Trivia: The son of a Czech-American golf pro, Jon Voight was active in student theatricals in high school and at Catholic University. In 1960 he began studying privately with Neighborhood Playhouse mentor Sanford Meisner, and made his off-Broadway debut that same year in O Oysters, receiving a daunting review which opined that he could "neither walk nor talk." Fortunately, Voight persevered, and in 1961 took over the role of "singing Nazi" Rolf in the Broadway hit The Sound of Music (his Liesl was Laurie Peters, who became his first wife).Blessed with handsome, Nordic features, Voight kept busy as a supporting player on such TV series as Gunsmoke, Coronet Blue, and NYPD, and in 1966 spent a season with the California National Shakespeare Festival. The following year, he won a Theatre World Award for his stage performance in That Summer, That Fall. Thus, by the time he became an "overnight" star in the role of wide-eyed hustler Joe Buck in Midnight Cowboy (1969), he had nearly a decade's worth of experience under his belt. The success of Midnight Cowboy, which earned Voight an Oscar nomination, prompted a fast-buck distributor to ship out a double feature of two never-released mid-'60s films: Fearless Frank, filmed in 1965, starred Voight as a reluctant superhero, while Madigan's Millions was a 1968 turkey featuring Voight's Cowboy co-star (and longtime friend) Dustin Hoffman.Entering the 1970s with dozens of producers clamoring for his services, Voight refused to accept roles that banked merely on his youth and good looks. Instead, he selected such challenging assignments as crack-brained Army officer Milo Minderbinder in Catch 22 (1970), a political activist known only as "A" in The Revolutionary (also 1970), reluctant rugged individualist Ed Gentry in Deliverance (1972), and real-life teacher/novelist Pat Conroy in Conrack (1974). In 1978, he won both the Oscar and the Cannes Film Festival award for his portrayal of paraplegic Vietnam veteran Luke Martin in Hal Ashby's Coming Home. The following year, he earned additional acclaim for his work in the remake of The Champ.Devoting increasing amounts of time to his various sociopolitical causes in the 1980s and 1990s, Voight found it more and more difficult to fit film roles into his busy schedule. A reunion project with Ashby, on the godawful gambling comedy Lookin' to Get Out (produced 1980, released 1982), failed dismally, with many reviewers complaining about Voight's terrible, overmodulated performance, and the paper-thin script, which the actor himself wrote. Voight weathered the storm, however, and enjoyed box-office success as star of the 1983 weeper Table for Five. He also picked up another Oscar nomination for Andrei Konchalovsky's existential thriller Runaway Train (1985), and acted in such socially-conscious TV movies as Chernobyl: The Final Warning (1991) and The Last of His Tribe (1992). He also produced Table for Five and scripted 1990's Eternity. Voight kept busy for the remainder of the decade, appearing in such films as Michael Mann's Heat (1995), Mission: Impossible (1996), and The General, a 1998 collaboration with Deliverance director John Boorman, for which Voight won acclaim in his role as an Irish police inspector. During the same period of time, a bearded Voight also essayed a wild one-episode cameo on Seinfeld - as himself - with a scene that required him to bite the hand of Cosmo Kramer from a parked vehicle. In 1999, Voight gained an introduction to a new generation of fans, thanks to his role as James Van Der Beek's megalomaniacal football coach in the hit Varsity Blues, later appearing in a handful of other films before teaming onscreen with daughter Angelina Jolie for Tomb Raider in 2001. After essaying President Roosevelt later that same year in Pearl Harbor, Voight went for laughs in Ben Stiller's male-model comedy Zoolander, though his most pronounced role of 2001 would come in his Oscar nominated performance as iconic newsman Howard Cosell in director Michael Mann's Mohammad Ali biopic, Ali.Taken collectively, all of Voight's aformentioned roles during the mid-late 1990s demonstrated a massive rebound, from the gifted lead of '70s American classics to a character actor adept at smaller and more idiosyncratic character roles in A-list Hollywood fare ( the very same transition, for instance, that Burt Reynolds was wrongly predicted to be making when he signed to do Breaking In back in 1989). To put it another way: though Voight rarely received first billing by this point, his volume of work per se soared high above that of his most active years during the '70s. The parts grew progressively more interesting as well; Voight was particularly memorable, for instance, in the Disney comedy-fantasy Holes, as Mr. Sir, the cruel, sadistic right-hand-man to camp counselor Sigourney Weaver, who forces packs of young boys to dig enormous desert pits beneath the blazing sun for a mysterious reason. Voight then signed for a series of parts under the aegis of longtime-fan Jerry Bruckheimer, including the first two National Treasure installments (as John Patrick Henry) and - on a higher-profiled note - the audience-rouser Glory Road (2005), about one of the first all-black basketball teams in the U.S.; in that picture, Voight plays Adolph Rupp, the infamous University of Kentucky coach (nicknamed 'Baron of the Bluegrass') with an all-white team vying against the competitors at the center of the story.In 2007, Voight tackled roles in two very different high-profile films: he played one of the key characters in Michael Bay's live-action extravaganza Transformers, and portrayed a Mormon bishop who perishes in a Brigham Young-instigated massacre, in the period drama September Dawn, directed by Christopher Cain (Young Guns. He appeared in 24: Redemption, and became a part of that show's regular cast for its seventh season. Voight is the father of Angelina Jolie, and has often been the subject of tabloid coverage because of their occasionally fraught public bickering.

