Trivia: Born in 1959, Washington native Kyle MacLachlan, among other things, claims to be a descendent of the legendary composer Johann Sebastian Bach. However, unlike his very distant relative, MacLachlan made his mark not in music, but in television and film. After performing in a variety of local theater productions throughout his youth -- and acting out scenes from the popular Hardy Boys fiction series in his even younger years -- MacLachlan made his feature-film debut in director David Lynch's adaptation Dune in 1984. This would mark the first of many collaborations with Lynch; in 1986, Lynch cast MacLachlan as a young man shocked at what lies under a small town's picture-perfect facade in Blue Velvet. A year later, MacLachlan starred as an alien FBI agent in The Hidden, Jack Sholder's 1987 cult hit. MacLachlan, however, wouldn't gain true mainstream notoriety until 1989, when David Lynch called upon the young actor to play another FBI agent; this time, he was Special Agent Dale Cooper, who was sent to a small Washington town to investigate the murder of a young girl in ABC's popular but ultimately short-lived prime-time drama, Twin Peaks. The role would earn him two Emmy nominations for Lead Actor in a Drama Series and pave the way for more silver-screen roles, some of which include Ray Manzarek in Oliver Stone's The Doors (1991), villain Cliff Vandercave in The Flintstones (1994), and a falsely accused bank clerk in The Trial (1993). MacLachlan offered several relatively well-received starring and supporting performances throughout the mid- to late '90s, and did what he could for his role in Paul Verhoeven's famous 1995 flop, Showgirls.Luckily, the late '90s to early 2000s were much kinder to MacLachlan. In addition to playing another smooth agent in David Koepp's The Trigger Effect (1996), which some critics claimed was his best performance since Blue Velvet, the actor also was cast as King Claudius in Michael Almereyda's adaptation of Shakespeare's Hamlet. However, it was television that once again made MacLachlan a household name, albeit temporarily. In 2000, he joined the cast of HBO's multiple-award-winning series Sex and the City as Charlotte's (Kristin Davis) mama's boy husband, Trey. In 2003, MacLachlan starred in the Bravo network's popular documentary series, The Reality of Reality. Over the coming years, McLachlan wouldenjoy successful arcs on popular TV shows, like How I Met Your Mother, Desperate Housewives, and Portlandia.

Trivia: A ruggedly handsome Canadian actor whose somewhat imposing frame makes him ideal for authority figures, Michael Ontkean has been appearing in film and television since the early '70s. Though having actors for parents may not necessarily be a surefire sign that one will enter into the entertainment industry, the support and encouragement afforded to young Ontkean was key in building early confidence and skill. Ontkean was a mere four years old when he made his stage debut in his father's repertory company, and in addition to taking the stage at the Stratford Shakespeare Festival, he became a popular child star thanks to television roles in such series as Hudson's Bay. Aside from his ambitions as an actor, Ontkean also showed athletic prowess as a hockey player -- he won a scholarship to the University of New Hampshire and played on their team for three seasons. Little did he know that his skills on the ice would eventually come into play in front of the camera as well. His popularity eventually reached beyond the Canadian border when Ontkean gained stateside notice as a key player in the 1972 series The Rookies. Soon thereafter, Ontkean's featured role in the hockey comedy Slap Shot impressed audiences by showing that the up-and-comer could hold his own alongside such heavies as Paul Newman. Through the 1980s, Ontkean's career maintained an even keel with such moderately successful features as Just the Way You Are (1984) and Maid to Order (1987). In 1990 he returned to television to great effect with his role as Sheriff Harry S. Truman in David Lynch's acclaimed series Twin Peaks. The show provided Ontkean's career with something of a revival, and after he appeared in a minor capacity in Postcards From the Edge (1990), a series of television roles kept the versatile actor busy throughout the decade. Ontkean became somewhat lost in the shuffle in the late '90s, but his performance in the child-friendly made-for-television feature Mrs. Ashboro's Cat (2003) proved that the screen veteran still had what it took to charm on the small screen.

Trivia: A student of dance, music and art as a child in Reno, Nevada, Madchen Amick decided to focus on acting as a teenager, and shortly thereafter, she got her major break in David Lynch's innovative TV series Twin Peaks (1990). After moving to L.A. at 16, Amick appeared on Star Trek: The Next Generation and Baywatch, and mounted a small role in The Borrower (1991), John McNaughton's ill-fated gorefest about a roving alien of ere-shifting appearance who rips heads from his victims and uses them as his own. Amick became famous, however, as waitress Shelly Johnson, one of several beautiful young small-town women harboring terrible secrets, on the much-praised and memorably-eccentric Twin Peaks. Although Amick followed Twin Peaks with starring roles in the Stephen King horror fest Sleepwalkers (1992), it took the actress a few years to match her initial success. She hit her stride in the 2000's however, with a string of roles on ER, Joey, Freddie, Gossip Girl, Californication, My Own Worst Enemy, Damages, and Mad Men.

