Trivia: More coolly charismatic than drop-dead handsome, Richard Gere was one of the most successful sex symbols of the '80s and early '90s. Possessing something of an actual talent in addition to his good looks, Gere has proven himself to be a versatile actor since first starring as the pick-up artist who creeps out Diane Keaton in Looking For Mr. Goodbar. Capable of playing everything from romantic leads and action heroes to medieval knights and ruthless villains, Gere has moved beyond his role as cinematic eye candy to become one of the more enduring actors of his generation. Born in Philadelphia on August 31, 1949, Gere had a strict Methodist upbringing in upstate New York. Following his 1967 high school graduation, he studied philosophy and film at the University of Massachusetts -- only to leave school to pursue an acting career two years later. Gere became a professional actor and sometime musician, performing theatrically in Seattle and New York and attempting unsuccessfully to form a rock band. In 1973 the young actor landed in London, where he gained prominence playing Danny Zuko in Grease, a role he would later reprise on Broadway. While in London, Gere gained the privilege of becoming one of the few Americans ever to work with Britain's Young Vic Theater, with which he appeared in The Taming of the Shrew.Back in the U.S., Gere made his feature film debut in 1974 with a tiny part in Report to the Commissioner. He returned to the stage the following year as part of the cast of an off-Broadway production of Sam Shepard's Killer's Head; following Gere's turn in the 1977 Looking for Mr. Goodbar, he and Shepard would again collaborate in Terrence Malick's breathtaking Days of Heaven (1978). In 1979, Gere won considerable theatrical acclaim for his performance in the Broadway production of Martin Sherman's Bent, and the next year enjoyed his first shot at screen stardom with the title role in Paul Schrader's American Gigolo. Though the film was not a major critical or box-office success, it did earn recognition for the actor, who had taken the role after John Travolta turned it down. Gere did not become a real star until he appeared opposite Debra Winger in An Officer and a Gentleman in 1982, but his bona fide celebrity status was jeopardized with roles in several poorly received films including King David (1985). A lead role in Francis Ford Coppola's 1984 The Cotton Club also failed to perk up the actor's career; despite a legendary director and stellar cast, the film received mixed reviews and poor box-office turnout. With no recent major successes behind him by the end of the decade, it looked as if Gere's career was in a tailspin. Fortunately, he abruptly pulled out of the dive in 1990, first as a cop/crime lord in Mike Figgis' Internal Affairs and then as a ruthless businessman who finds true love in the arms of prostitute Julia Roberts in the smash romantic comedy Pretty Woman. Back in the saddle again, Gere continued to star in a number of films, including Sommersby (1993), Intersection (1994), and First Knight (1995). In 1996, he was highly praised for his portrayal of an arrogant hot-shot attorney in Primal Fear, and in 1999 found further financial, if not critical, success starring opposite Julia Roberts in Runaway Bride. The following year the actor enjoyed some of his best reviews to date as a gynecologist at once devoted to and bewildered by all of the women in his life in Robert Altman's aptly titled Dr. T & the Women; many critics noted that Gere seemed to have finally come into his own as an actor, having matured amiably with years and experience. In 2002, Gere played the too-perfect-for-words husband to Diane Lane in Unfaithful. While the film was not a huge critical success, Gere was praised for a game performance, and Lane was nominated for an Oscar. Unfortunately for Gere, a starring role in The Mothman Prophecies didn't do too much for his resume -- while critics once again lauded the actor's intensity, the film itself was widely hailed as too slow-paced to properly showcase his talents. Luckily, the same couldn't be said for his performance in the multiple Oscar winning Chicago, which found Gere in the role of another hotshot lawyer, this time alongside a diverse and talented cast including Catherine Zeta-Jones, Renée Zellweger, and Queen Latifah. In 2004, Gere starred opposite Jennifer Lopez and Oscar-winning Hollywood veteran Susan Sarandon in Peter Chelsom's Shall We Dance?.On- and offscreen, Gere uses his acting clout to promote his various political ventures. A devout Buddhist, Gere has been deeply involved with the struggles surrounding the Dalai Lama and the worldwide struggle for human rights -- the documentaries Return to Tibet (2003) and Shadow Over Tibet: Stories in Exile (1994) featured Gere as a prime interviewee, while 1997's Red Corner starred the versatile actor as a victim of a grossly corrupt Chinese court system.In 2005, Gere played a professor of religious studies in director David Siegel's drama Bee Season, and enjoyed success in 2007 with The Hoax, an edgy biographical drama, and The Hunting Party, a political tragi-comedy in which he played a discredited reporter mistaken as a member of a CIA hit squad. The actor joined the casat of Nights in Rodanthe in 2008, and worked with Hilary Swank in Amela, the 2009 Amelia Earhart biopic. Gere took on the role of a burnt out cop in Training Day (2009), director Antoine Fuqua's gritty crime drama Brooklyn's Finest.

