Trivia: American actor James Arness had an unremarkable Minneapolis childhood, but his wartime experiences shattered that normality - literally. During the battle of Anzio, Arness' right leg was peppered with machine gun bullets, and when the bones were set they didn't mend properly, leaving him with a slight but permanent limp. The trauma of the experience mellowed into aimlessness after the war. Arness became a "beach bum," lived out of his car, and worked intermittently as a salesman and carpenter. Acting was treated equally lackadaisically, but by 1947 Arness had managed to break into Hollywood on the basis of his rugged good looks and his 6'6" frame. Few of his screen roles were memorable, though one has become an object of cult worship: Arness was cast as the menacingly glowing space alien, described by one character as "an intellectual carrot," in The Thing (1951). For a time it looked as though Arness would continue to flounder in supporting roles, while his younger brother, actor Peter Graves, seemed destined for stardom. John Wayne took a liking to Arness when the latter was cast in Wayne's Big Jim McLain (1953). Wayne took it upon himself to line up work for Arness, becoming one of the withdrawn young actor's few friends. In 1955, Wayne was offered the role of Matt Dillon in the TV version of the popular radio series Gunsmoke. Wayne turned it down but recommended that Arness be cast and even went so far as to introduce him to the nation's viewers in a specially filmed prologue to the first Gunsmoke episode. Truth be told, Arness wasn't any keener than Wayne to be tied down to a weekly series, and as each season ended he'd make noises indicating he planned to leave. This game went on for each of the 20 seasons that Gunsmoke was on the air, the annual result being a bigger salary for Arness, more creative control over the program (it was being produced by his own company within a few years) and a sizeable chunk of the profits and residuals. When Gunsmoke finally left the air in 1975, Arness was the only one of the original four principals (including Amanda Blake, Milburn Stone and Dennis Weaver) still appearing on the series. Arness made plans to take it easy after his two-decade Gunsmoke hitch, but was lured back to the tube for a one-shot TV movie, The Macahans (1976). This evolved into the six-hour miniseries How the West Was Won (1977) which in turn led to a single-season weekly series in 1978. All these incarnations starred Arness, back in the saddle as Zeb Macahan. The actor tried to alter his sagebrush image in a 1981 modern-day cop series, McClain's Law -- which being set in the southwest permitted Arness to ride a horse or two. It appeared, however that James Arness would always be Matt Dillon in the hearts and minds of fans, thus Arness obliged his still-faithful public with three Gunsmoke TV movies, the last one (Gunsmoke: The Last Apache) released in 1992. In between these assignments, James Arness starred in a 1988 TV-movie remake of the 1948 western film classic Red River, in which he filled the role previously played by his friend and mentor John Wayne.

Trivia: Educated in Switzerland and England, Irish actress Fionnula Flanagan studied for her trade at Dublin's Abbey Theatre. With her portrayal of Gerty McDowell in the 1967 film version of Ulysses, Flanagan established herself as one of the foremost interpreters of James Joyce. She made her 1968 Broadway bow in Brian Friel's Lovers then appeared in such Joycean theatrical projects as Ulysses in Nighttown and James Joyce's Women (1977). The last-named project earned her "Critic's Circle" awards in Los Angeles and San Francisco; it was subsequently committed to film in 1988, with Flanagan repeating her portrayal of Harriet Shaw Weaver. A familiar presence in American television, Flanagan has appeared in several made-for-TV movies, among them The Legend of Lizzie Borden (1975), Mary White (1977), The Ewok Adventure (1984) and A Winner Never Quits (1986). She won an Emmy for her work as Clothilde in the 1976 network miniseries Rich Man, Poor Man. Fionnula Flanagan's weekly-series stints have included Aunt Molly Culhane in How the West Was Won (1977), which earned her a second Emmy nomination; Lt. Guyla Cook in Hard Copy (1987) and Kathleen Meacham, wife of police chief John Mahoney (another transplant from the British Isles) in Help (1990).

Trivia: The first time that American actor Bruce Boxleitner set foot on stage, it was with a total of four hours' preparation. While in high school, Boxleitner was forced to jump into the role of My Fair Lady's Henry Higgins when the young man originally cast in the part came down with mononucleosis the day before the show. The applause that greeted Boxleitner's debut was enough to inspire him to continue studying drama at the Goodman Theatre. His first Broadway play flopped, but he managed to secure steady work in a series of villainous supporting roles in Hollywood. With the help of fabled super-agent Jay Bernstein, Boxleitner climbed to stardom, reaching a particularly lofty rung with his four season-stint (from 1983 to 1987) as government agent Lee Stetson on the TV series Scarecrow and Mrs. King. More recently, Bruce Boxleitner was seen as fictional ballplayer "Jumpin' Joe Dugan" in the 1992 Babe Ruth biopic The Babe.