Trivia: Actor Richard Beymer has been working steadily on television and in feature films for over four decades. Born in Avoca, IA, Beymer first went before cameras on a Los Angeles children's show at the age of 12, and two years later made his feature-film debut in Vittorio De Sica's Stazione Termini (Indiscretion of an American Wife) (1953). After appearing in several more films during the '50s, with only two major performances in The Diary of Anne Frank (1959) and West Side Story (1961), Beymer had a significant role in The Longest Day (1962), sharing the film's unforgettable last scene with Richard Burton. Beymer enrolled in New York's Actor's Studio in 1963, but subsequently became an active participant in the struggle to allow African-Americans to register for the vote in Mississippi; during his time down South, he also helped to make a prize-winning documentary of the event. In 1974, Beymer directed his first feature film, The Innerview, an avant-garde effort he distributed to various international film festivals. During the '80s, Beymer became a supporting actor and is best remembered for his regular role as Benjamin Horne on David Lynch's television series Twin Peaks.

Trivia: Actress Lara Flynn Boyle has David Lynch to thank for becoming so famous at such a young age. She was barely 20 when she made her series-TV bow on Twin Peaks in the role of Donna Hayward, best friend of the ill-fated Laura Palmer. After the debut of Twin Peaks in 1990, Boyle did steady work in both films and television. Some of her more notable ventures included John Dahl's Red Rock West (1993), a neo-noir in which she played a scheming femme fatale; Threesome (1994), which cast her as a college student whose unique boarding situation provides the basis for oodles of hormonal adventures with her two male roommates; Afterglow (1997), a romantic drama in which Boyle starred as an unhappy wife; and Todd Solondz's Happiness (1998), a very, very black comedy that cast the actress as an irredeemably bitchy celebrity writer. On television, Boyle nabbed one of her most prominent roles to date when she was cast as a lawyer in the acclaimed series The Practice in 1997. The Practice ran for seven years and her most high-profile film role afterward came in Men In Black II. She had recurring roles on the TV shows Huff and Las Vegas and in 2011 she appeared in the sex comedy Cougar Hunting.

Trivia: Actress Sherilyn Fenn had her first taste of show business while touring the country with her mother, a rock musician. Fresh out of high school, Fenn decided to put her stunning physical attributes to good use as a Playboy bunny, but, alas, she failed to survive the first year of "bunny school." After posing for perfume and designer jean ads, Fenn made her film debut in The Wild Life (1984). She skyrocketed to fame in the early '90s as Audrey Horne in David Lynch's cult TV series Twin Peaks. (Her singular series highlight was the scene in which she tied a knot in a cherry stem with her tongue.) Fenn played a seductive wife in Gary Sinese's 1992 version of John Steinbeck's Of Mice and Men, and the following year replaced a recalcitrant Kim Basinger in the role of a haughty beauty whose arms and legs are amputated by a love-obsessed surgeon in Boxing Helena, directed by David Lynch's daughter, Jennifer Lynch. The apex of Fenn's '90s roles, however, may well have been her take-no-prisoners 1995 TV performance as screen goddess Elizabeth Taylor.

Trivia: Despite over four decades in the industry, actress Peggy Lipton is best known for a role she played in 1968, that of undercover cop Julie Barnes in The Mod Squad (1968-1973). However, prior to life as Julie Barnes, Lipton had participated in The John Forsythe Show (1965-1966) and starred alongside Kurt Russell in Mosby's Marauders, a critically praised three-part tale from The Wonderful World of Disney series. After the finale of The Mod Squad (and the reunion in 1979's The Return of the Mod Squad), Lipton played supporting roles in Purple People Eater and Keenen Ivory Wayans' I'm Gonna Git You Sucka! (both 1988). Before long, another television role launched Lipton's name back into the mainstream -- David Lynch's surreal drama series Twin Peaks (1990-1991), which featured Lipton in the role of Norma Jennings.Lipton reprised her Twin Peaks role in 1992, though, unlike The Return of the Mod Squad, Twin Peaks: Fire Walk With Me was a feature-film prequel to the television series. Lipton continued to make sporadic appearances in film and television throughout the '90s -- she had decided to focus most of her attention on raising a family rather than pursuing acting full-time -- and played a small, supporting role in Kevin Costner's ill-conceived film The Postman in 1997. In 2000, Lipton worked with Drew Barrymore and Jennifer Jason Leigh in director Tamra Davis' coming-of-age drama Skipped Parts, and went on to perform in Michael and Mark Polish's Jackpot in 2001. She also turned up on the popular spy series Alias in 2004 as the duplicitous mother of the similarly deceptive government agent Lauren Reed (Melissa George). Peggy Lipton was married to composer/producer Quincy Jones from 1974-1989, and the former couple have two daughters together.

Trivia: Supporting actor, occasional lead, onscreen from the late '60s.