Trivia: Born in South Carolina and raised in rural Florida, Lauren Hutton embarked on a modelling career in roundabout fashion by becoming a Playboy bunny at age 20. It wasn't long thereafter that the statuesque Hutton became a top fashion model, cover girl and commercial spokesperson. Though advised early on to correct the slight gap in her teeth, Hutton wisely retained this "imperfection," which gave her on-camera persona a down-home sensibility that other, more ethereal models lacked. She began appearing in films in 1968, hitting her stride with such movies as Gator (1976), American Gigolo (1978), and Zorro, the Gay Blade (1981). Unlike other actresses-turned-models, Hutton achieved critical acceptance fairly rapidly, earning respectable reviews for such projects as the 1977 TV miniseries The Rheinman Exchange and the 1984 adventure film Lassiter (in which she played a literally bloodthirsty villainess). Following the lead of Farrah Fawcett, Hutton made her stage debut in the harrowing revenge-for-a-rape stage play Extremities in 1983. In recent years, Hutton has cut down on her acting appearances to return successfully to modeling; she has also become a staunch and powerful activist for several political causes.

Trivia: An actor of seemingly boundless range, New York-born Hector Elizondo began his career as a dancer. His initial training was at the Ballet Arts school of Carnegie Hall, from which he moved on to the Actors Studio. After several years' stage work, Elizondo made an inauspicious movie debut as "The Inspector" in the low-budget sex film The Vixens (1969). He was shown to better advantage in his next film, Hal Ashby's The Landlord (1970), which he followed up with strong character parts in such Manhattan-based productions as The Taking of Pelham One Two Three (1974) and Thieves (1977). With Young Doctors in Love (1982), Elizondo began his long association with director Garry Marshall, who has since cast the actor in all of his films, in roles both sizable (Matt Dillon's dad in The Flamingo Kid [1984], the cafe owner in Frankie and Johnny [1991]), and microscopic (Overboard [1987]). Elizondo's screen roles have run the gamut from scrungy garbage scow captains to elegant concierges (Pretty Woman). In addition, he has been a regular on several mediocre television series: Popi, Freebie and the Bean, Casablanca (in the old Claude Rains role of Inspector Renault), a.k.a. Pablo, Foley Square, and Down and Out in Beverly Hills, In 1994, Elizondo took on a co-starring role as a demanding chief of surgery on the popular TV medical drama Chicago Hope. Other non-Marshall highlights in his filmography include Tortilla Soup, Overboard, Necessary Roughness, and Music Within.

