Trivia: If Harrison Ford had listened to the advice of studio heads early in his career, he would have remained a carpenter and never gone on to star in some of Hollywood's biggest films and become one of the industry's most bankable stars. Born July 13, 1942, in Chicago and raised in a middle-class suburb, he had an average childhood. An introverted loner, he was popular with girls but picked on by school bullies. Ford quietly endured their everyday tortures until he one day lost his cool and beat the tar out of the gang leader responsible for his being repeatedly thrown off an embankment. He had no special affinity for films and usually only went to see them on dates because they were inexpensive and dark. Following high school graduation, Ford studied English and Philosophy at Ripon College in Wisconsin. An admittedly lousy student, he began acting while in college and then worked briefly in summer stock. He was expelled from the school three days before graduation because he did not complete his required thesis. In the mid-'60s, Ford and his first wife, Mary Marquardt (his college sweetheart) moved to Hollywood, where he signed as a contract player with Columbia and, later, Universal. After debuting onscreen in a bit as a bellboy in Dead Heat on a Merry-Go-Round (1966), he played secondary roles, typically a cowboy, in several films of the late '60s and in such TV series as Gunsmoke, The Virginian, and Ironside. Discouraged with both the roles he was getting and his difficulty in providing for his young family, he abandoned acting and taught himself carpentry via books borrowed from the local library. Using his recently purchased run-down Hollywood home for practice, Ford proved himself a talented woodworker, and, after successfully completing his first contract to build an out-building for Sergio Mendez, found himself in demand with other Hollywood residents (it was also during this time that Ford acquired his famous scar, the result of a minor car accident). Meanwhile, Ford's luck as an actor began to change when a casting director friend for whom he was doing some construction helped him get a part in George Lucas' American Graffiti (1973). The film became an unexpected blockbuster and greatly increased Ford's familiarity. Many audience members, particularly women, responded to his turn as the gruffly macho Bob Falfa, the kind of subtly charismatic portrayal that would later become Ford's trademark. However, Ford's career remained stagnant until Lucas cast him as space pilot Han Solo in the megahit Star Wars (1977), after which he became a minor star. He spent the remainder of the 1970s trapped in mostly forgettable films (such as the comedy Western The Frisco Kid with Gene Wilder), although he did manage to land the small role of Colonel G. Lucas in Francis Ford Coppola's Apocalypse Now (1979). The early '80s elevated Ford to major stardom with the combined impact of The Empire Strikes Back (1980) and his portrayal of action-adventure hero Indiana Jones in Raiders of the Lost Ark (1981), which proved to be an enormous hit. He went on to play "Indy" twice more, in 1984's Indiana Jones and the Temple of Doom and Indiana Jones and the Last Crusade in 1989. Ford moved beyond popular acclaim with his role as a big-city police detective who finds himself masquerading as an Amish farmer to protect a young murder witness in Witness (1984), for which he received a Best Actor Oscar nomination for his work, as well as the praise of critics who had previously ignored his acting ability. Having appeared in several of the biggest money-makers of all time, Ford was able to pick and choose his roles in the '80s and '90s. Following the success of Witness, Ford re-teamed with the film's director, Peter Weir, to make a film adaptation of Paul Theroux's novel The Mosquito Coast. The film met with mixed critical results, and audiences largely stayed away, unused to the idea of their hero playing a markedly flawed and somewhat insane character. Undeterred, Ford went on to choose projects that brought him further departure from the action films responsible for his reputation. In 1988 he worked with two of the industry's most celebrated directors, Roman Polanski and Mike Nichols. With Polanski he made Frantic, a dark psychological thriller that fared poorly among critics and audiences alike. He had greater success with Nichols, his director in Working Girl, a saucy comedy in which he co-starred with Melanie Griffith and Sigourney Weaver. The film was a hit, and displayed Ford's largely unexploited comic talent. Ford began the 1990s with Alan J. Pakula's courtroom thriller Presumed Innocent, which he followed with another Mike Nichols outing, Regarding Henry (1991). The film was an unmitigated flop with both critics and audiences, but Ford allayed his disappointment the following year when he signed an unprecedented 50-million-dollar contract to play CIA agent Jack Ryan in a series of five movies based upon the novels of Tom Clancy. The first two films of the series, Patriot Games (1992) and Clear and Present Danger (1994), met with an overwhelming success mirrored by that of Ford's turn as Dr. Richard Kimball in The Fugitive (1993). Ford's next effort, Sydney Pollack's 1995 remake of Sabrina, did not meet similar success, and this bad luck continued with The Devil's Own (which reunited him with Pakula), despite Ford's seemingly fault-proof pairing with Brad Pitt. However, his other 1997 effort, Wolfgang Petersen's Air Force One, more than made up for the critical and commercial shortcomings of his previous two films, proving that Ford, even at 55, was still a bona fide, butt-kicking action hero. Stranded on an island with Anne Hesche for his next feature, the moderately successful romantic adventure Six Days, Seven Nights (1998), Ford subsequently appeared in the less successful romantic drama Random Hearts. Bouncing back a bit with Robert Zemeckis' horror-flavored thriller What Lies Beneath, the tension would remain at a fever pitch as Ford and crew raced to prevent a nuclear catastrophe in the fact based deep sea thriller K-19: The Widowmaker. As the 2000's unfolded, Ford would prove that he had a strong commitment to being active in film, continuing to work in projects like Hollywood Homicide, Firewall, Extraordinary Measures, Morning Glory, and Cowboys & Aliens. Ford would also reprise one of his most famous roles for the disappointing Indiana Jones and the Kingdom of the Crystal Skull.

