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: 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: Tall and handsome in a meat-eating sort of way, Ben Affleck has the looks of a matinee idol and the résumé of an actor who honed his craft as an indie film slacker before flexing his muscles as a Hollywood star. A staple of Kevin Smith films and such seminal indies as Dazed and Confused, Affleck became a star and entered the annals of Hollywood legend when he and best friend Matt Damon wrote and starred in Good Will Hunting, winning a Best Original Screenplay Oscar for their work.Born in Berkeley, California on August 15, 1972 to a schoolteacher mother and drug rehab counselor father, Affleck was the oldest of two brothers. His younger brother, Casey, also became an actor. When he was very young, Affleck's family moved to the Boston area, and it was there that he broke into acting. At the age of eight, he starred in PBS's marine biology-themed The Voyage of the Mimi, endearing himself to junior high school science classes everywhere. The same year he made Mimi, Affleck made the acquaintance of Matt Damon, a boy two years his senior who lived down the street. The two became best friends and, of course, eventual collaborators. After a fling with higher education at both the University of Vermont and California's Occidental College, Affleck set out for Hollywood. He began appearing in made-for-TV movies and had a small role in School Ties, a 1992 film that also featured Damon. Further bit work followed in Richard Linklater's Dazed and Confused (1993) and Kevin Smith's Mallrats (1995). Around this time, both Affleck and Damon were getting fed up with the lack of substantial work to be found in Hollywood, and they decided to write a screenplay that would feature them as the leads. Affleck's brother Casey introduced them to Gus Van Sant, who had directed Casey in To Die For. Thanks to Van Sant's interest, the script was picked up by Miramax, and in 1997 the story of a troubled mathematical genius living in South Boston became known as Good Will Hunting. Before the film's release, Affleck starred in Smith's Chasing Amy that same year; the tale of a comic book artist (Affleck) in love with a lesbian (Joey Lauren Adams), it received good reviews and showed Affleck to be a viable leading man. The subsequent success of Good Will Hunting and the Best Original Screenplay Oscar awarded to Affleck and Damon effectively transformed both young men from struggling actors into Hollywood golden boys. Having won his own Golden Boy, Affleck settled comfortably into a reputation as one of the industry's most promising young actors. His status was further enhanced by widespread media reports of an ongoing relationship with Gwyneth Paltrow.The following year, Affleck could be seen in no less than three major films, ranging from his self-mocking supporting role in the Oscar-winning period comedy Shakespeare in Love to the thriller Phantoms to the big-budget box-office monster Armageddon. In 1999, Affleck continued to keep busy, appearing in a dizzying four movies. He could be seen as a dull bartender in 200 Cigarettes, an errant groom in Forces of Nature, a stock market head hunter in The Boiler Room, and a supporting cast member in Billy Bob Thornton's sophomore directorial effort, Daddy and Them. Finally, Affleck reunited with Smith and Damon for Dogma, starring with the latter as a pair of fallen angels in one of the year's more controversial films. In 2000, he would appear as an ex-con trying to mend his ways in Reindeer Games, with Charlize Theron. Re-teaming with Armageddon cohort Michael Bay again in 2001 for another exercise in overbudgeted excess, Affleck flew into action in Pearl Harbor. Despite unanimous lambasting from critics, Pearl Harbor blasted to number one at the box office, earning $75.2 million on its Memorial Day weekend opening and beginning a summer-2001 trend of high profile films with precipitous box-office runs. Following a self-mocking return to the Smith collective in Jay and Silent Bob Strike Back (2001) and spearheading, along with Damon, the innovative HBO series Project: Greenlight, Affleck returned to the Hollywood machine with roles in Changing Lanes and The Sum of All Fears (both 2002). Filling the shoes of Harrison Ford as a green version of Ford's famous Jack Ryan persona, The Sum of All Fears contemplated a radical group's plan to detonate a nuclear weapon at a major sporting event during a time of particularly sensitive public distress at such an idea. With the massive success of Spider-Man in the summer of 2002 prompting numerous comic-book superhero revivals, Affleck would next suit up for the role of Daredevil. As a lawyer turned into a true public defender following a mishap involving radioactive waste, Daredevil's incredibly enhanced senses enable him to get the jump on New York City evil-doers and with his athletic physique and heroically protruding chin Affleck seemed just the man to suit-up for the job. If Affleck's turn as a blind crimefighter found dedicated comic book fans turning up their noses in disgust, the lukewarm performance of that particular effort would hardly compare to the critical lashing of his subsequent efforts Gigli, Paycheck, and Jersey Girl. A notorious flop that couldn't be mentioned to movie lovers without fear of derisive laughter, Gigli alone would have likely sunken the career