, 1943, in Toronto, Canada, Cronenberg was the son of a freelance journalist and a piano teacher. He was raised in a nurturing middle class family and wrote constantly as a child, showing a strong interest in science, particularly in botany and lepidopterology (the study of moths). In 1963, he entered the University of Toronto as an Honors Science student, though he quickly grew disenchanted and within a year switched to the Honors English Language and Literature program. During this time, Cronenberg was profoundly impressed by Winter Kept Us Warm (1966) by classmate David Secter. Though previously not especially interested in film, this student work piqued his interest, and soon he was hanging out at film camera rental houses where he taught himself the ins and outs of filmmaking. He made two no-budget 16mm films (Transfer and From the Drain), and -- inspired by the underground film scene in New York -- he founded the Toronto Film Co-op with Iain Ewing and Ivan Reitman. After a year traveling in Europe, Cronenberg returned to Canada and graduated at the top of his class in 1967.After making the avant-garde sci-fi flick Stereo (1969), Cronenberg became one of the first recipients of CFDC (Canadian Film Development Corporation) funding for his follow-up, Crimes of the Future (also 1969), a dark, surreal experimental exploration of sexuality. After these two films, Cronenberg realized that working in a strictly experimental venue was ultimately a dead end -- he wanted to broaden his audience.With Reitman as the producer, Cronenberg made his feature debut with the low-budget horror flick Shivers (1975). Recalling Night of the Living Dead (1968) and Invasion of the Body Snatchers (1956), Shivers gleefully presents the audience with phallus-like parasites that turn an apartment full of well-to-do professionals into a throng of sex-mad maniacs. Shivers sharply divided critics. Cronenberg made two more films with direct or indirect funding from the CFDC -- Rabid (1977) and The Brood (1979). Both of these films, along with Shivers, form a rough trilogy of sorts about physical evolutions of the body bringing civilization to its knees. In Rabid, featuring Ivory Pure model-turned-porn star Marilyn Chambers as Typhoid Mary, a virulent strain of rabies that reduces victims to foaming murderous animals devastates the city of Montreal. In The Brood, a mother manifests her angers as bloodthirsty, hideously misshapen children.Cronenberg's breakthrough film was his 1981 box office hit Scanners. Featuring an overtly sci-fi story line, a sinister performance by Michael Ironside, and an infamous exploding head scene, the film established Cronenberg's name beyond the exploitation house and drive-in audiences. Two years later, Cronenberg followed this up with his masterful Videodrome. Told in a Burroughs-esque fractured stream of consciousness, the film concerns Renn, a sleazy cable TV operator, who discovers that the mysterious snuff cable he happened upon gives the viewers brain tumors. Humans and media hardware merge in unexpected, strangely sexual ways: video tapes throb like organs, and a tape is slotted into a vagina like gash in a human abdomen. Though Videodrome's awe of video may seem dated, the film's basic questioning of technology seems perhaps more relevant today than it did when it first premiered. After mining his own personal nightmare, Cronenberg opted for comparatively lighter fare and directed The Dead Zone (1983), adapted from a Stephan King novel. Though this was the first and thus far only script that he did not have a hand in writing, the film's emphasis on off-kilter psychologies and disease bears Cronenberg's unmistakable stamp. Eventually, Cronenberg agreed to remake the 1958 horror classic The Fly (1986). Both a wild gore-fest and a brilliant metaphor for aging, Cronenberg's Fly is a more harrowing and emotionally powerful work than the original. The film also recalled the intensity and intimacy of his early horror works such as The Brood. Consisting of only three main characters and basically one setting, the film obsessively depicts the lead character's slow and gruesome mutation, complete with dropped-off body parts, into a human-fly hybrid. The film proved to a terrific critical and financial success. With his directing reputation cemented, Cronenberg edged away from horror/sci-fi genres and made the chilling character study Dead Ringers (1988). Based on a National Enquirer headline about the real-life case of the Marcus brothers, a pair of fratricidal identical twin gynecologists, the film clinically portrays the duo as their identities slowly disintegrate and merge.Cronenberg followed up Dead Ringers with the decidedly less commercial Naked Lunch (1991). Less an adaptation of William S. Burroughs' classic underground novel than a dizzying meditation on the act of writing, the film features some of Cronenberg's most striking images articulating some of his most familiar themes. Talking cockroaches morph into typewriter-like organisms, women suddenly split open and become men, and typewriters possess flesh-like qualities and evolve into undefined sexual organs. His next work, M. Butterfly (1993), is a restrained account of the bizarre true life case of Rene Gallimard, a French embassy worker who never realized that his long-time Chinese lover was in fact a man.Cronenberg followed M. Butterfly with Crash (1996), his most controversial work to date, based on the profoundly disturbing underground classic by J. D. Ballard. Banned for a time in Britain and rated NC-17 in the U.S., the film is a hypnotic, harrowing journey through a landscape of aberrant sexuality, sterile modernist architecture, emotional blankness, and smashed automobiles. Just as in Ballard's work, Cronenberg takes the familiar cliches of romance and seduction and supplants them with something alien and surreal. James Ballard, the protagonist, engages in an adulterous affair not after a chance meeting, but after a car wreck. The same character penetrates the wound in a severely injured woman's leg instead of using more traditional orifices. Daring and frightening, Crash won a Special Jury Prize at the 1996 Cannes Film Festival.For his 1999 film eXistenZ, he wrote his first original script since Videodrome. Inspired by the fugitive life of author Salman Rushdie, whom Cronenberg interviewed for a magazine, the film concerns a game's designer on the run from a band of Luddite terrorists. Cronenberg brilliantly reverses all Blade Runner-like cliches of the coming cyberpunk future by setting the film in a rustic mountain forest where old fish canneries serve as biotech factories. Fans who were left thirsting for more following the innovative cyberpunk exploits of eXistenZ faced an extended dry spell in the following three years, left with little more than an introspective and fascinating six-minute short entitled Camera that proved a study in celluliods relationship with ageing and death. Though his involvement with the planned sequel to Basic Instinct may not quite have been the film fans had hoped for, plans quickly fell through and Cronenberg began to express interest in author Patrick McGrath's book Spider. A haunting study in mental decay, the material seemed ideally suited to Cronenberg's dark outlook, and it wasn't long before McGrath was adapting his novel into a screenplay for the eager director. Recieving generally high marks from critics upon its limited stateside release in early 2003, the film nevertheless proved a hard sell due to its brooding and deliberate pacing.In the years that followed, Cronenberg moved into genres he hadn't yet charted - with tremendous critical and commercial success across the board. This exploration began in 2005 with A History of Violence - a tough crime thriller with Viggo Mortensen as a man living an unassuming life in Central Indiana, whose dark criminal past explosively catches up with him. Two years later, Cronenberg and Mortensen reunited for the arthouse hit Eastern Promises (2007), with Mortensen as a Russian mafia kingpin living and operating in London; it received glowing reviews and earned considerable box office. Then, in 2011, Cronenberg emerged with a picture in yet another genre: historical drama. His A Dangerous Method co-starred Mortensen, Michael Fassbender and Keira Knightley in the tale of psychoanalyst Sabina Spielrein and her complex relationships with Sigmund Freud and Carl Jung. In 2012 he adapted Don DeLillo's Cosmopolis, casting Robert Pattinson as a wealthy young New Yorker having a very hard time getting across town.