Trivia: British-born Asa Butterfield began his acting career when he was eight years old, playing the role of Andrew in the 2006 TV movie After Thomas. He would make a bigger splash the next year, with a role in the indie comedy Son of Rambow, and again the next year, in the Holocaust drama The Boy in the Striped Pyjamas. Butterfield then took on the role of Mordred in the TV series Merlin, before joining the cast of the 2010 family film Nanny McPhee and the Big Bang. While his role in the latter did offer the charismatic youngster a respectable amount of exposure to the tween set, it was Butterfield's next big role -- as the eponomous orphan in Martin Scorsese's Oscar-winning film Hugo -- that truly cemented his reputation as a rising star. On the heels of that resounding success, Butterfield made Hollywood headlines when it was announced that he would next take the lead in Enders Game, a big-budget adaptation of Orson Scott Card's celebrated sci-fi novel.

Trivia: Is of partial Filipino ancestry on her mother's side. Expressed interest in pursuing acting at age 8 and began her career with roles in commercials and short films. Made her prime-time television debut in a 2007 episode of the sitcom Back to You. Was cast by the Coen brothers at age 13 to play Mattie Ross in their stirring 2010 remake of the John Wayne classic True Grit. She beat out approximately 15,000 girls for the role. Named Best Young Actress at the 2011 Critics' Choice Movie Awards.

Trivia: The younger sister of child thespian Spencer Breslin (Disney's the Kid, The Santa Clause 2, The Shaggy Dog), the dynamic young actress Abigail Breslin was born in Manhattan in 1996 and began shooting television commercials at the age of three. In 2001, Tamil-American director and Spielberg protégé M. Night Shyamalan discovered then five-year-old Breslin and brought about her movie debut by casting her in his sci-fi thriller Signs -- the tale of a farmer and pastor (Mel Gibson) who discovers a giant crop circle on his property as an early indicator of an extraterrestrial invasion. Breslin plays Bo Hess, Gibson's asthma-ridden, paranoiac daughter who is racked by the delusion that she must never drink water, for every glass in the house is now contaminated. The terror evident in this characterization was not unique. From an early age, the pint-sized Breslin became notorious for her preternatural ability to pour an extraordinary amount of emotional intensity into each role, which led to several challenging parts that Breslin pulled off with ease. The first of these turns, 2004's sadly overlooked Keane, is a harrowing drama about a drug- and alcohol-riddled schizophrenic named William Keane (Damian Lewis), obsessed with attempting to find his young daughter, who may never have even existed. Amy Ryan and Breslin play, respectively, Lynn Bedik and Kira Bedik, a mother and daughter who wander into William's life and concurrently raise, within him, a towering fear of himself and the capacity for emotional connection. The New York Post's V.A. Musetto called Breslin "a revelation."After light-hearted turns in Garry Marshall's terribly received Raising Helen (which marked the first onscreen pairing of Breslin and her older brother) and David S. Cass' little-seen domestic comedy Family Plan (2005), Breslin signed on as the central character in Valerie Faris and Jonathan Dayton's Little Miss Sunshine. This road comedy -- about a severely dysfunctional family that bands together and treks off to the titular children's beauty pageant in which young Olive (Breslin) is participating -- unexpectedly dazzled viewers with its acerbic wit, flashes of wild humor, exemplary characterizations, and touching insights into familial relationships, when it premiered in summer 2006. In fact, it became, hands down, one of the most significant sleeper hits of that year. Thanks in no small part to her mature evocation of sweet-natured, pure-hearted Olive (who elevates the film to new levels not only by strengthening family ties, but by performing an outrageous final dance number in the beauty pageant), Breslin became one of the youngest individuals in Hollywood history to receive a Best Supporting Actress nod when the Oscar nominations rolled around in January 2007 -- younger, by seven months, than Tatum O'Neal, during her Oscar win in early 1974. Meanwhile, Breslin signed on for several additional roles alongside her studies. These included Zoe, the niece of Catherine Zeta-Jones's character in Scott Hicks' romantic comedy No Reservations (a remake of the German film Mostly Martha); a sick child befriended by a lonely, itinerant young man (Drew Fuller) in Michael O. Sajbel's The Ultimate Gift; and the confused, inquisitive 11-year-old daughter of a political consultant (Ryan Reynolds) in Adam Brooks' romantic comedy Definitely, Maybe (2008). That same year she had the lead role in the family adventure film Nim's Island, and the title part in Kit Kittredge: An American Girl. The next year she would appear in the comedy Zombieland. In 2011 she provided one of the voices for the Oscar winning animated film Rango, and was one of many in the ensemble cast of New Year's Eve as the independent-minded daughter of Sarah Jessica Parker.