Trivia: A favorite actor of director David Lynch, Jack Nance has appeared in all of Lynch's films but Elephant Man (1980). Nance's affiliation with the iconoclastic filmmaker began in 1977 when Lynch cast him as the unpleasant, stressed-out father/husband with the crazy stand-up hair, Henry Spencer, in Eraserhead. The film was wildly popular among certain audiences and earned Lynch and Nance, a cult following. Interestingly Nance, who had much stage experience and had been in feature films since Fools (1970), was not impressed with Lynch after their first meeting and found the young director's script too strange. To help him decide to take the part, Lynch showed Nance his short film, "The Grandmother." Nance was deeply impressed and accepted the role. Afterwards, he specialized in playing weird, often disturbing characters, not only for Lynch but for others too, including Dennis Hopper's Colors (1988) and The Blob (1988). Nance appeared for the final time in a Lynch film, The Lost Highway (1997) On December 30, 1996, Nance was found dead in his home, the result of head injuries. An investigation revealed that the trauma had been incurred a day or so before at a Los Angeles donut shop where the famously temperamental Nance had gotten into a fight with two young men.

Trivia: Longtime character actor Ray Wise is beloved by genre fans for his over-the-top roles in Swamp Thing, RoboCop, Twin Peaks (both the series and the feature), and Jeepers Creepers 2, yet one look at the actor's diverse filmography reveals that it's Wise's diverse body of small-screen work that has been his bread and butter throughout the years.As an adolescent, Wise became keenly aware of his love for acting, and displayed his ambition by appearing in as many plays as possible throughout high school. A college theater major who spent most of his summer breaks in summer stock, Wise was well and ready to enter the professional world after receiving his degree in 1970. As with many other aspiring actors, Wise was drawn to the bright lights of Broadway and New York City, landing a job on the soap opera Love of Life after being in town for only two weeks. During the six years that he was acting on Love of Life, Wise would moonlight with stage roles both on and off-Broadway in addition to dabbling in repertory theater. When Love of Life was canceled in 1976, it was time to expand into features with supporting roles in Swamp Thing and Cat People (both 1982). Throughout the 1980s, Wise appeared on some of the most popular series on television, including Dallas, Trapper John, M.D., Knots Landing, and Moonlighting -- occasionally returning for a recurring role. While his part in Paul Verhoeven's over-the-top sci-fi action flick RoboCop offered the busy actor a chance to truly explore his inner villain, it was another menacing role that would propel Wise's career in the 1990s.Cast as grieving father Leland Palmer in the surreal David Lynch series Twin Peaks, Wise captivated television viewers with his emotionally charged performance -- Palmer was a challenging character, and few actors could have brought him to life quite as effectively as Wise. In 1992, Wise reprised the role of Leland Palmer for the polarizing feature Twin Peaks: Fire Walk With Me, with subsequent performances in Bob Roberts and Powder, as well as on television in Star Trek: Voyager and Beverly Hills 90210, proving his highest-profile works of the decade. While by the year 2000 it appeared as if Wise had settled into a comfortable small-screen groove thanks to his numerous television credits, roles as a frightened father in the underappreciated, Twilight Zone-flavored frightener Dead End and a monster-fighting farmer in Jeepers Creepers 2 (which re-teamed him with Powder director Victor Salva) both gave genre fans cause to celebrate. In 2005, Wise took an affecting turn as communist witch-hunt victim Don Hollenbeck in director George Clooney's Oscar-nominated drama Good Night, and Good Luck, and the following year he had a recurring role as Vice President Hal Gardner in the hit Fox series 24. With additional small-screen roles in The Closer, CSI, Law & Order: SVU, and the supernatural series Reaper (on which he played the Devil himself) serving well to balance out feature work in Peaceful Warrior, Pandemic, and One Missed Call, it appeared that Wise remained as comfortable as ever fluctuating between work in film and television. He continued to work steadily on small and big-screen projects like Pandemic, One Missed Call, Crazy Eyes, Mad Men, and Tim and Eric's Billion Dollar Movie.

