Trivia: One of the few movie "superstars" truly worthy of the designation, actor Sean Connery was born to a middle-class Scottish family in the first year of the worldwide Depression. Dissatisfied with his austere surroundings, Connery quit school at 15 to join the navy (he still bears his requisite tattoos, one reading "Scotland Forever" and the other "Mum and Dad"). Holding down several minor jobs, not the least of which was as a coffin polisher, Connery became interested in bodybuilding, which led to several advertising modeling jobs and a bid at Scotland's "Mr. Universe" title. Mildly intrigued by acting, Connery joined the singing-sailor chorus of the London roduction of South Pacific in 1951, which whetted his appetite for stage work. Connery worked for a while in repertory theater, then moved to television, where he scored a success in the BBC's re-staging of the American teledrama Requiem for a Heavyweight. The actor moved on to films, playing bit parts (he'd been an extra in the 1954 Anna Neagle musical Lilacs in the Spring) and working up to supporting roles. Connery's first important movie role was as Lana Turner's romantic interest in Another Time, Another Place (1958) -- although he was killed off 15 minutes into the picture. After several more years in increasingly larger film and TV roles, Connery was cast as James Bond in 1962's Dr. No; he was far from the first choice, but the producers were impressed by Connery's refusal to kowtow to them when he came in to read for the part. The actor played the secret agent again in From Russia With Love (1963), but it wasn't until the third Bond picture, Goldfinger (1964), that both Connery and his secret-agent alter ego became a major box-office attraction. While the money steadily improved, Connery was already weary of Bond at the time of the fourth 007 flick Thunderball (1965). He tried to prove to audiences and critics that there was more to his talents than James Bond by playing a villain in Woman of Straw (1964), an enigmatic Hitchcock hero in Marnie (1964), a cockney POW in The Hill (1965), and a loony Greenwich Village poet in A Fine Madness (1966). Despite the excellence of his characterizations, audiences preferred the Bond films, while critics always qualified their comments with references to the secret agent. With You Only Live Twice (1967), Connery swore he was through with James Bond; with Diamonds Are Forever (1971), he really meant what he said. Rather than coast on his celebrity, the actor sought out the most challenging movie assignments possible, including La Tenda Rossa/The Red Tent (1969), The Molly Maguires (1970), and Zardoz (1973). This time audiences were more responsive, though Connery was still most successful with action films like The Wind and the Lion (1974), The Man Who Would Be King (1975), and The Great Train Robbery (1979). With his patented glamorous worldliness, Connery was also ideal in films about international political intrigue like The Next Man (1976), Cuba (1979), The Hunt for Red October (1990), and The Russia House (1990). One of Connery's personal favorite performances was also one of his least typical: In The Offence (1973), he played a troubled police detective whose emotions -- and hidden demons -- are agitated by his pursuit of a child molester. In 1981, Connery briefly returned to the Bond fold with Never Say Never Again, but his difficulties with the production staff turned what should have been a fond throwback to his salad days into a nightmarish experience for the actor. At this point, he hardly needed Bond to sustain his career; Connery had not only the affection of his fans but the respect of his industry peers, who honored him with the British Film Academy award for The Name of the Rose (1986) and an American Oscar for The Untouchables (1987) (which also helped make a star of Kevin Costner, who repaid the favor by casting Connery as Richard the Lionhearted in Robin Hood: Prince of Thieves [1991] -- the most highly publicized "surprise" cameo of that year). While Connery's star had risen to new heights, he also continued his habit of alternating crowd-pleasing action films with smaller, more contemplative projects that allowed him to stretch his legs as an actor, such as Time Bandits (1981), Five Days One Summer (1982), A Good Man in Africa (1994), and Playing by Heart (1998). Although his mercurial temperament and occasionally overbearing nature is well known, Connery is nonetheless widely sought out by actors and directors who crave the thrill of working with him, among them Harrison Ford, Steven Spielberg, and George Lucas, who collaborated with Connery on Indiana Jones and the Last Crusade (1989), where the actor played Jones' father. Connery served as executive producer on his 1992 vehicle Medicine Man (1992), and continued to take on greater behind-the-camera responsibilities on his films, serving as both star and executive producer on Rising Sun (1993), Just Cause (1995), and The Rock (1996). He graduated to full producer on Entrapment (1999), and, like a true Scot, he brought the project in under budget; the film was a massive commercial success and paired Connery in a credible onscreen romance with Catherine Zeta-Jones, a beauty 40 years his junior. He also received a unusual hipster accolade in Trainspotting (1996), in which one of the film's Gen-X dropouts (from Scotland, significantly enough) frequently discusses the relative merits of Connery's body of work. Appearing as Allan Quartermain in 2003's comic-to-screen adaptation of The League of Extraordinary Gentlemen, the seventy-three year old screen legend proved that he still had stamina to spare and that despite his age he could still appear entirely believeable as a comic-book superhero. Still a megastar in the 1990s, Sean Connery commanded one of moviedom's highest salaries -- not so much for his own ego-massaging as for the good of his native Scotland, to which he continued to donate a sizable chunk of his earnings.