of a lesser star. Though Hollywood gossip rags were indeed talking about Affleck, it was more the result of his turbulent relationship with singer and Gigli co-star Jennifer Lopez than it was anything to do with his acting career. Just when it seemed that the ubiquitous "Ben and Jen" gossip that fueled the tabloids couldn't get more tiresome, the celebrity power-couple broke up their frequently discussed engagement to the surprise of only the most optimistic {E! Channel viewer. Wed to Alias star Jennifer Garner in 2005, Affleck subsequently skewered Hollywood materialism in the showbiz comedy Man About Town before making a cameo in pal Smith's eagerly-anticipated sequel Clerks II. By this point Affleck was certainly no stranger to Hollywood controversy, a fact that likely played well into his decision to strap on the famous red cape to portray original television Superman George Reeves in the 2006 Tinseltown mystery Hollywoodland. As the 2000's rolled onward, Affleck would appear in a number of films that garnered a lukewarm reception, like Smokin' Aces, He's Just Not That Into You, and State of Play. He would reverse that trend with a vengeance in 2007, directing and writing the critically acclaimed crime thriller Gone Baby Gone. He followed that up by directing and starring in The Town, and that film put Affleck squarely back into audiences' good graces. He immediately got to work on his next big project, working both behind and in front of the camera once again for the political thriller Argo which garnered strong reviews, solid box office, and a slew of year-end awards and nabbed Affleck his second Oscar, as a producer of the film, when it won Best Picture at the Academy Awards, even though Affleck was not nominated for Best Director. He appeared in Runner, Runner, opposite Justin Timberlake, in 2013 and played the accused husband in the hit 2014 film Gone Girl. Affleck was announced as the next Batman in Batman v Superman: Dawn of Justice and is scheduled to reprise the role in later Justice League films.

Trivia: Displaying talent both for acting and for appearing at awards ceremonies wearing dresses that attract more attention than the awards themselves, Minnie Driver rose from almost complete obscurity to her position as one of the most visible British actresses of the 1990s over the course of just a few years. Born Amelia Driver in London on January 31, 1971, she was christened "Minnie" by her sister, who was too young to pronounce her little sister's name correctly. Raised in Barbados and schooled in locales as diverse as Paris, Grenoble, and Hampshire, Driver attended the Webber Douglas Academy of Dramatic Art in London, where she studied drama.Driver got her start on the stage and on television and made her big-screen debut in Circle of Friends in 1995. Playing the film's protagonist -- a "big, soft girl," as one of the film's characters calls her -- she was required to gain over 20 pounds for the role. She won critical acclaim for her performance, but had trouble finding more work until she lost the weight. Once she was revealed to be a statuesque beauty in the James Bond film GoldenEye (1995), she soon was being written up in a number of magazine articles that hailed her as one to watch. Critical appreciation for her work in Sleepers and Stanley Tucci's Big Night followed in 1996, and the next year, Driver proved herself capable of handling both comedy and a convincing Midwestern accent in Grosse Pointe Blank. That same year, she had what was possibly her most high-profile role to date in Gus Van Sant's Good Will Hunting. Starring as Matt Damon's brilliant girlfriend (a role she reportedly played offscreen as well), she earned a Best Supporting Actress Oscar nomination for her performance.In 1998, Driver could be seen in The Governess and At Satchem Farm, a romantic comedy she executive produced with her sister, Kate, and actor Nigel Hawthorne. She also ventured into the action realm with Hard Rain. Driver then put her voice to lucrative use, voicing characters in Disney's Tarzan, South Park: Bigger, Longer and Uncut in 1999, and Lady Eboshi in the 1999 English dubbed release of the Japanese film Princess Mononoke. That same year, she took a swing at Oscar Wilde, starring in Oliver Parker's adaptation of Wilde's An Ideal Husband with Rupert Everett, Cate Blanchett, Julianne Moore, and Jeremy Northam. Driver then shed her corset and donned an American accent for her starring role in Bonnie Hunt's Return to Me (2000), a romantic comedy that cast the actress as a woman who falls in love with a widowed architect (David Duchovny) and discovers a surprising secret about the identity of his dead wife.Driver returned to television in 2007, when she co-starred with Eddie Izzard for the FX Network's The Riches, a series following a family squatting in an upscale suburban community. The role earned her nominations for an Emmy Award and Golden Globe Award for Best Lead Actress in a Drama Series in both 2007 and 2008. In 2010, Driver joined actress Hilary Swank in Conviction, a film chronicling the real-life story of a single mother who obtains a law degree to represent her brother, who was wrongfully convicted of murder. The same year, Driver joined Paul Giamatti for which she would earn a Genie Award for Best Supporting Actress. The actress co-starred with a cast including Vera Farmiga and Will Arnett in the 2011 comedy Goats.