Trivia: Although many would likely recognize Bill Duke from his roles in such high-profile releases as Predator, Menace II Society, and Red Dragon, perhaps only a few connect the face in front of the camera with the name of the man who also directed such features as A Rage in Harlem and Hoodlum. A native of Poughkeepsie, NY, and the first in his family to graduate from college, the actor/director studied speech and drama at Boston University before earning his M.F.A. from New York University's Tisch School of the Arts. Subsequently penning off-Broadway plays and launching a film career with roles in Car Wash (1976) and American Gigolo (1979), Duke's early breakthrough came with a featured role in the critically acclaimed Alex Haley miniseries Palmerstown U.S.A. in 1980. Deciding to refine his skills behind the camera, the burgeoning actor later studied at the American Film Institute, where his student project The Hero earned him a solid reputation as a director to watch. In the years that followed, Duke earned a reputation as an efficient and effective television director as he took the helm for episodes of Hill Street Blues, Fame, Miami Vice, Spenser: For Hire, and Matlock. He soon moved into feature territory with the PBS drama The Killing Floor (which screened at the 1985 Cannes Film Festival and earned the Special Jury Prize at the Sundance Film Festival). In 1989, Duke's adaptation of A Raisin in the Sun showed that, although his directing had thus far been limited to the small screen, he also had the potential to launch a lucrative career in theatrical features. After acting in such features as Commando (1985), Predator (1987), and Bird on a Wire (1990), Duke's first theatrical feature, A Rage in Harlem, was released in 1991. An effective crime drama featuring a gangster's moll, a trunk load of gold, and a slew of unsavory heavies, the film was unfairly interpreted by audiences to be a rip-off of the popular 1989 comedy Harlem Nights. For the dark crime thriller Deep Cover, Duke teamed with future collaborator Laurence Fishburne for the first time, and after lightening things up a bit with The Cemetery Club (1993), Duke earned a direct hit at the box office with the popular sequel Sister Act 2: Back in the Habit the same year. The remainder of the '90s found the actor/director evenly dividing his duties on both sides of the camera, and, in 1997, he re-teamed with Fishburne for the throwback gangster drama Hoodlum. With all of his directorial duties, Duke found little time to accept onscreen roles, though performances in Payback and Fever in 1999 reminded audiences that he was still a compelling screen presence. Duke returned to the small screen the following year to direct an episode of City of Angels and the Nero Wolfe mystery The Golden Spiders, and remained in television to shoot episodes of Fastlane and Robbery Homicide Division. In 2003, Duke directed the moving, made-for-TV drama Deacons for Defense. As roles in Red Dragon (2002) and National Security (2003) continued to fuel his feature career, Duke was also seen on the small screen in episodes of Fastlane and the Out of Sight (1998) spin-off Karen Sisco.

Trivia: Glamorous Danish cabaret singer Nina Van Pallandt became a baroness by marriage in the 1960s, but this domestic accomplishment paled in comparison to her involvement in "l'affair Irving." When writer Clifford Irving made headlines in 1972 for allegedly gaining access to the elusive Howard Hughes, it became public knowledge that Nina Van Pallandt had been having an affair with Irving. Shortly after publishing a series of Hughes "interviews," Irving was exposed as a literary fraud, having completely fabricated the interview sessions. While Irving protested the authenticity of his writings, Van Pallandt drove the nail in his credibility coffin by insisting that Irving had been vacationing in Mexico with her at the time he was supposedly picking Hughes' brains. Even as Clifford Irving was being escorted to prison, Van Pallandt's singing career soared. Nina Van Pallandt was able to finesse her 15 minutes of fame into a 15-year film career; merely ornamental in many of her films, Nina Van Pallandt actually delivered a semblance of a performance in Robert Altman's The Long Goodbye (1973).

Trivia: Actress Carole Cook showed a knack for comic timing from early on, so much so that the legendary Lucille Ball took her on as a protégé. Cook would make many appearances on Ball's TV shows, The Lucy Show and Here's Lucy, as well as other shows like Magnum, P.I., Dynasty, and Grey's Anatomy. She would also appear in several movies, like Sixteen Candles and The Incredibles, while maintaining an active stage career and supporting many AIDS charities.