Trivia: New Zealander Anna Paquin made her stage bow in the coveted role of a skunk in a grade school play. After attracting attention for her work in a TV commercial, Paquin was selected from some 5,000 applicants to portray Holly Hunter's precocious daughter in director Jane Campion's dour period piece The Piano. The film was completed in 1992 when Paquin was nine. She kept busy for the next year or so in a series of American TV ads for a computer company, portraying an androgynous "young DaVinci" type. In 1994, an amazed 11-year-old Paquin rushed on the stage of the Dorothy Chandler Pavillion to accept the best supporting actress award for her performance in The Piano. Paquin played her first adult role in Hurly Burly (1998).

Trivia: American actor Michael Nouri is best known for his performance as Ben Hurley in the 1983 hit film Flashdance. Though he has been gainfully employed as a film actor, Nouri has been busier on television. He played the title role in the 1986 TV movie Quiet Victory: The Charlie Wedemeyer Story, and was heard as one of the "star voices" on the daily syndicated cartoon series Challenge of the Gobots (1986). In the realm of daytime drama, Nouri was seen on a regular basis in Search for Tomorrow and Somerset. Michael Nouri has also starred in several prime time TV series, few of which survived past season one: He played amorous voice teacher Giorgio Balanci on Beacon Hill (1975), a handsome 500-year-old vampire on Cliffhangers (1979), Lucky Luciano on The Gangster Chronicles (1981), minor league baseball manager Joe Rohner in Bay City Blues (1983), and detective Joe Forney on Downtown (1986).

Trivia: Classically trained actor Richard Easton honed his most enduring reputation as a theatrical performer. A native of Montréal, Québec, Easton grew up as the son of a civil engineer and began prolific stage work in the late '40s in dozens of productions, including King Lear, Measure for Measure, Othello, and many other fixtures from the classical repertoire, with (as that brief list indicates) the strongest emphasis on Shakespeare. Various ensembles with which the thespian became affiliated over the years included the Stratford Festival, the Edinburgh Festival, and the Association of Performing Artists' Repertory Company. Easton also did extensive television work in Great Britain, with a particularly memorable run as Captain Stapley on Doctor Who, then placed a heightened emphasis on features in the late '80s; the actor's cinematic accomplishments include teaming up with fellow Shakespeare veteran Kenneth Branagh twice, for Henry V (1989) and Dead Again (1991); starring opposite Sean Connery and F. Murray Abraham in Gus Van Sant's Finding Forrester (2000); and playing Howard Givings in Sam Mendes' period drama of 1950s suburban dysfunction, Revolutionary Road (2008).