Trivia: The younger brother of actor Ben Affleck, Casey Affleck spent the last few years of the 1990s working his way out of his brother's muscular shadow. The younger Affleck, who remarkably bears almost no resemblance to his older brother, was born August 12, 1975, in Falmouth, MA. He made his television debut in the 1987 American Playhouse special Lemon Sky and three years later played the young Robert Kennedy in the TV miniseries The Kennedys of Massachusetts. The young actor's film debut came in 1995, with Gus Van Sant's To Die For, in which he had a supporting role as one of Joaquin Phoenix's slacker friends. The next year, he appeared in the largely unseen Race the Sun, and in 1997 benefited from the Power of Ben with roles in two of his brother's films. In the first, Chasing Amy, Affleck was little more than a blip on the screen, but in the second, Van Sant's Good Will Hunting, he had a decidedly more substantial part as one of Matt Damon's South Boston homeboys. Following the astounding, Oscar-winning success of Hunting, Affleck landed substantial roles in two films with casts featuring Who's Who lineups of Hollywood's Young and Hot: Desert Blue (1998), in which he starred with Christina Ricci, Kate Hudson, and Brendan Sexton III; and 200 Cigarettes (1999), in which he appeared as a soft-hearted punk alongside Desert Blue co-stars Ricci and Hudson, along with Paul Rudd, Courtney Love, Janeane Garofalo, and brother Ben. Although the film basically flopped, it did little to hurt the actor's career and the same year he attained added credibility with an unbilled appearance in the summer smash American Pie. The next few years found the younger Affleck in some notable more noticeable roles with his work in Hamlet, Committed, and Drowning Mona (all 2000). In 2001 he would get his largest billing yet, as well as his induction into the teen horror craze, with Soul Survivors.A re-teaming with Good Will Hunting co-horts Van Sant and Damon in 2002's deliberate independent drama Gerry was bookended by sizable supporting roles in director Steven Soderbergh's carefree crime comedies Ocean's Eleven and Ocean's Twelve, and in 2005 the younger Affleck would prove without question his ability to carry a dramatic feature with his subtle portrayal of an aimless twenty-something hindered by familial obligations in Steve Buscemi's Sundance-nominated drama Lonesome Jim. In 2006 Casey would star opposite Zach Braff in director Tony Goldwin's romantic comedy re-make The Last Kiss. 2007 would prove to be a turning point for the actor. In addition to reprising his character for the third installment of the Ocean's Eleven franchise, Affleck earned strong reviews for two drama that year. He headlined brother Ben Affleck's directorial debut, an adaptation of Dennis Lehane's Gone Baby Gone, bring to life the character of Patrick Kenzie, a private eye with close ties to the mean streets of Boston. But his work as the title coward in The Assassination of Jesse James by the Coward Robert Ford brought him numerous good reviews even though the film failed to make much of a splash at the box office. His work earned him a number of year-end accolades including nominations from the Academy and the Screen Actors Guild for Best Supporting Actor (even though he is the lead).After these critical successes he was poised for a breakthrough, but he was away from the big screen for three years, not returning to movies until 2010 as the star of the Jim Thompson adaptation The Killer Inside Me, and as director/producer/screenwriter/editor of I'm Still Here, a mockumentary that satirized celebrity meltdowns starring Joaquin Phoenix. He was part of the ensemble in Tower Heist the next year, and followed that up by voicing a part in ParaNorman in 2012.

