Trivia: One of Hollywood's sexiest and most magnetic leading men, Denzel Washington's poise and radiantly sane intelligence permeate whatever film he is in, be it a socially conscious drama, biopic, or suspense thriller. More importantly, Washington's efforts, alongside those of director Spike Lee, have done much to dramatically expand the range of dramatic roles given to African-American actors and actresses.The son of a Pentecostal minister and a hairdresser, Washington was born in Mount Vernon, NY, on December 28, 1954. His parents' professions shaped Washington's early ambition to launch himself into show business: from his minister father he learned the power of performance, while hours in his mother's salon (listening to stories) gave him a love of storytelling. Unfortunately, when Washington was 14, his folks' marriage took a turn for the worse, and he and his older sister were sent away to boarding school so that they would not be exposed to their parents' eventual divorce. Washington later attended Fordham University, where he attained a B.A. in Journalism in 1977. He still found time to pursue his interest in acting, however, and after graduation he moved to San Francisco, where he won a scholarship to the American Conservatory Theatre. Washington stayed with the ACT for a year, and, after his time there, he began acting in various television movies and made his film debut in the 1981 Carbon Copy. Although he had a starring role (as the illegitimate son of a rich white man), Washington didn't find real recognition until he joined the cast of John Falsey and Joshua Brand's long-running TV series St. Elsewhere in 1982. He won critical raves and audience adoration for his portrayal of Dr. Phillip Chandler, and he began to attract Hollywood notice. In 1987, he starred as anti-apartheid activist Steve Biko in Richard Attenborough's Cry Freedom alongside Kevin Kline, and though the film itself alienated some critics (Pauline Kael called it "dumbfounding"), Washington's powerful performance earned him a Best Supporting Actor Oscar nomination.Two years later, Washington netted another Best Supporting Actor nod -- and won the award -- for his turn as an embittered yet courageous runaway slave in the Civil War drama Glory. The honor effectively put him on the Hollywood A-List. Some of his more notable work came from his collaboration with director Spike Lee; over the course of the 1990s, Washington starred in three of his films, playing a jazz trumpeter in Mo' Better Blues (1990), the title role in Lee's epic 1992 biopic Malcolm X (for which he received a Best Actor Oscar nomination), and the convict father of a high-school basketball star in He Got Game (1998).Washington also turned in powerful performances in a number of other films, such as Mississippi Masala (1991), as a man in love with an Indian woman; Philadelphia (1993), as a slightly homophobic lawyer who takes on the cause of an AIDS-stricken litigator (Tom Hanks); and Devil in a Blue Dress (1995), as a 1940s private detective, Easy Rawlins. Washington also reeled in large audiences in action roles, with the top box-office draw of such thrillers as The Pelican Brief (1993), Crimson Tide (1995), and The Siege (1998) attesting to his capabilities. In 1999, Washington starred in another thriller, The Bone Collector, playing a paralyzed forensics expert who joins forces with a young policewoman (Angelina Jolie) to track down a serial killer. That same year, he starred in the title role of Norman Jewison's The Hurricane. Based on the true story of a boxer wrongly accused of murdering three people in 1966, the film featured stellar work by Washington as the wronged man, further demonstrating his remarkable capacity for telling a good story. His performance earned him a number of honors, including a Best Actor Golden Globe and a Best Actor Oscar nomination.After another strong performance as a high-school football coach in Boaz Yakin's Remember the Titans, Washington cut dramatically against his "nice guy" typecast to play a corrupt policeman in Training Day, a gritty cop drama helmed by Antoine Fuqua. Washington surprised audiences and critics with his change of direction, but in the eyes of many, this change of direction made him a more compelling screen presence than ever before. (It also netted him an Oscar for Best Actor.) 2002 marked an uneven year for Washington. He joined the cast of Nick Cassavetes' absurd melodrama John Q., as a father so desperate to get medical attention for his ailing son that he holds an entire hospital hostage and contemplates killing himself to donate his own heart to the boy. Critics didn't buy the film; it struck all but the least-discriminating as a desperate attempt by Washington to bring credulity and respectability to a series of ludicrous, manipulative Hollywood contrivances. John Q. nonetheless performed healthily at the box (it grossed over a million dollars worldwide from a 36-million-dollar budget). That same fall, Washington received hearty praise for his directorial and on-camera work in Antwone Fisher (2002), in which he played a concerned naval psychiatrist, and even more so for director Carl Franklin's 2003 crime thriller Out of Time. Somewhat reminiscent of his role in 1991's crime drama Ricochet, Out of Time casts Washington as an upstanding police officer framed for the murder of a prominent citizen. In 2004, Washington teamed up with Jonathan Demme for the first occasion since 1993's Philadelphia, to star in the controversial remake of 1962's The Manchurian Candidate. Washington stars in the picture as soldier Bennett Marco (the role originally performed by Frank Sinatra), who, along with his platoon, is kidnapped and brainwashed during the first Gulf War. Later that year, Washington worked alongside Christopher Walken and Dakota Fanning in another hellraiser, director Tony Scott's Man on Fire, as a bodyguard who carves a bloody swath of vengeance, attempting to rescue a little girl kidnapped under his watch. Washington made no major onscreen appearances in 2005 -- and indeed, kept his activity during 2006 and 2007 to an absolute minimum. In '06, he joined the cast of Spike Lee's thriller Inside Man as a detective assigned to thwart the machinations of a psychotically cunning burglar (Clive Owen). The film opened to spectacular reviews and box-office grosses in March 2006, keeping Washington on top of his game and bringing Lee (whose last major feature was the disappointing 2004 comedy She Hate Me) back to the pinnacle of success. That same year, Washington joined forces once again with Tony Scott in the sci-fi action hybrid Déjà Vu, as an ATF agent on the trail of a terrorist, who discovers a way to "bridge" the present to the past to view the details of a bomb plot that unfolded days earlier. The Scott film garnered a fair number of respectable reviews but ultimately divided critics. Déjà Vu bowed in the U.S. in late November 2006. Meanwhile, Washington signed on for another action thriller, entitled American Gangster -- this time under the aegis of Tony Scott's brother Ridley -- about a drug-dealing Mafioso who smuggles heroin into the U.S. in the corpses of deceased Vietnam veterans.Washington appeared as New York City subway security chief Walter Garber in the 2009 remake of the 1974 thriller The Taking of Pelham One Two Three, and begun filming the post-apocalyptic drama The Book of Eli in the same year. He earned a Best Actor nomination in 2012 for his work as an alcoholic pilot in Robert Zemeckis' drama Flight.