Trivia: Actor Moisés Arias entered movies during his preteen years, specializing in colorful, high-energy characterizations, often of a Hispanic nature. He is perhaps best known for his ongoing portrayal of Rico, the pint-sized ladykiller and surf-shop proprietor on the blockbuster Disney Channel series Hannah Montana, a role he reprised in the 2009 big-screen feature version. Additional projects include a small supporting role in the Mexican wrestling comedy Nacho Libre (2007) opposite Jack Black, and another supporting turn in director William Dear's period baseball yarn The Perfect Game (2008).

Trivia: Started his career at a young age, working as a model.At age 8, became interested in acting and started taking acting lessons.Appeared in regional commercials.Worked on both Teen Wolf and The First Family at the same time until the latter was cancelled.Best known for his work in Ender's Game, The First Family and Teen Wolf.

Trivia: Background is German, Eastern Indian and Pakistani. Started acting at age 5. Attended the U.S. Space Camp to prepare for his role in the movie Ender's Game.

Trivia: Chameleon-like British actor Ben Kingsley has proven he can play just about anyone, from Nazi war criminals to Jewish Holocaust survivors to quiet British bookshop owners. For many viewers, however, he will always be inextricably linked with his title role in Gandhi, a film that won him an Oscar and the undying respect of critics and filmgoers alike.Of English, East Indian, and South African descent, Kingsley was born Krishna Bhanji on December 31, 1943 in Snaiton, Yorkshire, England. The son of a general practitioner, Kingsley started out in amateur theatricals in Manchester before making his professional debut at age 23. In 1967 he made his first London appearance at the Aldwych theater and then joined the Royal Shakespeare Company, devoting himself almost exclusively to stage work for the next 15 years (with the exception of two obscure films, Fear Is the Key [1972] and Hard Labour [1973]). When asked about his favorite stage roles, he listed Hamlet, The Tempest's Ariel, and Volpone's Mosca.American audiences first saw Kingsley in 1971, when he made his Broadway debut with the Royal Shakespeare Company. In 1982, actor and director Richard Attenborough selected Kingsley for the demanding title role in the epic Gandhi. The film swept the international awards that year, earning the 39-year-old actor overnight success. Among the several awards he was honored with, Kingsley won a Best Actor Oscar. Adamantly refusing to recycle the same roles, Kingsley spent the next decade playing a wide spectrum of characters. Among his more notable parts were an Arab potentate in Harem (1985), an introverted bibliophile and "social rebel" in Turtle Diary (also 1985), a spy of little import in Pascali's Island (1988), an incorruptible American vice president in Dave (1992), New York gangster Meyer Lansky in Bugsy (1992), a Jewish bookkeeper in Schindler's List (1993), and a suspected Nazi war criminal in Death and the Maiden (1994). So many of his characters have been either taciturn or downright villainous that, upon being cast in a good-guy role in the escapist sci-fier Species (1995), Kingsley publicly expressed his relief in several widely circulated magazine articles.In the latter half of the 1990s, Kingsley continued to embrace a variety of eclectic roles, with turns as the Fool in Trevor Nunn's 1996 film adaptation of Twelfth Night, a media mogul in the 1997 made-for-HBO satire Weapons of Mass Distraction, and the barbarous barber Sweeney Todd in John Schlesinger's 1998 The Tale of Sweeney Todd. Kingsley also took Broadway by storm with his one-man show Edward Kean (later taped for cable), which was directed by his wife, Alison Sutcliffe. Though Kingsley had retained the variety in his career that he had so diligently pursued, the ever-sharp actor remained as focused as ever heading into the new millennium. For his role as a manipulative criminal with a strong power for persuasion in Sexy Beast (2001), Kingsley earned both a Golden Globe nomination and a third Oscar nomination. His fourth Academy nod