Trivia: Joan Chen has been one of a very few actors to have a viable career both in Hollywood and in Hong Kong. Whether playing a wizened Vietnamese peasant woman or the doomed Empress of China, she lends her characters a natural elegance and a beguiling vulnerability.Chen was born tp a family of doctors on April 26, 1961, in Shanghai, China. She tasted fame early in her life when she made her film debut in Xie Jin's Youth (1976) at age 14. She soon enrolled in the prestigious Shanghai Foreign Language Institute while making a couple more feature films, including Zhang Zheng's Little Flower (1979), which eventually won her a Best Actress Prize at the Hundred Flowers Awards (the Mainland Chinese equivalent of the Oscars). Having reached the pinnacle of fame in her own country, Chen made the unusual step to leave China -- not for Hong Kong as many later Chinese stars such as Gong Li and Jet Li did -- but for the United States. While studying at California State University in Northridge, she landed a small role in Wayne Wang's Dim Sum: A Little Bit of Heart (1985), a gentle portrait of Chinese-American family life.In true Hollywood style, she was summarily cast as May-May in the adventure-epic Tai-Pan (1986) after being spotted in the Lorimar parking lot. Though it was savaged by critics (Leonard Maltin called it "silly") and bombed at the box-office, Tai-Pan did allow Chen to segue into her breakthrough role. As Empress Wan Jung in Bernardo Bertolucci's Oscar-award winning The Last Emperor (1987), Chen brilliantly played a woman whose love and life are tragically destroyed by China's rigidly patriarchal culture and the machinations of fate. Hollywood roles being notoriously hard to land for Asian and Asian-American actors, Chen's newfound fame did not immediately lead to better movie offers. She appeared in such low-budget fare as The Blood of Heroes (1989) before she attracted public attention again as Josie Packard in David Lynch's TV series Twin Peaks. In 1993, she played a Vietnamese mother who suffers for a lifetime in a country at war in Oliver Stone's Heaven and Earth.That same year, she returned to Asia to make a pair of critically successful films. She played a supernatural temptress in Clara Law's Temptation of a Monk (1993), a historical epic with the sweep and visual flare of a Sergio Leone film with a pronounced erotic edge. The role was a brave one to tackle as it not only featured Chen as the movie's clear villain, but it also featuring an unusually graphic sex scene for a mainstream Chinese film. In Stanley Kwan's Red Rose, White Rose (1994), which was nominated for Berlin's Golden Bear, Chen played another deliciously evil vixen opposite Winston Chao. For her effort, she won a Best Actress Golden Horse award, Taiwan's equivalent of the Oscar. Her return to the U.S. was marked by another succession of subpar flicks, including On Deadly Ground (1994) and Judge Dredd (1995). Chen also co-produced and starred in The Wild Side (1995), a lesbian romantic thriller in which she played opposite a still-in-the-closet Anne Heche.In 1998, Chen made her directorial debut with Xiu Xiu: The Sent Down Girl, a lyrical, harrowing tale about the loss of innocence and respect during the tumult of the Chinese cultural revolution. Featuring sumptuous cinematography and subtle, remarkably assured direction, Xiu Xiu won armfuls of international prizes, including a virtual sweep of the Golden Horse awards and a nomination for a Golden Bear at the Berlin Film Festival. In 1999, Chen climbed back into the director's chair and began production of Autumn in New York, starring Richard Gere and Winona Ryder.Over the next several years, Chen would cement her position as one of the most loved and respected actresses in film, especially on the Eastern side of the globe, appearing in movies like Sunflower, Lust, Caution, Love in Disguise, and 1911.

Trivia: Signed by Universal in 1950, the perky, redheaded Piper Laurie (born Rosetta Jacobs) was a welcome presence in many a musical, situation comedy and costume drama. In later years, she tended to dismiss her ingenue years, noting that she spent most of her time posing for cheesecake layouts. Thanks in great part to her devastating performance as an alcoholic in the 1958 Playhouse 90 TV drama "The Days of Wine and Roses", Laurie completely altered her cuddly image, reinventing herself as a powerful dramatic actress. She earned an Oscar nomination for her portrayal of Paul Newman's neurotic girlfriend in The Hustler (1961), then suddenly retired from acting upon her marriage to movie critic Joseph Morganstern. She made a brilliant return to films with another Oscar-nominated performance, this time as Sissy Spacek's religious fanatic mother in Carrie (1976). Ten years and several topnotch performances later, she was honored with a third Oscar nomination for Children of a Lesser God (1986). Laurie's television work has included a co-starring assignment opposite a very young Mel Gibson in the superb Australian TV movie Tim (1979) and an Emmy-nominated stint on David Lynch's 1990 "cult" series Twin Peaks. Working only when the spirit moves her in recent years, Piper Laurie has been seen in such prestige productions as Wrestling Ernest Hemingway (1993) and White Man's Burden (1995).

Trivia: American actress Sheryl Lee has come a long way since her screen debut as the enigmatic, beautiful corpse of Laura Palmer, a murdered homecoming queen in David Lynch's surreal TV soap Twin Peaks (1990-1992). Later in the series, Lee got to play Laura's twin cousin, Madeleine Ferguson, until she too was slain. Though playing a dead girl may not have been the most ideal role, it earned Lee considerable fame, though she claims passerby recognizing her on the street would "look startled and look at me as if I were a ghost." She made her feature-film debut playing a supporting role in Lawrence Kasden's I Love You to Death (1990) and then played Glinda the Good Witch in Lynch's Wild at Heart (1990). Lee got to play an alive Laura Palmer in Lynch's panned feature-film prequel to his series, Twin Peaks: Firewalk With Me (1992). She has gone on to play the swinging German photographer who caused the "fifth Beatle" to leave the group in Back Beat (1994) and as Helga Noth in the screen adaptation of Kurt Vonnegut's Mother Night (1996). Though she has appeared in these and other relatively mainstream films, Lee is perhaps best known for appearing in American independent features such as Fall Time (1995) and Notes From the Underground (1996). In addition to her filmwork, Lee also performs in television movies and on-stage. One of her more famous stage roles was that of the title role in the New York production of Salome in which she starred opposite Al Pacino. As her career progresses, Lee has gained a reputation for appearing nude on stage, screen, and television. Though she claims she hates it, the nudity she displays is never exploitative, rather she imbues it with an ethereal quality that defies tawdriness. In 1997, she appeared in the sexually frank drama Bliss as a frustrated wife who visits a tantric sex therapist to learn how to find fulfillment with her spouse.