Trivia: A burly, bald black actor of stage, screen, and television, Ving Rhames specializes in playing villains and, indeed, having grown up on Harlem's meanest streets, is no stranger to violence. His onscreen persona, however, is no match for his real-life reputation as a deeply compassionate man, seriously dedicated to his profession. The actor ably demonstrated his capacity for abundant generosity during the 1998 Golden Globes ceremony when he handed over the award he had just won for portraying the title character of the cable film Don King: Only in America to fellow nominee Jack Lemmon, simply because he felt Lemmon's contributions to film exceeded his own.Though his upbringing in Harlem was rife with many temptations to engage in easy money criminal ventures, the deeply religious Rhames separated himself from street riffraff at a young age and focused his energies on school. It was his ninth grade English teacher who steered the sensitive young man toward acting, in large part because Rhames was unusually well spoken, frequently earning praise for his clear elocution. Inspired by a poetry reading he had attended with schoolmates, Rhames successfully auditioned for entrance into New York's prestigious High School for the Performing Arts. Once enrolled, he immersed himself in his studies and fell in love with acting. Following graduation in 1978, he attended the Juilliard School of Drama on a scholarship and focused his studies there on classical theater. After graduating from Juilliard in 1983, he went on to perform in Shakespeare in the Park productions. In 1984, Rhames made his television debut in Go Tell It on the Mountain and, the following year, landed his first Broadway role starring opposite Matt Dillon in The Winter Boys. Thus began a steady, fruitful theater career augmented by recurring roles on such daily soap operas as Another World and Guiding Light, and guest-starring parts on such primetime series as Miami Vice. He entered films in Native Son (1986), following that up with appearances in a series of modest films and television movies. Rather than getting a single big break into stardom, he made a gradual ascent that began with his appearance in Brian De Palma's grim Vietnam War saga Casualties of War (1989). Rhames again worked with Matt Dillon in 1993 on The Saint of Fort Washington. While filming on location in New York, Dillon introduced him to a man who had approached him, asking about the actor's involvement with Rhames on Broadway. It turned out that the stranger was Rhames' long-estranged older brother, Junior, who had lost contact with the family while serving in Vietnam. Troubled and unable to reintegrate into mainstream society, he had been living in a nearby homeless shelter. The compassionate Rhames was thrilled to see his big brother and promptly moved him into his apartment, helped him get a job, and later bought a home for his brother and parents to share. In 1994, Rhames gained considerable acclaim for his disturbingly convincing portrayal of the sadistic Marsellus Wallace in Quentin Tarantino's Pulp Fiction. His performance paved the way for supporting roles opposite some of Hollywood's most popular stars in such big budget features as Mission Impossible (1996) (as well as John Woo's 2000 sequel to the film), Con Air (1997), Out of Sight (1998), and Entrapment (1999). In addition to his film credits, Rhames has also continued to appear frequently on such television shows as E.R. Rhames' performance as a former gangster turned honest, hardworking man proved a highlight of Boyz N the Hood director John Singleton's 2001 drama Baby Boy, and after lending his distinctive voice to the computer animated box-office disaster Final Fantasy: The Spirits Within the actor returned to the small screen for a pair of made-for-television features. If subsequent efforts such as Undisputed failed to make a sizable dent at the box office, Rhames continued to impress with contributions to such features as Lilo and Stitch (again providing vocals for the animated film) and as a conscientious cop in the 2002 police drama Dark Blue. A role opposite Gary Oldman in the 2003 crime drama Sin flew under the radar of most mainstream film audiences, and in early 2004 Rhames took up arms against the hungry legions of the undead in the eagerly anticipated remake Dawn of the Dead. Subsequently reprising his role as Luther Stickell in Mission Impossible III, the imposing Rhames flexed his comedy muscles with a role in 2007's I Now Pronounce you Chuck and Larry before hitting what could be considered a career low-point in Steve Miner's embarassing Day of the Dead remake. An outrageous performance in 2009's The Goods: Live Hard, Sell Hard garnered some big laughs, and the following year Rhames did over-the-top horror the right way in Alexandre Aja's outrageous remake Piranha. In the next few years, however, Rhames' film output seemed to grow increasingly erratic, with roles in such Z-grade fare as Death Race 2 and Zombie Apocalypse earning the Emmy-winning veteran steady paychecks but precious little artistic integrity.