Trivia: After seriously pursuing a baseball career, African American actor/writer/director Robert Townsend decided upon a life in show business. An alumnus of Illinois State University and Hunter College, Townsend worked as a stand-up comic, and with such organizations as Second City, the Negro Ensemble Theater and the Experimental Black Actor's Guild. In films from 1975, Townsend satirically encapsulated his frustrating experiences as a black performer in a white-dominated Hollywood with his first directorial effort, Hollywood Shuffle (1987), a labor of love which was largely financed with credit cards and chutzpah. He went on to direct the popular concert film Eddie Murphy Raw (1987), then tripled as actor, director and writer on The Five Heartbeats (1991) and Meteor Man (1993). Attempting to transfer his style and personality to the small screen, Townsend came up with the 1993 Fox Network variety weekly Townsend Television, which despite laudatory reviews folded after three months. Robert Townsend had better luck as star and co-executive producer of the WB network's The Parent 'Hood, a distressingly conventional 1995 sitcom which somehow caught on with its target audience.

Trivia: Born into a theatrical family, British actor James Fox made his film bow as a child actor in 1950, using his own name, William Fox. Fox's first movie was The Miniver Story (1950), a Hollywood-financed sequel to 1942's Mrs. Miniver. The best of the actor's earliest appearances was in The Magnet (1950), in which 11-year-old Fox played a fun-loving young boy at play with his mates. Fox changed his first name to James when he began assuming adult roles in the early 1960s, a period in which he played upper-class types. It was in one of these roles that Fox appeared with Dirk Bogarde in the brooding, Freudian Harold Pinter drama The Servant (1963); that same year, Fox appeared in the "angry young man" exercise The Loneliness of the Long Distance Runner, which starred Tom Courtenay With his Servant vis-a-vis Sarah Miles, Fox headlined an international cast in the comedy extravaganza Those Magnificent Men in Their Flying Machines (1965). Fox continued in films into the 1980s, generally in class-"A" items like A Passage to India (1984) and The Russia House (1989). Fox continues to play old-blood aristocrats in films, most recently as the foolishly fascistic lord of the manor in Remains of the Day (1993); he also appeared in Mrs. Parker and the Vicious Circle (1994) and Heart of Darkness (1994).