Trivia: Tousle-haired juvenile actor Russ Tamblyn began taking up dancing and acrobatics at the age of six. Needing very little prodding from his parents, the eager Tamblyn embarked on his professional career in the late '40s, performing in radio and Los Angeles musical revues. His first "straight" acting assignment was opposite Lloyd Bridges in the 1947 play Stone Jungle. He entered films in 1948, then was given an "introducing" screen credit for his first starring role in The Kid From Cleveland (1949). Signed by MGM, the young actor changed his billing from Rusty to Russ when cast as an army trainee in 1953's Take the High Ground. Beginning with Seven Brides for Seven Brothers, Tamblyn became a popular musical star, playing the title role in Tom Thumb (1958) and co-starring as gang leader Riff in the Oscar-winning West Side Story (1961). He was nominated for an Academy Award for his performance as the teenaged swain of Allison McKenzie (Diane Varsi) in 1958's Peyton Place. By the late '60s, Tamblyn's career had waned, and he was accepting roles in such cheapjack exploitation flicks as Satan's Sadists (1970) and Dracula vs. Frankenstein (1971). Russ Tamblyn stuck it out long enough to make a healthy comeback in the late '80s, notably in the role of psychiatrist Lawrence Jacoby on the cult-TV favorite Twin Peaks (1990).

Trivia: Served three years in the Army, including a stint in Korea during the Vietnam War. Taught at the University of British Columbia in Vancouver, B.C. during the 1980s; left teaching to pursue acting. Worked as a stunt double for Dana Elcar on the TV series MacGyver; there he met star Richard Dean Anderson, with whom he would later costar on Stargate SG-1. Best known for his roles as base commander Gen. George Hammond on Stagate SG-1 and Maj. Garland Briggs in the series Twin Peaks. His artistic endeavors included set design, painting and woodcarving; his pieces reflected his love of the Missouri Ozarks, where he grew up.

Trivia: David Patrick Kelly specializes in playing sleazeballs, oily little punks, and crazies in actioners and urban dramas. While Kelly excels at such roles, they do not fully represent his training and potential. A former student of Stella Adler in New York and mime Marcel Marceau in Paris, Kelly first made his name on the New York stage, appearing in everything from musicals to experimental theater. Producer Joel Silver started him down the road to movie villainy when he cast him in Walter Hill's The Warriors (1979) and then 48 Hrs. (1982). Kelly has subsequently appeared in several more Hill films, including Last Man Standing (1997). Kelly also played supporting roles in two Spike Lee films, Malcolm X (1992) and Crooklyn (1994).

Trivia: To say that Grace Zabriskie has specialized in maternal roles is hardly adequate. Many of the mothers portrayed by Zabriskie in films and on TV are the sort of parents that you wouldn't wish on your worst enemy: clinging, castrating, and constantly jabbering away about nothing in particular (to be fair, she has essayed a few benign, likeable moms). She has been prominently featured in such films as Norma Rae (1979), Drugstore Cowboy (1988), and The Big Easy (1989). Her TV work includes the roles of Laura Palmer's hysterical mother in Twin Peaks (1990) and the recurring part of Thada Duvall in the NBC daytimer Santa Barbara. Undoubtedly, Zabriskie's most bizarre screen assignment was her S&M sex scene in Chain of Desire (1991). As brash and outspoken as ever, Grace Zabriskie played Granny in first-time director Anjelica Huston's controversial Bastard out of Carolina (1996).

Trivia: Character actor and screenwriter Chris Mulkey is best remembered for his convincing portrayal of creepy former convict Hank Jennings in David Lynch's innovative television series Twin Peaks. A five-year veteran of the Children's Theatre Company of Minnesota, Mulkey, who had previously studied theater at the University of Minnesota, made his feature film debut in the comedy Loose Ends (1975). He made his screenwriting debut in 1988, with Patti Rocks.

Trivia: Born February 7, 1955, intense character actor Miguel Ferrer specialized in playing villains, and brought to each role an unpredictable energy. Working steadily on television and in feature films, Southern California-born and raised, Ferrer was the eldest of five children and is the son of famed actor José Ferrer and jazz artist Rosemary Clooney. Inspired by watching Little Ricky banging away on drums during the I Love Lucy show and by Beatles percussionist Ringo Starr, Ferrer first aspired to become a professional drummer and for a few years worked as a studio musician. Acting credits came by way of small television and feature film roles. He debuted on television guest starring as a drummer on the NBC series Sunshine (1975). His first real break in movies came when he was cast in Paul Verhoeven's sci-fi actioner Robocop (1986). The tall, rangy actor subsequently appeared in films such as Revenge (1987) and Point of No Return (1991). Back on television, he gave a memorable performance as an emotionally volatile FBI pathologist in David Lynch's cult series Twin Peaks. Ferrer also starred as a Louisiana cop in Broken Badges. Other television credits include a guest-starring role on the NBC medical drama E.R., a supporting role in the telemovies Shannon's Deal and Brave New World, and a regular role on the comedy Lateline. In 2002, Ferrar appeared alongside Michael Douglas, Don Cheadle, and Benicio Del Toro in filmmaker Steven Soderbergh's Academy award-winning drama Traffic, and worked in John Sayles' Sunshine state during the same year. Ferrer took on the role of Colonel Garrett in the 2004 update of The Manchurian Candidate, and lent his voice to episodes of the Cartoon Network favorites Robot Chicken (2006) and American Dad! (2007). The actor continued to work in television over the next couple of years, making appearances in NBC's update of the Bionic Woman series, and took on the part of LAPD Lt. Felix Valdez for The Protector, a made-for-television police procedural drama. He also had a recurring role as NCIS assistant director Owen Granger in NCIS: Los Angeles. Ferrer was diagnosed with cancer during his run on NCIS, but chose to stay on the show and work through his illness. He died in 2017, at age 61.