Trivia: A Brooklyn native, the model-turned-actor Glenn Fitzgerald began his career by doing print ads for such brands as Calvin Klein, then segued into dramatic work in the mid-'90s. Fitzgerald debuted on film with Lisa Krueger's finely wrought Sundance Festival drama Manny & Lo (1996), but his sophomore effort, David O. Russell's Gen-X comedy Flirting With Disaster, marked his watershed moment. The actor's neat comic turn in that film as Lily Tomlin and Alan Alda's acid-pushing son finally made audiences sit up and take notice and virtually established Fitzgerald's career. As a result, he spent the following decade among the casts of the hottest independent and studio-driven American films. These included Ang Lee's The Ice Storm (as the young man at a "key drop" party who attracts the attention of adulterous housewife Sigourney Weaver), The Sixth Sense (1999), 40 Days and 40 Nights (2002), and Igby Goes Down (2002). Fitzgerald made a particularly strong impression in the satire Series 7: The Contenders (2001), as the participant of a twisted reality television show who harbors an extreme desire to end his life. On the small screen, Fitzgerald occasionally worked as a guest actor, appearing on such series as Six Feet Under and Law & Order. In 2007, he scored a regular prime-time role on the soapy drama Dirty Sexy Money, playing Episcopalian priest Brian Darling, a member of the incredibly wealthy Darling clan, who lives a less than holy life, including fathering a secret illegitimate child.

Trivia: Made his TV debut in Robert Altman's 1988 political satire Tanner '88, co-starring Sex and the City's Cynthia Nixon. First feature-film appearance was a small role in 1989 dramedy The Unbelievable Truth, which also featured The Sopranos' Edie Falco in a bit part. Has appeared on numerous police-themed shows, including Law & Order, Law & Order: Special Victims Unit, NCIS, NYPD Blue, Third Watch and Without a Trace. Wife Cas is an assistant director; the two have worked on several films together.

Trivia: One who graduated from obscure actor to Hollywood icon in just a few years, Matt Damon became an instant sensation when he co-wrote and starred in Good Will Hunting with longtime buddy and collaborator Ben Affleck. A native of Cambridge, Massachusetts, where he was born on October 8, 1970, Damon grew up in prosperous surroundings with his tax preparer father, college professor mother, and older brother. At the age of ten, he befriended Affleck, a boy two years his junior who lived down the street. Educated at Cambridge's Rindge and Latin School, Damon landed his first role in a Hollywood production before the age of 18, with a one-scene turn in Mystic Pizza (1988). Not long after, Damon gained acceptance to Harvard University, where he studied for three years before dropping out to pursue his acting career. During his time there, he had to write a screenplay for an English class, that served as the genesis of Good Will Hunting. Arriving in Hollywood, Damon scored his first big break with a plum role in School Ties opposite Affleck. As the film was a relative flop, Damon's substantial role failed to win him notice, and he was back to laboring in obscurity. It was around this time, fed up with his Hollywood struggles, that Damon contacted Affleck, and the two finished writing the former's Harvard screenplay and began trying to get it made into a film. It was eventually picked up by Miramax, with Gus Van Sant slated to direct and Robin Williams secured in a major role, opposite Damon as the lead. Before Good Will Hunting was released in late 1997, Damon won some measure of recognition for his role as a drug-addicted soldier in Courage Under Fire; various industry observers praised his performance and his dedication to the part, for which he lost forty pounds and suffered resulting health problems. Any praise Damon may have received, however, was overshadowed the following year by the accolades he garnered for Good Will Hunting. His Oscar nomination for Best Supporting Actor, Best Screenplay win alongside Damon, and strong performance in the film virtually guaranteed industry adulation and steady employment, a development that became readily apparent the following year with lead roles in two major films. The first, John Dahl's Rounders, cast Damon as a card shark with a serious gambling addiction, who risks his own personal safety when he becomes entangled with a reckless loser buddy (Edward Norton). Damon's second film in 1998, Steven Spielberg's Saving Private Ryan, brought him even greater recognition. As Ryan's title character, Damon headlined an all-star