Trivia: Mimi Rogers spent her youth moving around with her family to various parts of the U.S. and England; she settled in Los Angeles. Graduating from high school at age 14, she became involved with community work and working with drug addicts, Vietnam vets, and the mentally retarded. She didn't begin acting until her early 20s. Rogers debuted onscreen in Blue Skies Again (1983) as the manager of a girl who wants to join a baseball team. She didn't make another film for three years, meanwhile working extensively on TV; she had regular roles on the TV series "Paper Dolls" and "The Rousers," made guest appearances on a number of shows, and appeared in a few TV movies. She began making her reputation as a screen actress with her portrayal of a Manhattan heiress in Ridley Scott's Someone to Watch Over Me (1987), her fourth film. Most of her films have been unsuccessful, and she has yet to attain star status. For three years she was married to actor Tom Cruise.

Trivia: Rarely garnering a lead role, M. Emmet Walsh has become one of the busiest character actors in Hollywood, using his ruddy, seedy appearance to embody countless low-life strangers with unsavory agendas. In his rare sympathetic roles, he's also capable of generating genuine pathos for the put upon plight of struggling small-timers. His effortless portrayals have made him a welcome addition to numerous ensembles, even if many viewers can't match a name to his recognizable mug. In fact, his work is so well thought of that critic Roger Ebert created the Stanton-Walsh Rule, which states that no film featuring either Walsh or Harry Dean Stanton can be altogether bad.Contrary to his frequent casting as a Southerner, Walsh is a native New Yorker, born on March 22, 1935, in Ogdensburg, NY. As a youth he attended the prestigious Tilton School in New Hampshire, and went on to share a college dorm room with actor William Devane. He graduated from the Clarkson University School of Business, but it was not until his thirties that he discovered his true calling: acting. He first popped up in Midnight Cowboy (1969), and has worked steadily ever since, some years appearing in as many as eight motion pictures, other years focusing more on TV movies. Working in relative anonymity through the '70s and early '80s, appearing in films ranging from Serpico (1973) to Slapshot (1977) to Blade Runner (1982), Walsh landed his meatiest and most memorable role in Joel and Ethan Coen's remarkable debut, Blood Simple (1984). Without batting an eye, Walsh exuded more casual menace as the amoral private detective doggedly pursuing his own self-interest than a host of typecast villains could muster in their entire careers. His role was key to creating a stylish noir that would launch the careers of two modern masters. It earned him an Independent Spirit Award.Blood Simple did not markedly alter Walsh's status as a supporting actor, as he went on to appear in this capacity in Fletch (1985), Back to School (1986), and Raising Arizona (1987), his next collaboration with the Coens, in which his bull-slinging machinist scores riotously with less than a minute of screen time. One of the first appearances of the kindly Walsh was in 1988's Clean and Sober, in which he plays a recovering alcoholic helping Michael Keaton through the same struggle.As he crept into his late fifties and early sixties, the stature of Walsh's films diminished a little, if not his actual workload. Continuing to dutifully pursue his craft throughout the early '90s, Walsh again returned to a higher profile with appearances in such films as A Time to Kill (1996), William Shakespeare's Romeo + Juliet (1996), and My Best Friend's Wedding (1997). More as a reaction to the ineptitude of the movie than Walsh's performance, Ebert called into question his own Walsh-Stanton Rule in his review of Wild Wild West, the 1999 Will Smith-Kevin Kline debacle in which Walsh is one of the only tolerable elements. In the years to come, Walsh would remain active on screen, appearing in films like Youth in Revolt and providing the voice of Olaf on the animated series Pound Puppies.

Trivia: Black supporting actor Art Evans appeared onscreen in the '70s and '80s.