Trivia: From the beginning of his career, David Lynch quickly established himself as the Renaissance man of modern American filmmaking, an acclaimed and widely recognized writer-director as well as television producer, photographer, cartoonist, composer, and graphic artist. Walking the tightrope between the mainstream and the avant-garde with remarkable balance and skill, Lynch brought to the screen a singularly dark and disturbing view of reality, a nightmare world punctuated by defining moments of extreme violence, bizarre comedy, and strange beauty. More than any other arthouse filmmaker of his era, he enjoyed considerable mass acceptance and helped to redefine commercial tastes, honing a surrealistic aesthetic so visionary and deeply personal that the phrase "Lynchian" was coined simply to describe it. Born January 20, 1946, in Missoula, Montana, David Keith Lynch grew up the archetypal all-American boy. The son of a U.S. Department of Agriculture research scientist, he was raised throughout the Pacific Northwest, eventually becoming an Eagle Scout and even serving as an usher at John F. Kennedy's presidential inauguration. Originally intending to become a graphic artist, Lynch enrolled in the Corcoran School of Art in Washington, D.C., in 1963, falling under the sway of expressionist painter Oskar Kokoschka and briefly studying in Europe. By the early weeks of 1966, he had relocated to Philadelphia, where he attended the Pennsylvania Academy of Fine Arts and began his first experimentation with film.The violence and decay which greeted Lynch in Philadelphia proved to have a profound and long-lasting effect, as his work became increasingly obsessed with exploring the dark corners of the human experience. From his first experimental student film (1967's "moving painting" Six Men Getting Sick, onward, his vision grew more and more fascinated with the seedy underbelly of everyday life. He received an American Film Institute Grant and made The Alphabet, a partially animated 16 mm color film, soon after, but then turned away from the cinema to renew his focus on fine art. His next short film, The Grandmother, did not appear until 1970.In 1972, Lynch began work on his first feature effort, Eraserhead. A surreal nightmare borne of the director's own fears and anxieties of fatherhood, the film took over five years to complete, finally premiering in March 1977. An instant cult classic, it was also a tremendous critical success, launching Lynch to the forefront of avant-garde filmmaking. Eraserhead not only established Lynch's singular world view but also cemented the team of actors and technicians who would continue to define the texture of his work for years to come, including cinematographer Frederick Elmes, sound designer Alan Splet, and actor Jack Nance.The success of Eraserhead brought Lynch to the attention of Mel Brooks, who was seeking projects to produce besides his own comedies. He recruited Lynch to helm 1980's The Elephant Man, the tale of John Merrick. Complete with a cast including such celebrated talent as John Hurt, Anthony Hopkins, Anne Bancroft, and John Gielgud, the film marked Lynch's acceptance into the Hollywood mainstream, even netting an Academy Award nomination for Best Picture as well as a nod for Best Director. For a time, Lynch opted to advance his script Ronnie Rocket at Francis Coppola's Zoetrope Studios, but when this failed to materialize, he went to work for Dino De Laurentiis, adapting the Frank Herbert science fiction novel Dune. The first of Lynch's films to star actor Kyle MacLachlan, the 1984 big-budget effort was a commercial and critical disaster -- Lynch himself even disowned the project after it was re-edited for release without his consent.Lynch had agreed to make Dune for de Laurentiis in order to film 1986's Blue Velvet, a long-simmering tale exploring the dark underbelly of small-town life. Insisting upon complete artistic control, he made the picture for under seven million dollars, casting actors ranging from MacLachlan to model Isabella Rossellini to Dennis Hopper and Dean Stockwell, former stars whose popularity had suffered in recent years. The completed film was an unqualified masterpiece, a hypnotically violent creep show which earned Lynch his second Oscar nomination as well as boosting the careers of all involved. In 1990, Lynch mounted his most commercially successful work, the ABC television series Twin Peaks. A surrealist soap opera created in conjunction with former Hill Street Blues producer Mark Frost, Twin Peaks became a cultural phenomenon, spurred by the mystery of "Who killed Laura Palmer?," the series' central plot thread. Suddenly, Lynch was a cultural figure of considerable renown, a filmmaker perhaps more famous than any of his actors. His fame was bolstered when his fifth feature, 1990s hallucinatory road movie Wild at Heart, grabbed the Palme d'Or at the Cannes Film Festival. As quickly as the media had built Lynch up, however, they tore him down. Wild at Heart received mixed reviews from American critics, while Twin Peaks was scuttled off to a poorly suited Saturday-night slot, leading to its demise in early 1991. Two other Lynch-created series, the documentary anthology American Chronicles and the situation comedy On the Air, also met with premature deaths. In 1992, he released Twin Peaks: Fire Walk With Me, a feature-film prequel to the television series. An ambitious, fractured work featuring Sheryl Lee as the ill-fated Laura Palmer, the picture was savaged by critics, leaving a wounded Lynch to plot his next move. He spent the next few years away from the limelight. Finally, in 1997, Lynch resurfaced with the enigmatic Lost Highway, another experimental, dream-like effort that polarized viewers' responses. He enjoyed more renown in 1999 when The Straight Story was released at the Cannes Film Festival. The film, based on a true story, marked a departure from Lynch's previous subject matter; the simple tale of a man (Richard Farnsworth) who gets on his tractor and drives 350 miles to see his brother, it offered few of the dark undertones and twisted subtext that had come to be known as the director's trademarks. That notion would continue with 2001's Hollywood-set thriller-melodrama, Mulholland Drive. Like Twin Peaks, the project was originally developed with ABC as a series pilot; unlike Lynch's first foray into television, however, Mulholland was scrapped before it could make a prime-time premiere. Although Lynch tinkered with the two-hour pilot several times in an attempt to satisfy the network brass, they remained unsatisfied. The frustrated director then turned to European financing in order to sculpt a feature film out of his material. Premiering at the 2001 Cannes Film Festival, Mulholland garnered much acclaim, snagging Lynch the fest's Best Director award, and cementing his career resurgence.Lynch spent the next few years immersed in the world of digital video, first on his exclusive website -- members of which were allowed access to never-before-seen short films -- and then on the highly experimental feature Inland Empire. Crafted over a series of years using a light, mobile video camera and very few crew members, the film was Lynch's declaration of true artistic independence; the director himself heralded it as a breakthrough. The meandering, non-narrative, 3-hour opus, however, left critics and fans sharply divided as they tried to make sense of such disparate elements as a tortured, ghostly ingenue (played by Laura Dern), a Polish film crew, and Justin Theroux wearing a rabbit's-head mask. Dissatisfied with the response from possible buyers at the 2006 Cannes Film Festival, Lynch chose to distribute the film himself, even mounting his own Oscar campaign -- stationing himself on various L.A. streetcorners, no less -- for Dern. In the years that followed, the director continued to immerse himself in experimental video, with short subjects including Boat, More Things That Happened and Lady Blue Shanghai - each of which alternately beguiled and delighted longtime Lynch adherents.