Trivia: The ninth in a family of 18 children, Esther Rolle left her family's Florida home for New York once she came of age. She worked her way through Hunter College, Spellman College and the New School for Social Research. Even after her 1962 New York stage debut in The Blacks, Esther was compelled to hold down a day job in the city's garment district. She appeared in such Broadway productions as The Crucible and Blues for Mr. Charlie, and toured extensively with Robert Hooks' Negro Ensemble Company. Her breakthrough role was Florida the maid in the 1972 Norman Lear sitcom Maude. Though she balked at playing a domestic, Rolle was impressed by Florida's independence and pugnaciousness. In February of 1973, the Florida character was spun off into her own series, Good Times, the saga of a tightly-knit black family surviving in the Chicago projects. Rolle welcomed the series as an opportunity to depict a poor but proud African-American family with a strong father figure (played by John Amos) at the center. But when Amos, upset that co-star Jimmie "J.J." Walker was dominating the series, left Good Times in 1974, Rolle echoed the words of such groups as the National Black Media Coalition in chastising the renovated series, wherein an irresponsible, wisecracking teenaged cut-up was now "head" of the household. When her contract ran out in 1977, Esther joined John Amos in bolting Good Times. After a year of pursuing other projects -- one of which, the made-for-TV film Summer of My German Soldier, won Rolle an Emmy -- she was back on Good Times, having been assured that she would be given full script approval and that the J.J. character had matured. But by this time, audiences had wearied of Good Times, and the series was cancelled in 1979. Since that time, Rolle has hardly wanted for work: her most recent credits include the strong role of Idella in the 1989 Oscar-winner Driving Miss Daisy, the starring part of the black owner of a Jewish deli in the 1990 sitcom Singer and Son, and a guest appearance as the dying Mammy in the 1994 Gone with the Wind sequel Scarlet. In addition, Esther Rolle has been nominated honorary chairperson of the President's Committee on the Employment of the Handicapped, and has been honored with several Image Awards from the NAACP.

Trivia: An acclaimed character actor of the stage, screen, and television, Don Cheadle often manages to steal most of the scenes in which he appears. That is no small feat, for the slender African-American actor has, at first glance, a rather unassuming physical presence, particularly when compared to some of his big-name co-stars. An actor whose style compliments rather than overshadows the performances of those around him, Cheadle stands out for his rare ability to bring a laid-back intensity and subtle charisma to his roles.A native of Kansas City, MO, Cheadle was born on November 29, 1964, to a psychologist father and bank manager mother. During his early childhood, his family moved to Denver and then Nebraska. One thing that remained a constant in Cheadle's childhood was his interest in performing, which began around the age of five. In addition to acting, he was interested in jazz music and his parents supported both of these endeavors. By the time he graduated from high school, he had scholarships from both music and acting schools; choosing the latter, he attended the California Institute of the Arts in Valencia. Following graduation, Cheadle made his film debut with a small role as a hamburger server in Moving Violations (1985). He honed his acting skills as a guest star on television series ranging from Hill Street Blues to Night Court, and, in 1992, he landed a regular role as a fussy hotel manager on The Golden Palace. Although the show faltered after only one season, Cheadle landed on his feet, subsequently snagging the plum role of earnest district attorney John Littleton on Picket Fences (1993-1995). While he was building a career on television, Cheadle was also earning a reputation in feature films. He first made an impression on audiences with his lead role in Hamburger Hill (1987), and, in 1994, he had his true screen breakthrough portraying Denzel Washington's best friend in Devil in a Blue Dress. So good was his performance -- which earned him a number of film critics awards -- that many felt an Oscar nomination was inevitable; when the Academy passed him over, many, including Cheadle, wondered why. However, the actor chalked it up to politics and got on with his career, working steadily throughout the remainder of the decade. 