Trivia: The ninth in a family of 18 children, Esther Rolle left her family's Florida home for New York once she came of age. She worked her way through Hunter College, Spellman College and the New School for Social Research. Even after her 1962 New York stage debut in The Blacks, Esther was compelled to hold down a day job in the city's garment district. She appeared in such Broadway productions as The Crucible and Blues for Mr. Charlie, and toured extensively with Robert Hooks' Negro Ensemble Company. Her breakthrough role was Florida the maid in the 1972 Norman Lear sitcom Maude. Though she balked at playing a domestic, Rolle was impressed by Florida's independence and pugnaciousness. In February of 1973, the Florida character was spun off into her own series, Good Times, the saga of a tightly-knit black family surviving in the Chicago projects. Rolle welcomed the series as an opportunity to depict a poor but proud African-American family with a strong father figure (played by John Amos) at the center. But when Amos, upset that co-star Jimmie "J.J." Walker was dominating the series, left Good Times in 1974, Rolle echoed the words of such groups as the National Black Media Coalition in chastising the renovated series, wherein an irresponsible, wisecracking teenaged cut-up was now "head" of the household. When her contract ran out in 1977, Esther joined John Amos in bolting Good Times. After a year of pursuing other projects -- one of which, the made-for-TV film Summer of My German Soldier, won Rolle an Emmy -- she was back on Good Times, having been assured that she would be given full script approval and that the J.J. character had matured. But by this time, audiences had wearied of Good Times, and the series was cancelled in 1979. Since that time, Rolle has hardly wanted for work: her most recent credits include the strong role of Idella in the 1989 Oscar-winner Driving Miss Daisy, the starring part of the black owner of a Jewish deli in the 1990 sitcom Singer and Son, and a guest appearance as the dying Mammy in the 1994 Gone with the Wind sequel Scarlet. In addition, Esther Rolle has been nominated honorary chairperson of the President's Committee on the Employment of the Handicapped, and has been honored with several Image Awards from the NAACP.

Trivia: During the 1960s, actor Norman Beaton ranked among Britain's premiere black theatrical actors. Born in the British West Indies, Beaton immigrated to the U.K. in 1960. In the 1970s, he launched his television career with a starring role in the long-running series The Fosters (1970). In 1978, he starred in the series Empire Road. Other series work followed and he made his feature film debut with a supporting role in Pressure (1976). After that, he only periodically appeared in feature films. Beaton made his final film appearance in The Mighty Quinn (1989).

Trivia: Supporting actor Alex Colon launched his film career in the early 1970s appearing in dramas ranging from religious tract The Cross and the Switchblade (1970), to the gentle comedy Harry and Tonto (1974), to the fact-based made-for-TV actioner Raid on Entebbe (1977). Colon made his final film appearance in The Getaway (1994). Born and raised in Puerto Rico, Colon moved to New York to become a stage actor in 1970. He made his Broadway debut playing a mouthy delivery boy in Neil Simon's drama The Gingerbread Lady in 1970. In addition to acting, Colon directed the occasional theatrical production in New York, Southern California and Puerto Rico.

Trivia: American actress Tyra Ferrell has worked on stage, television and in film. In the latter she gained favorable notice playing opposite John Turturro in Jungle Fever and as the mother who plays favorites in Boyz N the Hood (both 1991).