line-up and received part of the lavish praise heaped on the film and its strong ensemble cast. The following year, Damon signed for leads in two more highly anticipated films, Anthony Minghella's The Talented Mr. Ripley and Kevin Smith's Dogma. The former cast the actor against type as the title character, a psychotic bisexual murderer, with a supporting cast that included Cate Blanchett, Jude Law, and Gwyneth Paltrow. Dogma also allowed Damon to cut against the grain of his nice-guy persona by casting him as a fallen angel. One of the year's more controversial films, the religious comedy reunited him with Affleck, as well as Smith, who had cast Damon in a bit role in his 1997 film, Chasing Amy. Damon next delivered noteworthy performances in a pair of low-grossing, low-key dramas, The Legend of Bagger Vance and All the Pretty Horses (both 2000), before appearing in director Steven Soderbergh's blockbuster remake of the Rat Pack classic Ocean's Eleven the following year. 2002 found the actor vacillating between earnest indie projects and major Hollywood releases. Behind the camera, Damon joined forces with filmmaker Chris Smith for the Miramax-sponsored Project Greenlight, a screenplay sweepstakes that gave the winner the opportunity to make a feature film and have the process recorded for all to see on an HBO reality series of the same name. Toward the end of 2001, Damon scored a box office triumph with director Doug Liman's jet-setting espionage thriller The Bourne Identity. With this effort, Damon proved once again that he could open a film with just as much star power as his best friend and colleague. Better yet, Bourne reinforced Damon's standings with the critics, who found his performance understated and believable. The press responded less favorably, however, to Damon's reunion project with Van Sant, the experimental arthouse drama Gerry (2003). Also in 2003, Damon starred opposite Greg Kinnear in the Farrelly Brothers' broad comedy Stuck On You, as the shy half of a set of conjoined twins.In 2004, Damon reprised the role of Jason Bourne in The Bourne Supremacy. As the actor's biggest leading-man success to date, it reinforced Damon's continued clout with audiences. Staying on the high-powered sequel bandwagon, he reunited with Brad Pitt and George Clooney for the big-budget neo-rat pack sequel Ocean's Twelve later that year. 2005 was somewhat lower-key for the actor, as he toplined Terry Gilliam's disappointing The Brothers Grimm and joined the sprawling ensemble of Syriana. After working seemingly non-stop for a few years, Damon claimed only a call from Martin Scorsese would get him to give up his resolve to take some time off. Sure enough, that call came. The Departed, an American remake of the Hong Kong mob-mole thriller Infernal Affairs, co-starred Jack Nicholson and Leonardo DiCaprio. Playing the squirmy, opportunistic cop to DiCaprio's moral, tormented mobster, Damon underplayed his part to perfection while holding his own opposite his two co-stars. Damon then took the lead role in the Robert De Niro-directed CIA drama The Good Shepherd. In 2007, the actor once again returned to box office franchises for the sequels Ocean's Thirteen and The Bourne Ultimatum, the latter of which netted him -- by far -- the largest opening-weekend take of his career to that point. 2009 was another great year for the hard-working star. His turn as the unstable federal informant in Steven Soderbergh's wicked comedy The Informant! earned him rave reviews, and his supporting work in Clint Eastwood's Invicus, as the leader of the South African rugby team, earned Damon nominations from the Golden Globes, the Screen Actors Guild, and the Academy. In 2010 he reteamed with Eastwood for the supernatural drama Hereafter, and continued working with the best filmmakers of his time by landing a supporting role in the Coen brothers remake of True Grit. Meanwhile, Damon tried his hand at small screen work with a memorable recurring role as Carol, an airline pilot and sometime boyfriend of Liz Lemon, on the NBC situation comedy 30 Rock and a lauded turn opposite Michael Douglas' Liberace in the TV movie Behind the Candelabra. Damon had long since established himself as an A-list movie star, however, and would continue to star in big screen projects for years to come, including notable titles like Contagion, The Adjustment Bureau, and We Bought a Zoo. Damon next turned in performances in three films set in outer space: Neill Blomkamp's Elysium (2013), a supporting role in Christopher Nolan's Interstellar (2014) and an Oscar-nominated spin in Ridley Scott's The Martian (2015).