Trivia: After studying briefly at Bowling Green State University, New Jersey-born actress Eva Marie Saint entered the hectic world of live television. With a coolness and maturity that belied her youthfulness, Saint made an excellent impression in her first important stage appearance, 1953's A Trip to Bountiful. The euphoria attending her winning the Drama Critics Award was doubled by her 1954 Oscar win for her co-starring stint with Marlon Brando in On the Waterfront. The following year, the blonde, graceful actress appeared with Paul Newman in a TV musical version of Our Town (wherein "stage manager" Frank Sinatra introduced the hit song "Love and Marriage"). Saint continued starring in films with everyone from Bob Hope (That Certain Feeling, 1956) to Cary Grant (in the Hitchcock classic North by Northwest, 1959). A string of mediocre films in the 1970s prompted Saint to seek out more satisfying roles on television before returning to the stage in 1983. More recently, Saint won an Emmy for her performance in the 1989 dramatic special People Like Us. A staple of television throughout the 1990s and well into the new millennium, Saint essayed a supporting role in director Wayne Wang's 2005 family comedy Because of Winn Dixie before stepping into the role of the Man of Steel's mother in director Bryan Singer's Superman Returns the following year.

Trivia: Cadaverous, hollow-eyed Royal Dano made his theatrical entree as a minor player in the Broadway musical hit Finian's Rainbow. Born in New York City in 1922, he manifested a wanderlust that made him leave home at age 12 to travel around the country, and even after he returned home -- and eventually graduated from New York University -- he often journeyed far from the city on his own. He made his acting debut while in the United States Army during World War II, as part of a Special Services unit, and came to Broadway in the immediate postwar era. In films from 1950, he received his first important part, the Tattered Soldier, in John Huston's 1951 adaptation of Stephen Crane's The Red Badge of Courage. Thereafter, he was often seen as a Western villain, though seldom of the cliched get-outta-town variety; in Nicholas Ray's Johnny Guitar (1954), for example, he fleshed out an ordinary bad-guy type by playing the character as a compulsive reader with a tubercular cough. He likewise did a lot with a little when cast as Mildred Natwick's deep-brooding offspring in Hitchcock's The Trouble With Harry. With his deep, resonant speaking voice and intense eyes, Dano could make a recitation of the telephone book sound impressive and significant, and some of his non-baddie characters include the prophet Elijah, who predicts the destruction of the Pequod and the death of Ahab, in Huston's Moby Dick (1956), Peter in The King of Kings (1961) and Mayor Cermak in Capone (1975); in addition, he played Abraham Lincoln in a multipart installment of the mid-'50s TV anthology Omnibus written by James Agee. On the small screen, the producers of The Rifleman got a huge amount of mileage out of his talent in five episodes in as many seasons, most notably in "Day of Reckoning" as a gunman-turned-preacher. He also appeared in memorable guest roles in the high-rent western series The Virginian, The Big Valley, and Bonanza, and had what was probably his best television role of all as the tragically insensitive father in the two-part Little House On The Prairie episode "Sylvia." Toward the end of his life, Royal Dano had no qualms about accepting questionable projects like 1990's Spaced Invaders, but here as elsewhere, he was always given a chance to shine; one of Dano's best and most bizarre latter-day roles was in Teachers (1982), as the home-room supervisor who dies of a heart attack in his first scene -- and remains in his chair, unnoticed and unmolested, until the fadeout.

Trivia: Born into a show business family, Burt Kennedy was but a tot when he joined his parents' vaudeville dancing troupe. After serving with distinction as a Naval Officer in World War II, Kennedy turned to writing for radio. His particular specialty was western shows, particularly westerns with a sturdy inner lining of comedy and satire. He curbed his comic tendencies in the 1950s when he became a principal scripter for the terse, rugged Budd Boetticher-directed Randolph Scott westerns. Graduating to directing himself with 1961's The Canadians, Kennedy spent several years in series television, again working primarily in westerns. He returned to theatrical features as writer/director of the 1964 Buddy Ebsen vehicle Mail Order Bride, then scored a box-office hit with his tongue-in-cheek rodeo saga The Rounders (1965). While auterists prefer the violent allegory of Kennedy's Welcome to Hard Times (1967), the director enjoyed more financial success with his comedy westerns Support Your Local Sheriff (1968) and Support Your Local Gunfighter (1970). As westerns gradually went out of fashion in Hollywood, Kennedy shifted his base of operations to television. While he still contributed to the big screen from time to time (as director of Suburban Commando and co-writer of Clint Eastwood's White Hunter, Black Heart, among other projects), Burt Kennedy has been most prolific in the last two decades on the small screen, directing such made-for-TVers as Shootout in a One Dog Town (1974), Sidekicks (1974), Kate Bliss and the Ticker Tape Kid (1978), Down the Long Hills (1987),The Alamo: 13 Days of Glory (1987), Where the Hell's That Gold (1988), and both of the Wild Wild West "reunion" films of the early 1980s.

Trivia: A stage performer since childhood, Daniel Mann attended New York's Professional Children's School and the Neighborhood Playhouse. He entered films in 1952 as a director, evincing very little flair for visual dynamics but an excellent ear for dialogue. Most of Mann's films were adaptations from the stage (Come Back Little Sheba, Rose Tattoo, Teahouse of August Moon) and literature (Butterfield 8, Last Angry Man). While he himself never won an Academy Award, actresses Elizabeth Taylor, Shirley Booth and Anna Magnani took home Oscars after appearing in Mann-directed films. In the 1960s, Mann rather surprisingly emerged as an adroit comedy director with such films as Who's Got the Action? (1962) and Our Man Flint (1966). Daniel Mann also worked steadily on television, his most notable small-screen achievement being the Emmy-winning 1980 drama Playing for Time.