Trivia: A prolific stuntman turned high-profile second-unit action director and, ultimately, feature filmmaker, California native David R. Ellis got his start in cinema as an actor before discovering that his high threshold for pain and addiction to adrenaline made him the ideal candidate for a career in stunt work. There are few things Ellis hasn't accomplished in the realm of film, and with over three decades of experience to his credit, he's worked for and with some of the biggest names in the business. Of course when you've performed motorcycle stunts in a Bruce Lee flick (Game of Death), taken a bullet for Al Pacino (Scarface), and been blasted by lasers in the biggest sci-fi franchise in entertainment history (Star Trek V: The Final Frontier), where else to go for a little relief but the other side of the camera?Though he may not be launching himself through windows or diving off of buildings anymore, Ellis certainly can't be accused of mellowing with age when he's got such thrill-ride directorial credits as Final Destination 2, Cellular, and Snakes on a Plane under his belt. Ellis was only 19 years old when he first got his start in stunts, and as he racked up an impressive list of credits in a series of hits including Invasion of the Body Snatchers, Smokey and the Bandit II, Taps, and The Beastmaster, he would simultaneously appear onscreen in such efforts as Rocky III, The Mighty Quinn, and Blind Fury. While his acting career would end right around the time he began to hit his stride as one of the most reliable second-unit directors in Hollywood, Ellis still had stunt work in his blood and continued to work as a stunt coordinator until 1996's Harriet the Spy. A landmark year for the aspiring filmmaker, 1996 also marked the time when Ellis would put years of second-unit experience to the ultimate test as he assumed directorial duties for the kid-friendly sequel Homeward Bound II: Lost in San Francisco. Though he had indeed worked on the occasional children's films in the past, Ellis could hardly be considered a specialist in that arena, and he would subsequently return to second work to refine his skills as a director for the better part of a decade; a successful move that ultimately culminated in an impressive trio of credits (Harry Potter and the Sorcerer's Stone, The Matrix Reloaded, and Master and Commander: The Far Side of the World).His confidence at an all-time high and his knowledge of film now encompassing virtually every aspect of production, Ellis was now ready to strike out on his own as a director. When New Line Cinema approached Ellis with the prospect of a two-picture deal that included the continuation their Final Destination franchise, he readily agreed; the result was the gore-drenched hit Final Destination 2. A wild ride highlighted by a series of elaborate, Rube Goldberg-style deaths and giddy tension, Final Destination 2 proved a worthy enough sequel to carry on the series while baring all the signs of a director confident enough in his skills to have a bit of fun with the wild source material. Though his second film for New Line, the Larry Cohen-scripted nail-biter Cellular, didn't make much of an impression at the box office, a healthy run on home video gave viewers the opportunity of finding a hidden gem that maintained an impressive amount of tension throughout its lean, 94-minute running time. By this point it was obvious that Ellis was skilled at delivering thrills to theatergoers, and his fourth film as a director, the irresistibly titled Snakes on a Plane, would easily be one of the most talked-about films of 2006. Initially set up at Paramount with MTV Films, Snakes on a Plane was scripted before the terror attacks of September 11, 2001, and later shelved due to lingering sensitivities about the tragedy. Eventually revived with Freddy Vs. Jason director Ronny Yu at the helm, Snakes on a Plane would ultimately go before the camera under the eye of Ellis when Yu bowed out due to "creative differences." Though Snakes on a Plane was originally envisioned as an over-the-top, R-rated action thriller, the prospect of gaining a larger viewing audience momentarily prompted an indecisive New Line Cinema to nudge the production towards PG-13 territory before word of mouth and a slick advertising campaign forced them to reconsider. With a series of re-shoots subsequently scheduled to ramp up the violence, nudity, and language, it appeared as if Ellis had finally been permitted to shoot the film that would truly live up to its outrageous title.He went on to deliver haunted mental hospital spooks in the direct-to-video outing, The Asylum, but moved back to the big screen for his return to the Final Destination series, as well as swimming in the fin-filled waters with Shark Night. In 2013, he was in South Africa in pre-production on an American remake of the celebrated anime, Kite, when he was found dead in his hotel room at the age of 60.

Trivia: Was adopted by Bob Marley in 1966. Was a member of Ziggy Marley and the Melody Makers with three of her siblings. Managing director of a child care facility in Jamaica called Total Care Learning Centre.

Trivia: Writes picture books based on songs written by her father, Bob Marley. Has her own clothing line called Catch a Fire. Launched a beverage company with her siblings called Marley's Beverage Company. Designed the Olympic uniforms for the Jamaican team at the 2012 Olympics. Part of the reggae group Ziggy Marley and the Melody Makers.

Trivia: Raised in the Kingston, Jamaica, ghetto known as Trench Town by her aunt after her parents separated when she was 5. Won the "Lannaman's Children's Hour" talent show as a child with her rendition of Mario Lanza's "The Lord's Prayer." Wanted to become a nurse, but had to drop out of nursing school due to an unplanned pregnancy. Became friendly with Bob Marley after her group, the Soulettes, was signed to the same label as the Wailers, Studio One. The friendship eventually bloomed into love and they married in 1966. Dealt with his infidelity for much of their 15-year marriage; and, in fact, helped raise many of the children born from those dalliances. Joined the I-Threes, which also featured Judy Mowatt and Marcia Griffiths, in 1974. They provided backup vocals for the Wailers after Peter Tosh and Bunny Wailer left the band. Survived a 1976 assassination attempt on her husband by gunmen hoping to disrupt a unity concert in Jamaica at a time when political tensions were heated there. They were both wounded, but still went on with the show. Started the Bob Marley Foundation, which helps people and organizations in developing countries, after her husband's 1981 death from cancer.