Trivia: After making his film debut alongside a cast of future stars, Cole Hauser made his own mark as a TV and indie film actor in the 1990s. Raised in Santa Barbara, Hauser got hooked on acting in junior high. Shortly after he moved to Los Angeles at age 15 to pursue his chosen career, Hauser was cast in the prep school anti-Semitism drama School Ties (1992) along with up-and-comers Brendan Fraser, Chris O'Donnell, Matt Damon, and Ben Affleck. After this auspicious beginning, Hauser became part of an equally noteworthy ensemble of young stars-to-be in Richard Linklater's Dazed and Confused (1993), appeared in the NBC TV movie A Matter of Justice (1993), played a skinhead in John Singleton's college drama Higher Learning (1995), and starred as an abusive boyfriend in All Over Me (1997). Hauser was cast in the lead role in the ABC series High Incident in 1996, but the show lasted only two seasons. Following a supporting role as one of Damon and Affleck's Boston cronies in their breakthrough hit Good Will Hunting (1997), Hauser played a small part in Stephen Frears' little seen modern Western The Hi-Lo Country (1998) and scored a hit as one of the marooned travelers battling mutant aliens in the sci-fi sleeper Pitch Black (2000). After reuniting with his Tigerland (2000) co-star Colin Farrell in the box office failure Hart's War (2002), Hauser gained more notice for his supporting role later that year in the women's melodrama White Oleander (2002). Though he only appeared in a few scenes, Hauser's kindly and sexy young foster dad Ray easily caught the eye of the audience as well as troubled foster teen Alison Lohman. Returning to more testosterone-friendly work, Hauser subsequently co-starred with Hart's War officer Bruce Willis in Antoine Fuqua's action thriller Man of War (2003), and got behind the nitro-charged wheel for the sequel The Fast and the Furious 2 (2003). He continued to work in little-seen fare like Paparazzi and The Cave, but did score a part as one of Vince Vaughn's brothers in the aptly titled comedy The Break-Up. Over the next several years, Hauser would remain active on screen, appearing in films like The Cave, The Break-Up, and The FAmily That Prays, as well as on TV series like K-Ville and Chase. Hauser's father is actor Wings Hauser.

Trivia: Previously worked as a bartender before his acting career.Has lived in a cabin three and a half hours away from Los Angeles.Appeared as himself in commercials for Goldline International.Reprised and parodied his Good Will Hunting role in a scene in 2001's Jay And Silent Bob Strike Back.Traveled to Haiti to serve as an EMT after their 2010 earthquake.

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: To call George Plimpton merely an actor is woefully inadequate. Plimpton has also been a bullfighter, an orchestra conductor, a baseball and football player, a boxer, a circus performer and a tennis pro. He has indulged in each of these activities precisely once. George Plimpton's principal career was writing, something he pursued while at Harvard (he was an editor of the Harvard Lampoon) and while serving on the editing staff of Paris Review in the '50s and Horizon and Sports Illustrated in the '60s. Early in his career, Plimpton determined that the best way to write with expertise on a subject was through first-hand experience. Thus he fought bulls in Spain with Ernest Hemingway, played football with the Detroit Lions, was matched with tennis champ Pancho Gonzalez and bridge expert Osward Jacoby, and survived a few rounds with champion boxer Archie Moore. And he acted. He was a Bedouin extra in Lawrence of Arabia (1962), a bit player in The Detective (1968), and the character Bill Ford in Paper Lion (1968), a film based on Plimpton's own account of his brief football career (Alan Alda played Plimpton). From his experience playing a bit role as a gunned-down desperado in John Waynes Rio Lobo (1970), Plimpton fashioned an entire one-hour network TV special! Easily recognizable in later days thanks to his lucrative lecture and commercial endorsements, George Plimpton's acting assignments in recent years have been on the basis of his personality rather than as a stunt: Jodie Foster gave him a particularly suitable role as a William Buckley-type talk-show moderator in Little Man Tate (1991). Increasingly prominant on the screen throughout the 1990s, Plimpton essayed numerous small roles in such popular films as L.A. Story (1991), Nixon (1995), Good Will Hunting (1997) and Edtv (1999). As the 1990s gave way to the new millennium Plimpton was still going strong despite the effects of the passing years, and in 2001 alone he essayed a supporting role in the comedy Just Visiting and provided voiceover work for the short film Bullet in the Brain. On September 25, 2003, the world lost one of its most flamboyant and entertaining literary icons when George Plimpton died in his sleep in his New York apartment. He was 76.