Trivia: Bearing remarkable talent and the looks of a dyed-in-the-wool riot grrl, Alison Folland has made a distinct impression on audiences and critics with performances in only a handful of films. A native of Boston, where she was born August 10, 1978, Folland acted throughout her childhood and got her first big break in 1995, when she auditioned for Gus Van Sant's To Die For. She auditioned as part of a joke with some friends, and was thus more than a little surprised when she found out she had been cast as one of the three social outcasts (the other two being Casey Affleck and Joaquin Phoenix) whom a murderous weathergirl (Nicole Kidman) attempts to fashion into her protégés. Although the role was a supporting one, Folland managed to stand out, and after appearing in Barbet Schroeder's Before and After in 1996, she landed her first lead in All Over Me in 1997. The film was a hit on the independent circuit, and Folland, playing a teenager coming out and coming of age in Hell's Kitchen, won praise for her subtle, poignant performance. That same year, she gained further--if limited--exposure with a bit part in Van Sant's Good Will Hunting (which also featured fellow To Die For alum Casey Affleck). In 1999, Folland again got a chance to demonstrate her talent with a role in Kimberley Peirce's Boys Don't Cry, which had its premiere at the New York Film Festival.

Trivia: Born in Ontario, Canada, Alex Trebek found a career in television right out of college reporting news for the CBC. He eventually began hosting game shows, a job that fit his on-air skills with ease. Over the years, he hosted a number of programs including Battlestars, Double Dare, High Rollers, and Concentration. He rose to fame as the host of the nationally syndicated version of Jeopardy! that first hit the airwaves in 1984, becoming such a cultural icon that he was parodied by Will Ferrell on Saturday Night Live and was cast as a man in black on an episode of The X-Files. Among other duties, Trebek often acted as host of the National Geography Bee, a contest to find the youngster in America who knows the most about geography.

Trivia: A director who is capable of crafting both deeply unconventional independent films and mainstream crowd-pleasers, Gus Van Sant has managed to carve an enviable niche for himself in Hollywood. In the years that followed his debut in 1985 with Mala Noche, Van Sant established himself as one of the most vital directorial voices in the U.S.The son of a traveling salesman who rapidly worked his way up the corporate ladder into middle-class prosperity, Van Sant was born in Louisville, KY, on July 24, 1952. Due to his father's job, the family moved continuously during Van Sant's childhood. One constant in the director's early years was his interest in painting and Super-8 filmmaking; while still in school he began making semi-autobiographical shorts costing between 30 and 50 dollars. Van Sant's artistic leanings took him to the Rhode Island School of Design in 1970, where his introduction to various avant-garde directors inspired him to change his major from painting to cinema.After spending time in Europe, Van Sant went to Los Angeles in 1976. He became fascinated by the down-and-out residents of L.A., especially in context with the more ordinary, prosperous world that surrounded them; his film Mala Noche (1985) would reflect his observation of these societal outcasts.Mala Noche was made two years after Van Sant went to New York to work in an advertising agency; saving 25,000 dollars during his tenure there, he was able to finance his tale of doomed love between a gay liquor store clerk and a Mexican immigrant. The film, which was taken from Portland street writer Walt Curtis's semi-autobiographical novella, featured some of the director's hallmarks, notably an unfulfilled romanticism, a dry sense of the absurd, and the refusal to treat homosexuality as something deserving of judgment. Shot in black-and-white, Mala Noche earned its director almost overnight acclaim on the festival circuit, with the Los Angeles Times naming it the year's Best Independent Film. The film's success attracted Hollywood interest, and Van Sant was briefly courted by Universal; the courtship ended after Van Sant pitched a series of project ideas (including what would later become Drugstore Cowboy and My Own Private Idaho) that the studio declined to take interest in. Van Sant reacted by moving to Portland, Oregon, where he set up house and began giving life to the ideas rejected by Universal.With the assistance of independent production company Avenue, the director made Drugstore Cowboy, his 1989 film about four drug addicts who rob pharmacies to support their habit. Cowboy met with great critical success; in addition to furthering Van Sant's reputation as a gifted director, it helped to revive the career of Matt Dillon, who was remarkable as the junkie leader who decides to come clean. The similarly acclaimed My Own Private Idaho (1991) centered around the dealings of two male hustlers (played by River