would come just 2 years later with his role as a proud Arab-American patriarch in The House of Sand and Fog. Along with the Best Actor Oscar nomination, the role also netted Kingsley Golden Globe and Screen Actor's Guild nominations. Kingsley lost his Oscar bid for House to Sean Penn, who collected the statue for his contribution to Clint Eastwood's Mystic River. Over the next several years, Sir Ben Kingsley's acting choices often demonstrated the degree of difficulty that A-listers may encounter when seeking multilayered roles in respectable films, with solid scripts and direction; like many of his contemporaries, the magnificent thespian Kingsley turned up in more than one schlocky Hollywood stinker after House of Sand and Fog -- from Jonathan Frakes's ugly Thunderbirds revamp (2004) to Uwe Boll's horrendous, gothic fx-extravaganza BloodRayne (2006) (as evil ruler Lord Kagan). If anyone could ferret out the creme-de-la-creme of roles, however, Kingsley could, and he simultaneously proved it with contributions to the interesting 2005 biopic Mrs. Harris (as the ill-fated Scarsdale Diet Doctor) and the wondrous documentary I Have Never Forgotten You: The Life and Legacy of Simon Rosenthal (2007).2007 marked a banner year for Kingsley - his most active in quite some time, with contributions to no less than seven key pictures. In the most prominent, the John Dahl-directed crime comedy You Kill Me, Kingsley plays Frank Falenczyk, an alcoholic hit man who travels to Los Angeles to dry out, takes a job in a morgue, and strikes up a relationship with a relative of one of his victims. That same year, Kingsley re-projected his innate ability to essay ethnic roles convincingly, with his turn as one of two Russian police offers investigating an espionage case on a train, in Brad Anderson's thriller Trans-Siberian.Later that same year, Kingsley appeared opposite lead Dan Fogler in English director Chase Palmer's Number Thirteen - a period drama about Alfred Hitchcock's ill-fated attempt to realize one of his first movie projects.

Trivia: A graduate of the Juilliard School, Viola Davis built an exceptional background in theater productions and has continued to perform on-stage throughout her television and film career. Making her feature-film debut in 1996 as a nurse in The Substance of Fire, she followed that up with several TV movies and guest-star appearances on dramatic series like Law & Order and NYPD Blue. She went on to play another nurse in City of Angels, a hospital drama with a predominately African-American cast that didn't last long on CBS. She began collaborating with Steven Soderbergh for Out of Sight, and went on to star in two of the director's next few films, Traffic and Solaris. In 2001, she appeared in Kate and Leopold and in Oprah Winfrey's television presentation of Amy & Isabelle. The next year she played parts in both Far From Heaven and Denzel Washington's directorial debut, Antwone Fisher.Davis continued to work steadily in a variety of notable projects including Steven Soderbergh's Solaris, Syriana, and played a notable part in the television movie biopic of American Idol winner Fantasia Barrino. However, in 2008 she landed the small but crucial role of the mother in John Patrick Shanley's adaptation of his award-winning play Doubt. Although her screen time is minimal, her indelible performance garnered her Best Supporting Actress nominations from the Hollywood Foreign Press, the Screen Actors Guild, and the Academy. Davis became a well known entity almost instantly, and was soon filling her docket with projects like 2009's State of Play, 2010's Knight and Day and Eat Pray Love, and an arc on the series United States of Tara.Davis next appeared in the box office hit 2011 big screen adaptation of Kathryn Sockett 's period novel The Help, garnering still more praise as well as Best Actress nominations from the Academy, BAFTA, the Broadcast Film Critics Association, the Golden Globes, and the Screen Actors Guild. Her performance was still making waves when the critics began lauding her agian, this time for her role in Extremely Loud and Incredibly Close that same year.