Trivia: A Swedish actor who has become known to American audiences thanks to roles in Breaking the Waves and Good Will Hunting, Stellan Skarsgård is one of Scandinavia's best-known and most well-respected performers. Renowned for giving measured characterizations that draw their strength from a delicate complexity, Skarsgård is one of those rare actors who is able to do strong work regardless of the quality of the material he is in, displaying the sort of quiet fortitude that allows him to survive even the worst screen fiascos.Born in Gothenburg on June 13, 1951, Skarsgård became a star in his country, when, as a teenager, he was cast on the TV series Bombi Bitt och jag. After his film debut in 1972, he did years of stage work with Stockholm's Royal Dramatic and made a number of dramas with the director Hans Alfredson, the most notable of which, Den Enfaldige Mordaren, featured Skarsgård in a Silver Berlin Bear-winning performance as a misunderstood man with a deformity. In 1988, Skarsgård got a tentative introduction to a transatlantic audience with a small role in Philip Kaufman's The Unbearable Lightness of Being; two years later, he had a similarly minor role in another international hit, The Hunt for Red October.Skarsgård's true international breakthrough came courtesy of his role as Emily Watson's husband in Lars Von Trier's highly acclaimed Breaking the Waves (1996). The actor more than held his own opposite Watson, who gave one of the year's most lauded performances, and he found previously unimagined opportunities available to him in Hollywood. In 1997, he starred as a frustrated mathematician in Gus Van Sant's award-winning Good Will Hunting and was also featured in Steven Spielberg's Amistad; his work in both films culminated in an Outstanding European Achievement in World Cinema award from the European Film Academy. Later that same year, the actor appeared in My Son the Fanatic as a German businessman with the unfortunate surname of Schitz -- he also gave a stellar portrayal of a detective who slowly loses his mind while investigating a murder in the Norwegian film Insomnia.A prolific actor, Skarsgård appeared in a number of small ambitious projects in 2000, including Passion of Mind with Demi Moore, Mike Figgis' Time Code, and Harlan County War. The following year, while he showed up in the poorly-received thriller The Glass House, Skarsgård gained critical praise for his performance in Taking Sides.2003 saw Skarsgård taking a role in Lars von Trier's highly anticipated Dogville and signing on for the oft-plagued The Exorcist: The Beginning. After several debacles, the prequel to the horror classic finally found its way to movie theaters in 2004, the same year the actor costarred in Antoine Fuqua's King Arthur. After going toe-to-toe with the Devil himself in 2005's Exorcist: The Beginning (as well as Paul Schrader's alternate cut Dominion: Prequel to the Exorcist), Skarsgård joined the crew of the Flying Dutchman in Pirates of the Caribbean: Dead Man's Chest and its follow-up Pirates of the Caribbean: At World's End, and went medieval in the Swedism Arn films. A chilling turn as the ruthless warden in the fact-based King of Devil's Island showed a downright malevolent side to Skarsgård, though it was subsequent roles in the Marvel Comics features Thor and the Avengers, as well as a turn as the mysterious Martin Vanger in David Fincher's The Girl with the Dragon Tattoo, that offered the veteran actor the most international exposure in the wake of his voyage on the high seas.

Trivia: Over the course of his 30-year career, cinematographer Jean-Yves Escoffier photographed everything from low-key French dramas to high-profile Hollywood action films. Creating seductive imagery from both of those genres, as well as virtually everything in between, Escoffier's solid international reputation found him in high demand worldwide. Born in Lyon, France, in 1950, the future cinema photographer received his education at Paris' École Louis Lumière before gaining notice for his collaborations with director Leos Carax (Boy Meets Girl [1984], Mauvais Sang [1986], and Lovers on the Bridge [1991]). Subsequently stepping behind the camera for Three Men and a Cradle in 1985 (remade in the U.S. as Three Men and a Baby two years later), Escoffier received a César award for his work on the charming comedy. Crossing over stateside in the early '90s, Escoffier served as cinematographer for such high-profile releases as The Crow: City of Angels (1996) and Gus Van Sant's Good Will Hunting (1997). Always fond of more experimental and independent-minded efforts, Escoffier also lensed Gummo, eccentric writer/director Harmony Korine's disturbing look at a small Ohio town suffering in the aftermath of a devastating tornado. In addition to numerous short films, his work on commercials and music videos found Escoffier collaborating with such luminaries as Jean-Pierre Jeunet, David Lynch, Luc Besson, and Mark Romanek. On April 4, 2003, the world lost a truly gifted photographer when Jean-Yves Escoffier died of heart failure in his Los Angles home. He was 52.

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.