Trivia: Carol Bruce's careers as a leading actress in movies and on television were separated by about 40 years. Born Shirley Levy in Great Neck, NY, she showed considerable musical talent while in her teens, and was barely 20 years old when she was spotted by Irving Berlin, who reportedly wrote a part in the stage musical Louisiana Purchase specifically for her. While appearing in the original Broadway cast of that show, she also became a regular performer on radio at the dawn of the '40s, and later began singing in nightclubs as well. Following the close of Louisiana Purchase, she was signed by Universal Pictures and made her screen debut in the Abbott & Costello vehicle Keep 'Em Flying, playing the love interest for the flashy barnstorming pilot played by Dick Foran -- dark-haired and dark-eyed, she looked sensational, acted up a storm, and also sang the song "I'm Getting Sentimental Over You" in the film. Bruce only appeared in one more movie under her Universal contract, Behind the Eight Ball (1942). She preferred live performance and busied herself over the next few years singing with Red Norvo's band on a series of V-Discs and in concert, and also appearing at major nightspots such as the Copacabana. She won the role of Julie in the acclaimed 1946 revival of Showboat that included Kenneth Spencer and Jan Clayton in the cast. She subsequently appeared in theatrical revivals of One Touch of Venus, Bloomer Girl, Annie Get Your Gun, Lady in the Dark, andPal Joey, and shared a stage with Noel Coward in London. She was a regular performer on comedy and variety shows during the '50s, and also did dramatic performances on anthology shows such as Armstrong Circle Theater and Studio One, but she wasn't seen again in movies until American Gigolo in 1979. Her acting career jumped to the small screen around that same time when she won the role of Mama Carlson, the flinty radio station owner (and mother of general manager Arthur Carlson, portrayed by Gordon Jump) in the series WKRP In Cincinnati. She appeared subsequently in the comedy Planes, Trains & Automobiles, and returned to the WKRP cast when the series was revived as a first run syndication sitcom at the end of the '80s. She continued to perform on stage, in dramatic and musical roles, into her eighties. Bruce died in 2007, at the age of 87.

Trivia: Actor MacDonald Carey started out as a Chicago-based radio actor and singer; among his early airwaves credits was a brief tenure as "Mr. First Nighter" in the anthology series of the same name, and a longer engagement as Dick Grosvenor on the daytime soap opera Stella Dallas. In 1941, Carey starred opposite Gertrude Lawrence in the Broadway musical Lady in the Dark, which led to a Hollywood contract. He appeared prominently in several Paramount features from 1942 to 1949, but is best remembered for his portrayal of the detective in Hitchcock's Shadow of a Doubt (1943), which he played on loan-out to Universal. When his film career began to wane in the early 1950s, Carey returned to radio as star of the tongue-in-cheek adventure series Jason and the Golden Fleece. He was also top-billed in two syndicated TV weeklies, Dr. Christian (1954) and Lock-Up (1959-61). In 1965, Carey was cast as Dr. Tom Horton on the NBC daytime drama Days of Our Lives, a job he held until his death 19 years later; his voice is still heard at the opening of each episode, intoning the familiar intro "Like sands from the hourglass, so are the days of our lives." Not long before his death, MacDonald Carey published his autobiography, in which he was brutally candid about his lifelong battle with alcoholism.

Trivia: Supporting actor, onscreen from the '80s.

Trivia: American leading man Richard Derr made his first film appearances as a 20th Century-Fox contractee in 1941 and 1942. Physically indistinguishable from most others of his ilk, Derr nonetheless was an above-average actor, as he occasionally proved in such films as When Worlds Collide (1951). In 1957, Derr was cast as Lamont Cranston in the New Orleans-filmed pilot episode for the TV version of radio's The Shadow; the series didn't sell, but the pilot was released theatrically as Invisible Avenger. Richard Derr spent the 1970s and 1980s as a utility character man in films like The Drowning Pool (1975) and American Gigolo (1980).

Trivia: Patricia Carr's involvement with film began in the mid-'70s. Since that time, she has functioned as an assistant production manager on such George Lucas projects as The Empire Strikes Back (1980) and Return of the Jedi (1983). She worked as a production manager for Steven Spielberg on all three Indiana Jones films. Carr's credits as a producer include Jekyll and Hyde (1995). In 1997, she worked as an associate producer for Fierce Creatures (1997), the follow-up to the hit A Fish Called Wanda (1988).