Trivia: Parents came to England from Nigeria in the 1970s to go to school. Was one of the youngest actors to portray King Lear when he appeared in a Royal Shakespeare Company production in 2002. Won the Ian Charleston Award for his work as the title character in the Cheek by Jowl theatre company's production of Othello in 2005.

Trivia: Began his acting career at the age of 10, appearing in TV advertisements for Toys "R" Us, Land Rover and ExxonMobile. Worked on Sesame Street. Won a Young Artist Award for his feature film debut in 2008 as Tran in Ben Stiller's Tropic Thunder. Performed all of his own stunts in the 2009 action film G.I. Joe: The Rise of Cobra. Holds a black belt in Tae Kwon Do and toured with the extreme martial arts troupe Sideswipe Live in 2009 and 2010.

Trivia: South African filmmaker Gavin Hood is most well known as the director of the award-winning urban drama Tsotsi, however, few know that he learned the ropes and paid his dues by appearing in B-movies like Curse 3: Blood Sacrifice and American Kickboxer. He also studied law at the University of Witwatersrand before opting to follow his true calling by traveling to the U.S. to study film at UCLA. It was there that he experienced his first big break -- or so he thought -- when a script he'd written called A Reasonable Man won the Diane Thomas Screenwriting Award in 1993. The producers who took interest in the story, however, wanted to move the setting from South Africa to America, and soften the script's harsh, culturally divisive content with a happy ending. Hood refused to agree to such changes, agreeing only to make the film on the condition that he direct it himself -- causing interest in the project to vanish as quickly as it had appeared. Hood traveled back to Johannesburg, where he was commissioned to write and direct a series of educational dramas for television by the South African Department of Health. Tackling issues like the AIDS epidemic for the masses of his newly apartheid-free country was a monumental task for Hood's first professional stint behind the camera, and he accomplished the task deftly, earning an Artes Award (The South African Emmy Award) for his work. A short time later, he directed and produced a short script he'd written called The Storekeeper, about an elderly man who takes the law into his own hands in order to protect his store from robbery -- a decision that ends in tragedy. Hood entered the film into competition at a number of international film festivals, where it was very well received. This earned him the credibility he needed to finally produce A Reasonable Man and in 1999 he did exactly that. The story of a young shepherd who kills a baby whom he believes is possessed by a demon was inspired by an actual 1933 court case that Hood had read about in law school. He cast himself in a supporting role in the film, appearing opposite veteran actor Sir Nigel Hawthorne, and entered it into competition on the festival circuit as he had with The Storekeeper. He met with even more success this time, winning the grand prizes at a number of film festivals and serious praise from many critics. In 2001, Hood signed on to adapt and direct a film version of Polish author Henryk Sienkiewicz's novel In Desert and Wilderness, an adventure story about two children in Africa. Though the film had to be made entirely in Polish -- which Hood neither spoke nor had time to learn -- he rose to the challenge, working extensively with a translator to create what would prove to be an award-winning film, and the highest-grossing movie in Poland that year. By 2003, Hood had established himself in the filmmaking community as both a talented and conscientious director. It was around this time that he was approached in by producer Peter Fudakowski about adapting legendary playwright Athol Fugard's only novel, Tsotsi, for the screen. Hood had loved the unflinching tale of desperation, hope, and redemption ever since he'd first read it -- but the rights had always been optioned by other parties. He jumped at the chance to write and direct the story, though he updated the setting from the 1950s to the present, replacing the forces of apartheid with classism, AIDS, and disappointment. The central story remained the same, however: a tough, young gang member to whom stealing and killing are a simple means of survival, murders a woman before realizing her baby is with her. Subjected to a spiritual and ethical transformation, the young man cares for the baby over the course of the next week, as his sense of obligation to the child gradually awakens in him a long-repressed sense of humanity. The film was a complete success, winning the Academy Award for Best Foreign Language Film.