Trivia: One of Hollywood's most distinctive film composers, Danny Elfman is known for his dark, idiosyncratic scores, particularly those he has written for director Tim Burton's films. He is also widely recognized for the music he has written for TV, particularly his theme song for The Simpsons.Born in Amarillo, Texas, on May 29, 1953, Elfman was the son of a schoolteacher and the novelist Blossom Elfman. He spent his childhood in Los Angeles and moved with his brother, Richard, to France at the age of 18. There he became involved with a theatre group and received an introduction to musical orchestration. He and Richard started the musical troupe Mystic Knights of Oingo Boingo, which would later become known as the cult group Oingo Boingo. After spending a few years in France, Elfman moved to Africa, where he stayed until a bout with malaria forced him to move back to the United States.Elfman wrote his first score for his brother Richard's film Forbidden Zone in 1980. A few years later, Elfman made the acquaintance of Tim Burton, who was a fan of Oingo Boingo. The fruits of their ensuing friendship were first made evident with Elfman's score for Burton's Pee-Wee's Big Adventure (1985). The two would continue to work together on all of Burton's subsequent films, and their artistic collaboration would become known as one of the industry's most recognizable partnerships. It was for another of Burton's films, the 1988 Beetlejuice, that Elfman first became known by soundtrack fans in general; his quirky, frenetic score, combined with a number of Harry Belafonte songs, proved to be an enormous cult success. Elfman earned additional acclaim and recognition for his scores for a number of other Burton films, particularly Edward Scissorhands (1990), the Batman series, and the animated The Nightmare Before Christmas (1993). For the latter of these, Elfman also wrote the songs and provided the singing voice for the lead character, Jack Skellington. In addition to his work with Burton, Elfman has supplied the scores for a number of films that encompass every imaginable genre. Some of the more memorable projects he has worked on include Dick Tracy (1990), Sommersby (1993), Mission: Impossible (1996), Men in Black (1997), A Simple Plan (1998), and Anywhere but Here (1999). He has also enjoyed a repeated collaboration with director Gus Van Sant on To Die For (1995) and Good Will Hunting (1997). Elfman received an Oscar nomination for his score for the latter film; that same year, he earned another nomination for his score for Men in Black.In 2003 he married actress Bridget Fonda.He went on to score Sleepy Hollow for Burton, as well as such wide-ranging projects as Novocaine, Spy Kids, and Spider-Man. He wrote new music for the big-screen adaptation of Chicago, and continued to collaborate with Tim Burton. In 2008 he scored the biopic Milk, and followed that up with Terminator Salvation. He worked with Gus Van Sant on the score for Restless, and continued his creative partnership with Burton by lending his talents to Alice in Wonderland and Frankenweenie.

Trivia: Like his older sibling Harvey, Miramax co-founder Bob Weinstein has an extended list of producer credits that reads like a greatest hits list of cinema from the 1990s and beyond. Unlike his more public-minded sibling, however, brother Bob has quietly minded the books of the enduring studio as the manager of Miramax's expenditures and revenue -- successfully building the company into one of the industry's largest and most powerful independent distributors. Serving as the perfect yin to his brother's yang, the harmonious balance of the Weinstein dynamic has helped to weather everything from the occasional controversy surrounding their films to frequent accusations of intimidation and questionable business tactics.Born a year after his older brother, the Queens native's stealthy business tact served the duo well when they founded Miramax after purchasing the film The Secret Policeman's Ball at the 1979 Cannes Film Festival. In the years that followed, the Weinsteins' fearless approach to acquiring controversial titles, combined with an acute understanding of the mechanics of the entertainment industry, found both their influence and selection of titles expanding at an unprecedented rate. In 1993, the company was purchased by Disney for 80 million dollars, with the understanding that both Bob and Harvey would remain in control of Miramax. If more adult-oriented films such as Pulp Fiction (1994) and Scream (1996) found distributor Miramax and parent company Disney somewhat at odds from time to time, a steady inflow of profits (along with the releases of such benign romantic dramas and comedies as Muriel's Wedding [1994], Jane Eyre [1996] and Shakespeare in Love [1998]) found both parties flourishing and differences put aside. Things may have been a bit slow going in the mid-'90s, but a revitalization of their marketing strategies as the decade moved on found such films as Il Postino (1994) and The English Patient (1996) performing successfully at both the box office and the Oscars. In 1992, Bob also played a key role in forming Dimension Films, a Miramax offshoot that focused on producing such moderately budgeted action and horror efforts as From Dusk Till Dawn and Scream (both 1996). Four years later, the duo would sign seven-year deals with their parent company that ensured they would remain active in Miramax's creative output. With such undeniable box-office hits as Chicago (2002), Kill Bill Vol. 1 (2003, directed by longtime Miramax devotee Quentin Tarantino), and Bad Santa (also 2003) to add to the brothers' list of success stories, it appeared as if the company would be churning out the hits for some time to come.In 2005 Bob and Harvey left the Disney fold, leaving the company they had founded decades earlier in order to form The Weinstein Company. That new venture stumbled initially, but they eventually recaptured box office and Oscar success with a string of memorable films including Rambo, The Reader, Inglourious Basterds, A Single Man, The Fighter, and the Best Picture Oscar winners for both 2010 and 2011 - The King's Speech and The Artist.