Trivia: Rising to fame as Pineapple in Hal Roach's Our Gang shorts in the mid-1920s, comic child actor Eugene Jackson performed in vaudeville in addition to his film work, and later continued to work alongside such comic icons as Redd Foxx. Born in Buffalo, NY, in 1916, Jackson got his break in show business while performing the shimmy for a bag of groceries at Central Avenue's Rosebud Theater in 1923. Winning the competition for three weeks in a row, his mother recognized the youngster's talents and soon took him to Hollywood to attempt a career in the entertainment industry. Soon signed to a two-year contract by Roach (who dubbed the child Pineapple due to his afro-frizz), Jackson made his Our Gang debut in The Mysterious Mystery! Later working for Mack Sennett and alongside Mary Pickford, Jackson made a successful transition into talkies with his role in the 1928 musical Hearts in Dixie, and toured in vaudeville when adolescence took hold. Later turning up on television in both Julia and Sanford and Son, the former child-star published a biography titled Eugene Pineapple Jackson: His Own Story in 1998. Jackson also established studios in both Compton and Pasadena, where he taught dance. Eugene Jackson died of a heart attack in Compton, CA, on October 26, 2001. He was 84.

Trivia: Raised in a strict religious household in Michigan, writer/director Paul Schrader studied theology at Calvin College and didn't see a movie until he was in his late teens. His stern background would fuel many of the themes throughout his career: downbeat stories of characters who violently break down in oppressive situations. Transfixed by the cinema and encouraged by critic Pauline Kael, he moved to Los Angeles and became a film scholar at U.C.L.A. He wrote movie reviews for newspapers, edited the magazine Cinema, and wrote the highly influential critical essay "The Trancendental Style: Ozu, Bresson, Dryer." After a period of heavy drinking and serious depression, he sold his first screenplay, The Yakuza, a Japanese thriller co-written with his brother, Leonard, and Robert Towne. The next year, Schrader wrote Taxi Driver, the grim tale of urban alienation. Taxi Driver started his successful collaborative relationship with director Martin Scorsese, another so-called "film school brat" who was also raised in a religious household. After writing the screenplays for Obsession and Rolling Thunder, Schrader made his directorial debut with Blue Collar in 1978, a forceful exposé about auto workers. The following year he directed Hardcore, a poorly received but shocking account of a Midwestern girl escaping her family for a porno career in L.A. He would continue to explore the seedy underbelly of the sex industry in American Gigolo, a glossier look at another troubled hero that gained Schrader some attention. He teamed up with Scorsese for the second time with the emotionally brutal Raging Bull, one of the most acclaimed American films of the '80s, and a good example of Schrader's reoccurring destructive male protagonists suffering from violent desperation. This high point in his career was followed by a sporadic period during which he returned to evocative sexual themes with the remake of Cat People and won a Cannes prize for Mishima. Never ceasing to address controversial subject matter, he scripted The Last Temptation of Christ in his third collaboration with Scorsese, and then went on to write Patty Hearst, based upon the real-life terrorist-kidnapping plot. Light Sleeper, which he wrote and directed in 1992, can be thought of as the last entry in a trilogy of films -- together with Taxi Driver and American Gigolo -- investigating self-destructive urban loners driven to near madness. For many of his other directorial projects in the '90s, Schrader turned to literature adaptations. The Comfort of Strangers was based upon the Ian McEwan novel , Touch, on an Elmore Leonard novel, and Affliction, on a Russell Banks novel. The latter enjoyed critical success for Schrader's abilities, in addition to a Best Supporting Actor Oscar for James Coburn. Unfortunately, the writer's fourth pairing with Scorsese for Bringing out the Dead did not do as well as hoped, compared with their triumphs in the past. After writing and directing Forever Mine, which debuted on cable, Schrader switched gears and worked only as a director for Auto Focus in 2002. This dark biopic of television star Bob Crane combines his frequent themes of sexual discrepancies and inevitable breakdowns. Shortly thereafter Schrader was tapped to direct Exorcist: The Beginning, though he was fired during production and director Renny Harlin was brought in by the studio to complete the film. Most of Schrader's footage wasn't used in the final cut, but after The Beginning flopped, the studio reinstated the unused footage and re-released the film as Dominion: Prequel to the Exorcist. The political crime drama The Walker followed in 2007, and the following year Schrader adapted Yoram Kaniuck's celebrated 1971 novel Adam Resurrected, which told the unusual tale of a Jewish entertainer who survives being placed in a concentration camp by becoming the commandant's personal "dog," and later befriends a young boy who has spent his entire youth locked in a basement and chained to a wall.