Trivia: The three-and-a-half-foot-tall American actor Michael J. Anderson is often referred to as the dwarf from Twin Peaks. His height is due to a bone condition called osteogenesis imperfecta. Credited as The Little Man From Another Place, he appeared in dream sequences talking backwards and dressed in a red suit. He also appeared in two other early '90s David Lynch projects, Twin Peaks: Fire Walk With Me and Industrial Symphony No. 1: The Dream of the Broken Hearted.Anderson had actually made his feature debut in the Canadian family film The Great Land of Small in 1987. During the '90s, he made television guest-star appearances on Star Trek: Deep Space Nine, Picket Fences, and The X-Files. After a brief role in Roger Corman's daytime miniseries The Phantom Eye, he joined the cast of the ABC daytime drama Port Charles as double agent Peter Zorn. In 2001, he reunited with Corman for the short-lived TV series Black Scorpion and reunited with David Lynch for a brief part in Mulholland Drive. Back in the realm of children's entertainment, Anderson also appeared in the action fantasy film Warriors of Virtue (1997) and the made-for-TV film Snow White: The Fairest of Them All (2001). Anderson's major breakthrough came in the 2003 HBO series Carnivàle as Samson, the leader of a traveling carnival in 1930s Dust Bowl America. Projects for 2004 include a starring role in Geofrey Hildrew's Big Time, opposite the seven-and-a-half-foot-tall Matthew McGrory from Tim Burton's Big Fish.