Trivia: Alternately praised as the savior of modern film for his role in bringing such contemporary classics as Pulp Fiction (1994) and Chicago (2002) to the screen, and decried by fans of foreign film for his poor handling of foreign titles on domestic soil (Shaolin Soccer and Hero, in particular), it's difficult to deny that controversial producer and Miramax co-founder Harvey Weinstein has -- love him or hate him -- unquestionably changed the face of modern film. A Queens native, Weinstein, along with brother Bob, founded their small production company in 1979 when they acquired the rights to the film The Secret Policeman's Ball at the Cannes Film Festival. Drawing from the funds they made distributing the film to establish their company, the Weinsteins quickly made their presence known among the Hollywood elite. The company's namesake was drawn from a combination of their mother's and father's names (Miriam and Max, respectively). Miramax's early distribution of the Errol Morris docudrama The Thin Blue Line in 1988 grabbed headlines when the film's protagonist -- the wrongly convicted Randall Adams -- was released from prison due in no small part to the attention drawn to his plight by the film. If that film had drawn attention to the fledgling company, it was their successful acquisition of Steven Soderbergh's breakthrough indie hit sex, lies, and videotape (1989) that cemented their reputation as true innovators to watch. The Weinsteins courted controversy the following year with the releases of the X-rated art-house flicks The Cook, the Thief, His Wife and Her Lover and Tie Me Up! Tie Me Down!; subsequently, Miramax leveled a lawsuit at the MPAA that was key in the subsequent implementation of the NC-17 rating. This new rating served to distinguish adult-oriented film fare from out-and-out pornography. As Miramax's film library grew, it gained a reputation for trusting in fledgling filmmakers of extraordinary vision. By backing such young filmmakers as Quentin Tarantino in the production of his sophomore effort Pulp Fiction, Miramax expanded its power and increased its profile in Tinseltown. Miramax was purchased by Disney for 80 million dollars in 1993, and the Weinstein brothers remained with the company to release such hits as Muriel's Wedding and Il Postino (both 1994), the latter of which garnered several Oscar nominations. Of course, not all of the films that Miramax released were hits, but the brothers' willingness to take risks and place their trust entirely in the hands of filmmakers resulted in such critically lauded art-house hits as Smoke (1995), The English Patient (1996), and Good Will Hunting (1997). By the turn of the millennium, Miramax had successfully established itself as the driving force behind some of the most challenging and creative films to come out of the studio system. The Weinsteins' relationship with such filmmakers as Tarantino, Robert Rodriguez, Gus Van Sant, Kevin Smith, and Steven Soderbergh worked wonders for their indie credit and ensured good films for years to come. When Bob Weinstein founded Miramax offshoot Dimension Films in the mid-'90s, he kept the money rolling in by releasing moderately budgeted action and horror hits such as Wes Craven's Scream (1996).In spite of all the success Miramax has had in the realm of film production, many still questioned the ethics of Harvey Weinstein when it came to acquiring and releasing films. He has been accused of everything from strong-arm tactics to a "market sterilization" approach to purchasing immensely popular foreign films only to let them sit on the shelf unreleased domestically (apparently for little more reason than keeping them out of the hands of competetors). The fact that Miramax actively prohibited Asian film fans, in particular, from accessing such Oscar-worthy films as Zhang Yimou's period action epic Hero left many film lovers up in arms. Additionally, many fans also felt that, by "Americanizing" Asian films through editing and re-dubbing (both in terms of music and actual spoken soundtracks), Miramax seriously undermined the artistic integrity of directors' original visions, as was the case with popular Chinese funnyman Stephen Chiau's Shaolin Soccer (the most successful Hong Kong film ever made when originally released in 2001).He continued to produce financially and artistically successful films, but he underwent a major change when in 2005 Bob and Harvey left the Disney fold, leaving the company they had founded decades earlier in order to form The Weinstein Company. That new venture stumbled initially, but they eventually recaptured box office and Oscar success with a string of memorable films including Rambo, The Reader, Inglourious Basterds, A Single Man, The Fighter, and the Best Picture Oscar winners for both 2010 and 2011 - The King's Speech and The Artist.