Phoenix and Keanu Reeves), and was a compelling examination of unrequited love, alienation, and the concept of family. The film won him an Independent Spirit Award for his screenplay (he had won the same award for his Drugstore Cowboy screenplay), as well as greater prestige. Van Sant's next project, a 1994 adaptation of Tom Robbins' Even Cowgirls Get the Blues, was an excessive flop, both commercially and critically. Featuring an unusually large budget (for Van Sant, at least) of 8.5 million dollars and a large, eclectic cast including Uma Thurman, John Hurt, and Keanu Reeves, the film was worked and then reworked, but the finished product nonetheless resulted in something approaching a significant disaster. Fortunately for Van Sant, his next project, 1995's To Die For, helped to restore his luster. An adaptation of Joyce Maynard's novel, the black comedy starred Nicole Kidman as a murderously ambitious weather girl. It was Van Sant's first effort for a major studio (Columbia), and its success paved the way for further projects of the director's choosing. The same year, he served as executive producer for Larry Clark's Kids; it was a fitting assignment, due to both the film's subject matter and the fact that Clark's photographs of junkies had served as reference points for Van Sant's Drugstore Cowboy. In 1997 came true mainstream acceptance for the director, thanks to Good Will Hunting. Starring and written by Matt Damon and Ben Affleck, the film -- about a troubled, blue-collar genius -- was a huge critical and commercial success. In addition to taking in more than 220 million dollars worldwide, it received a number of Academy Award nominations, including a Best Director nomination for Van Sant. It won a Best Screenplay Oscar for Damon and Affleck, and a Best Supporting Actor Oscar for Robin Williams. The unprecedented success of Good Will Hunting allowed Van Sant to pursue whatever project his heart desired, which ended up being an unusually faithful remake of the Alfred Hitchcock classic Psycho. As opposed to reinterpreting the 1960 film, however, Van Sant opted to recreate the film shot-for-shot, in color, with a cast of young Hollywood A-listers. His decision was met with equal parts curiosity, skepticism, and derision from industry insiders and outsiders alike, and the finished result met with a similar reception. Van Sant fared somewhat better with 2000's Finding Forrester, a drama about a high-school student from the Bronx (Rob Brown) who becomes unlikely friends with a crusty, reclusive author (Sean Connery). Critical response was mixed but generally positive, singling out Van Sant's skill at melding the performance styles of first-time actor Brown and Hollywood legend Connery; however, those same reviewers were less impressed with the script's schematic, Scent of a Woman-meets-Good Will Hunting template.In any event, Van Sant decided to leave behind big-budget studio filmmaking for his next two features. Inspired by the works of Hungarian director Bela Tarr and American maverick John Cassavetes, Van Sant retreated to the deserts of Argentina, Utah, and Death Valley for 2002's Gerry, a loosely devised, largely improvised feature in which stars Matt Damon and Casey Affleck wander through the desert, discussing Wheel of Fortune, video games, and nothing in particular. Premiering at the Sundance Film Festival, the film earned as much derision as it did praise, polarizing audiences with its elliptical storyline.It took Gerry over a year to make it to theaters, in which time Van Sant began production on his next film, the controversial Elephant. Approached by HBO and producer Diane Keaton to craft a fictional film based on the 1999 Columbine High School massacre, the director chose to shoot in his hometown of Portland, employing dozens of untrained teen actors to chronicle an "ordinary" high-school day. Melding improvisational long takes like those in Gerry with Savides' fluid camerawork, the finished film provoked strong reactions from audiences at the 2003 Cannes Film Festival, who either embraced or rejected Van Sant's aesthetic decision not to offer a definitive rationale for his characters' homicidal tendencies. 2008 saw the release of two more Van Sant films: Paranoid Park and Milk. Paranoid Park was a small film utilizing a largely on-professional cast, but Milk signified a resounding return to commercial filmmaking. Many directors tried to get the life story of slain San Francisco politician Harvey Milk to the big screen, but it was Van Sant who finally pulled it off. The film, starring Sean Penn as Milk, opened to strong reviews, and garnered a number of year-end awards including eight Oscar nominations. In addition to Best Picture, Best Original Screenplay, and Best Actor nods, the Academy bestowed Van Sant's with the second Best Director nomination of his career. In 2011, Van Sant returned to the director's chair for the unusual fantasy Restless, with Mia Wasikowska and Henry Hopper as a couple whose paths intersect with the ghost of a WWII kamikaze pilot.