Trivia: Blonde-haired, blue-eyed, and possessing a certain bodacious je ne sais quoi, Heather Graham has had one of the more inspiring career trajectories of the 1990s. After debuting in 1988's License to Drive, which featured the two Coreys (Haim and Feldman) and little else, Graham worked in relative obscurity for years before hitting it big in a string of successful films, including Swingers, Boogie Nights, and Austin Powers: The Spy Who Shagged Me. Originally hailing from the Midwest, Graham was born in Milwaukee, WI, on January 29, 1970. The elder of two girls (younger sister Aimee is also an actress), Graham led a fairly itinerant childhood thanks to her father's job with the F.B.I. A quiet, unpopular girl, by her own account, Graham became interested in acting at a young age. She had her first role, as Dorothy, in a school production of The Wizard of Oz and remained active in the theater throughout high school, winning the title of Most Talented from her peers. After high school, Graham packed up and headed to Los Angeles, where she discovered that talented as she may have been, it was no guarantee of employment. She worked a variety of odd jobs, including a stint as an usher at the Hollywood Bowl, before making her 1988 film debut in License to Drive as the object of Corey Haim's desire. The following year, Graham's career began to travel in a more auspicious direction when she was cast as a doomed drug addict in Gus Van Sant's critically acclaimed Drugstore Cowboy. Despite winning raves for her performance, stardom eluded Graham, as her subsequent film roles were largely incidental. However, she did win a recurring role on the TV series Twin Peaks in 1990, and the following year, starred in the widely celebrated made-for-TV movie O Pioneers!. In 1992, Graham had a supporting role in Diggstown, the most notable effect of which was a relationship with co-star James Woods, who was twice her age. After appearing in a few more films of varying quality (Six Degrees of Separation [1993] at one end of the spectrum and 1994's Don't Do It, which paired her with Drugstore boyfriend James LeGros, at the other), the actress finally got a break with the 1996 hit Swingers, appearing in a small but memorable role as the girl of Jon Favreau's dreams. The part marked the beginning of an upswing in Graham's career; in the following year she had a bit part in the movie-within-a-movie in Scream 2, which led to her inclusion on a Rolling Stone cover featuring the movie's assorted Hot Young Things, and also had her breakthrough role in Boogie Nights. As Rollergirl, an underdressed, oversexed, coke-snorting young porn actress, Graham made an indelible impression on audiences everywhere. In 1997 she also starred in Gregg Araki's Nowhere, in which she did little except have copious amounts of sex with the similarly golden-tressed Ryan Phillippe, and Two Girls and a Guy, a critically acclaimed piece that featured her as one of the title's two girls opposite Robert Downey Jr.'s guy.Unfortunately, Graham's first big-budget undertaking, the 1998 sci-fi film Lost in Space, was swallowed in a deep pit of critical and commercial quicksand. The actress more than rebounded the following year, however, earning top billing in two films, the Steve Martin comedy Bowfinger and the eagerly awaited Austin Powers sequel Austin Powers: The Spy Who Shagged Me. The same year Graham earned the 1999 ShoWest convention's Female Star of Tomorrow title.Though she appeared to be on a track toward superstardom as the a new decade and millennium unfolded, a string of duds (From Hell, The Guru, Killing Me Softly, etc.) derailed Graham's career a bit. As many actors in her position often do, she decided to give television a try. Unfortunately, like much of her film work of the period, the ABC comedy Emily's Reasons Why Not was met with little excitement from critics audiences alike, and the heavily hyped series was cancelled after a single episode. Her recurring role on the comedy Scrubs, however, was well received. She continued to work in little-seen movies, but that changed in 2009 when she played a Vegas girl who falls for Ed Helms nerdy dentist in the smash hit The Hangover. Two years later she would play Aunt Opal in Jus Moody and the NOT Bummer Summer, and score a small part in the horror sequel Scream 4.

Trivia: Born in Brooklyn, David L. Lander was raised in Bronx. Lander attended drama classes at Carnegie Tech, where he befriended fellow student Michael McKean. The two budding comedians joined a Hollywood improv group called the Credibility Gap (another member was Harry Shearer), gaining a huge fan following with their manic appearances on an LA radio station. Hired by producer Gary Marshall as writers/consultants for the '70s TV sitcom Laverne and Shirley, Lander and McKean immediately wrote themselves into the first show. Lander played Andrew "Squiggy" Squiggman and McKean portrayed Lenny Kosnowski, two adenoidal, terminally stupid truck drivers for Milwaukee's Shotz Brewery. The boys remained with the series from 1976 to 1983, then pretty much went their separate ways. Lander played comic character roles in films, and was prominently featured in the off-the-wall television efforts of David Lynch, notably the 1992 series On the Air, in which he was cast as unintelligible TV director Vladja Gochktch. Since providing the voice of the title character in the 1970 animated cartoon series Will the Real Jerry Lewis Please Sit Down?, Lander has been a busy and versatile voiceover artist, most recently as Lechner in the USA Network's Tattooed Teenage Alien Fighters from Beverly Hills (1994-95). Also for USA, he played the recurring role of Elvis the mechanic in the 1995 series Pacific Blue. David L. Lander's credits are sometimes confused with those of British actor David Lander.

Trivia: Supporting actress, former ingenue, onscreen from 1986.

Trivia: Dan O'Herlihy studied architecture at the National University of Ireland, but his heart was in the acting highlands. After racking up stage credits with the Gate Theater and the Abbey Players, O'Herlihy turned to films in 1946, impressing critics and filmgoers alike with his breakthrough role in Odd Man Out. He made his American movie bow in Orson Welles' MacBeth (1948), playing the not inconsiderable role of MacDuff; shortly thereafter, he appeared with his MacBeth co-star Roddy MacDowall in an economically budgeted adaptation of Robert Louis Stevenson's Kidnapped. In 1952, he earned an Academy Award nomination for his near-solo starring turn in Luis Bunuel's The Adventures of Robinson Crusoe. Maturing into a versatile character player, he could also be seen as FDR in MacArthur (1977), the frothing-at-the-mouth villain in Halloween 3: Season of the Witch (1983), a benign lizardlike alien in The Last Starfighter (1984), and the dark-purposed cyborg-firm exec in the RoboCop films. His TV credits include blarney-spouting Doc McPheeters in The Travels of Jamie McPheeters (1963), town boss Will Varner in The Long Hot Summer (1965), "The Director" in A Man Called Sloane (1979), intelligence agent Carson Marsh in Whiz Kids (1984), and Andrew Packard in Twin Peaks (1990). Dan O'Herlihy was the brother of director Michael O'Herlihy.