Trivia: One of the principal architects of the disco sound, producer and composer Giorgio Moroder was born in Ortisei, Italy, on April 26, 1940. Upon relocating to Munich, Germany, he established his own studio, Musicland, and recorded his debut single "Looky, Looky" in 1969; his first LP, Son of My Father, was released in early 1972. Around that time, Moroder was introduced to fellow aspiring musician Pete Bellotte, with whom he formed a production partnership; in collaboration with singer Donna Summer, the duo was to become one of the most powerful forces in 1970s-era dance music, their success beginning with the release of 1974's Lady of the Night. Summer's Love to Love You Baby followed in 1975; the title track, clocking in at close to 17 minutes in length, was an international smash, its shimmering sound and sensual attitude much copied in the years to follow. At their mid-'70s peak, Moroder, Bellotte, and Summer were extraordinarily prolific, releasing new albums about once every six months. Concept records like 1976's A Love Trilogy and Four Seasons of Love culminated with the release of 1977's I Remember Yesterday, a trip through time which climaxed with the smash "I Feel Love." With its galloping bass line and futuristic, computerized sheen, the single was among the watershed hits of the disco era, and helped propel Summer to new prominence as the reigning diva of the dancefloor. In 1978, Moroder made his initial foray into film music, winning an Academy Award for his score to Alan Parker's Midnight Express. In the early '80s, Moroder continued to focus primarily on films; after producing the soundtracks for such features as American Gigolo (1980) and Cat People (1982), he turned to Flashdance (1983), earning his second Oscar for the hit title song, performed by Irene Cara. In 1984, Moroder courted controversy from film purists for his contemporary new wave/pop score to the restored release of Fritz Lang's silent-era masterpiece Metropolis. After contributing to the soundtrack of the 1986 hit Top Gun, he turned increasingly away from dance music to focus on rock, even as he continued to write soundtracks for such forgettable films as Over the Top (1986), Mamba (1988), and Let It Ride (1989).