Trivia: Performed in the Nickelodeon sketch-comedy series You Can't Do That on Television (produced in his hometown of Ottawa) in 1986 and '87; his brother Siddarth also appeared on the show. Was a member of the winning team in a national high-school improvisational tournament two years in a row. After getting his start on Canadian television, appeared in the films eXistenZ and Good Will Hunting. Nominated for a Canadian Comedy Award in 2002 for the TV series Our Hero. Originally auditioned for the role of Morgan on Chuck, but when he didn't get it the producers offered him the smaller part of Lester; they were so impressed with his work that they made him a series regular in the second season. Interviewed employees at retail stores in order to prepare for his role on Chuck.

Trivia: Christened "the future of American cinema" by Werner Herzog, writer/director Harmony Korine matured from film's youngest credited screenwriter (for 1995's Kids) into one of its most controversial independent filmmakers.Born in 1974 in Bolinas, CA, Korine is the son of documentary filmmaker Sol Korine. He spent his early years in Nashville, TN, before moving to New York City to live with his grandmother. A solitary teenager, Korine frequented revival theaters, watching classic films by Cassavetes, Herzog, Godard, Fassbinder, and Alan Clarke. He studied English at New York University for one semester before dropping out to pursue a career as a professional skateboarder. Korine was skating with friends in Washington Square Park when he caught the eye of photographer Larry Clark. Korine showed Clark a screenplay he had written about a teenager whose father takes him to a prostitute. Impressed, the photographer asked him to compose a script about his everyday life. Within three weeks, Korine wrote Kids, a film about 24 hours in the sex- and drug-filled lives of several Manhattan teenagers. Directed by Clark and starring Leo Fitzpatrick and Korine's on-again-off-again girlfriend Chloe Sevigny, critics called Kids both a brilliant wake-up call to America and a blatant work of teen exploitation.Korine caused another stir with his directorial debut, Gummo (1997), the story of two friends growing up in a remote Ohio town that cannot recover from a devastating tornado that hit decades earlier. Numerous critics thought his use of hand-held video, Super 8, and Polaroids was genius. Herzog and Bernardo Bertolucci even wrote Korine fan letters after seeing the film. Others called Gummo boring, absurd, and exploitative. New York Times reviewer Janet Maslin went so far as to label Gummo the worst film of the year, despite the fact that it earned top awards at both the Venice and Rotterdam Film Festivals.After Gummo's release, Sonic Youth tapped Korine to direct the video for their song "Sunday." At the filmmaker's insistence, the video starred Macaulay Culkin and his then-wife Rachel Miner. Korine turned the experience into a book, The Bad Son (a twist on the title of Culkin's 1993 vehicle The Good Son), which consisted of manipulated photographs taken on the set of the video. The work eventually served as a companion piece to Korine's one-man art exhibition at the Taka Ishii Gallery in Tokyo. Barely a year later, Korine further disgusted critics with "The Diary of Anne Frank (Part Two)," an experimental work that used three movie screens to alternately show such disturbing images as a mentally handicapped man in a soiled diaper and the burying of a dead dog. After completing his first novel, A Crackup at the Race Riots, Korine began a project titled "Fight Harm," a documentary-style film which followed him as he harassed people on the streets until they beat him up. The director, who often said he would die for the cinema, hoped to make a cross between a Buster Keaton vehicle and a snuff film, but after only six fights, he was hospitalized and forced to abandon the project.Korine drew the inspiration for his next feature, Julien Donkey-Boy (1999), from his uncle, a paranoid schizophrenic. A month before the picture went into production, director Thomas Vinterberg asked Korine to start the American New Wave and join the Dogma 95 brotherhood. Filmed according to the Dogma 95 manifesto, in chronological sequence with hand-held cameras in natural light, Julien Donkey-Boy starred Ewen Bremner, Herzog, Sevigny, and Korine's grandmother, Joyce. The project earned as much praise and disapproval as Korine's earlier films, setting the stage for his long-awaited reteaming with Clark for 2002's Ken Park.