Trivia: Half of the producing tandem behind the most testosterone-laden action flicks, the name Jerry Bruckheimer has become synonymous with explosive pyrotechnics and machine-gun fire. The producer of such hits as Beverly Hills Cop (1984), Top Gun (1986), and Days of Thunder (1990), Bruckheimer dissolved his partnership with hard-partying producer Don Simpson in 1995, only weeks before Simpson's death and after 14 tumultuous years together. Despite a reputation for quantity over quality, Bruckheimer has remained one of Hollywood's most successful producers ever, putting his distinctive stamp on such adrenaline-fueled hits as Con Air (1997) and Armageddon (1998).The son of German-Jewish immigrants, Bruckheimer was born on September 21, 1945. He grew up poor, living in a tiny house in a blue-collar Jewish section of Detroit. Dropped off at a weekly matinee by his mother and salesman father, Bruckheimer developed a love for the cinema that eventually channeled him toward photography. He won several local prizes before fleeing Detroit for Madison Avenue, by way of the University of Arizona, where he received a degree in psychology, and on the strength of a Bonnie and Clyde spoof he helmed for Pontiac. The future producer left a lucrative advertising job in New York to accept low-paying film work in the early '70s, part of the pursuit of his dream. He worked with director Dick Richards on his first few projects, as associate producer on The Culpepper Cattle Company (1972) and producer on Farewell, My Lovely (1975) and March or Die (1977). Bruckheimer began gaining notice through a pair of Paul Schrader films, the Richard Gere hustler film American Gigolo (1979), and the feline horror flick Cat People (1982). But it was his first pairing with old buddy Don Simpson, on the 1983 surprise smash Flashdance, that kicked off his string of hits, which has continued more or less unabated. The underdog story of a Pittsburgh arc welder with dreams of ballet dancing, Flashdance used a synthesis of music, sex, quick edits, and bold aspirations to rake in 95 million dollars -- an incredible take for an unheralded R-rated film, making it the third-highest box-office haul of 1983. Bruckheimer and Simpson were on the map and then some. Forming Simpson-Bruckheimer Productions and signing a long-term deal with Paramount, Bruckheimer and Simpson complemented each other well, likening their partnership to a strong marriage, but without the sex. Simpson's extensive industry contacts and Hollywood ladder climbing earned him the nickname "Mr. Inside," while Bruckheimer's practical experience with filmmaking, much of it through advertising, qualified him as "Mr. Outside." With both sides covered, the pair could do no wrong. Their popcorn films fed the public's need for the loud and the proud, quickly assuming iconic status and elevating such actors as Tom Cruise (Top Gun) and Eddie Murphy (Beverly Hills Cop) to bona-fide superstardom. In 1990, the team dissolved its deal with Paramount "by mutual agreement," and began a non-exclusive, five-year pact with Disney subsidiary Hollywood Pictures the following year. Initially slowed, but undaunted, Bruckheimer and Simpson had their next big wave of hits in 1995, releasing Dangerous Minds, Crimson Tide, and Bad Boys in quick succession and reaffirming their relevance. However, Simpson's behind-the-scenes drug problems were damaging the partnership irreparably, and Bruckheimer called off the professional union at the end of that successful year, at the close of production on The Rock (1996). Simpson died a month later of heart failure. As both Mr. Inside and Mr. Outside, Bruckheimer excelled. Con Air was a hit in 1997, and the Bruce Willis asteroid flick Armageddon grossed the second most of any film released in 1998, at just over 200 million dollars. Bruckheimer achieved mid-level success -- but at the cost of ever-growing critical disdain -- with the releases of Enemy of the State (1998), Gone in 60 Seconds (2000), and Coyote Ugly (2000). Hoping to mix Oscar credentials with his traditional blend of wham-bam thrills, Bruckheimer provided the muscle behind Michael Bay's 150-million-dollar-plus World War II action-romance Pearl Harbor (2001). But critics and the Academy were not as receptive to this film as to such epic tragedies as Titanic (1997) and Saving Private Ryan (1998), and issued Bruckheimer across-the-board raspberries. The film was considered an unqualified dud, its 200-million-dollar take well short of expectations. Bruckheimer did achieve a measure of redemption later that year with the release of Black Hawk Down. Ridley Scott's re-creation of an ill-fated U.S. military mission in Somalia, the film scored raves and four Oscar nominations, winning for its editing and sound. Bruckheimer expanded his production empire into television crating the enormously successful CSI franchise, as well as Without a Trace, and the multiple Emmy winning reality show The Amazing Race. He continued producing feature films as eclectic as Kangaroo Jack and Bad Company, but in 2003 he helped steer the massively successful Pirates of the Caribbean: The Curse of the Black Pearl. That film was so successful Disney agreed to finance two sequels to be produced simultaneously. The first of those to hit theaters, Dead Man's Chest, shattered box-office records for biggest opening day and biggest opening weekend, and was the first film to take in over $100 million in two days. The next film in the franchise, At World's End, was no disappointment either, and another installment, On Stranger Tides, was added in 2011 to the same box office success.Meanwhile, Bruckheimer's winning streak producing TV continued with shows like Without a Trace, The Forgotten, Take the Money & Run, the CSI family, and more. Additionally, Bruckheimer signed on to produce the big screen adaptation of The Lone Ranger in 2013.