1997 proved to be a big year for him: he co-starred in three major films, Volcano, Boogie Nights, and John Singleton's Rosewood. He won particular praise for his work in the latter two films, earning nominations for SAG and Image awards.The following year, Cheadle made a triumphant return to television with his portrayal of Sammy Davis Jr. in The Rat Pack, winning an Emmy nomination and a Golden Globe award. Also in 1998, he did stellar work in Steven Soderbergh's Out of Sight and Warren Beatty's Bulworth, playing a down and dirty ex-con in the former and a drug lord in the latter. Another Emmy nomination followed in 1999, for Cheadle's powerful portrayal of a school teacher sent in to counsel a young man on death row, in A Lesson Before Dying. Cheadle would become something of a fixture in Soderbergh's films, and in fact delivered a stunning performance as a federal drug agent in the director's epic muckraking drama Traffic (2000).Cheadle then turned up in Soderbergh's remake of the Rat Pack classic Ocean's Eleven in 2002.The chasm between Traffic and Ocean's Eleven (not in terms of quality but in terms of intended audience and depth) is instructive; it established a definitive career pattern for Cheadle during the mid-late 2000s. Throughout that period, the gifted actor continually projected versatility by alternating between buttered-popcorn pictures - such as Soderbergh's 2004 and 2007 follow ups to Eleven (Ocean's Twelve and Ocean's Thirteen) - and more complex, demanding, intelligent material. For example, in 2004 (a particularly vital year for Cheadle) the actor delivered a four-barrelled lead portrayal in the heart-wrenching docudrama Hotel Rwanda. In that politically-tinged, factually-charged account, the actor plays the Rwandan manager of a Kigali hotel, so devastated by the surrounding massacres of his fellow countrymen that he turns the establishment into a clandestine refugee camp. Cheadle justly netted an Oscar nomination for his work. That same year, the thespian held his own against lead Sean Penn (no small feat, that) in the depressing and despairing yet critically acclaimed psychodrama The Assassination of Richard Nixon. Cheadle reserved his most formidable coup, however, for 2005, when he both produced and co-starred (opposite many, many others) in Paul Haggis's difficult ensemble film Crash-a searing, biting meditation on racism and the Best Picture winner of its year. In early 2007, Cheadle paired up with actor Adam Sandler and writer-director Mike Binder for Reign Over Me, a two-character drama about a dentist (Cheadle) reunited with his displaced college roommate (Sandler) after the trauma of 9/11. The picture reeled in generally favorable, if not universally positive, reviews. Later that same year, the actor essayed the lead role in Talk to Me. As directed by Kasi Lemmons, this period drama recreated the life and times of the controversial 1960s convict-cum-shock jock Petey Greene (Cheadle) who rides to fame amid the throes of the civil rights movement and Vietnam-era tumult; many critics tagged the portrayal as definitively Oscar worthy.Cheadle would remain a top star over the coming years, appearing in everything from the kid-friendly Hotel for Dogs to the gritty crime thriller Brooklyn's Finest. Cheadle would also take over the role of Lt. James Rhodes in the Iron Man sequel, replacing Terrence Howard. Cheadle would also find success on the small screen, producing and starring in the critically acclaimed comedy series House of Lies.

Trivia: Husky American actor Bruce McGill made his film debut in Citizen's Band (1978), but it was his next film role, frat-brat "D Day" in National Lampoon's Animal House, that gained him a following. McGill repeated his D-Day characterization in the spin-off TV series Delta House (1979), then co-starred with David Hasselhoff in the 1980 weekly-TV version of the 1977 theatrical football comedy Semi-Tough. He went on to play a string of brusque authority types in films (Cliffhangers) and television (MacGiver, Live Shot). Fans of the fantasy series Quantum Leap (1989-93) may recall McGill's occasional guest shots, which ranged from mildly eccentric to truly weird. In 1987, Bruce McGill enjoyed one of his few feature-film leading roles in Waiting for the Moon. But it wasn't until the 1990s that casting directors really began to utilize McGill's unique range, and though he never won any awards, he shifted between film (A Perfect World, Timecop, The Insider) and television (Babylon 5, Star Trek: Voyager) with the skill of a seasoned pro. Any genre was fair game, and all were tackled with equal aplomb. At the dawn of the 2000s McGill seemed to shift his focus toward feature films, with roles in Ali, The Sum of All Fears, and Collateral helping to make him both a Michael Mann regular, and one of those welcomed faces that seems to turn up everywhere. Still TV just seemed to be in McGill's blood and after lending his voice to both Family Guy and The Cleveland Show he could be seen as a regular on the TNT detective series Rizzoli and Isles.

Trivia: An actor who bears an uncanny resemblance to Val Kilmer, Loren Dean is as talented as he is underrated. Largely a supporting player, Dean has twice demonstrated his considerable mettle in films where he has been cast as the title protagonist -- first in the gangster drama Billy Bathgate (1991) and then in Mumford (1999), Lawrence Kasdan's tale of a small town's mysterious psychiatrist.Born in Las Vegas on July 31, 1969, Dean was raised in L.A. by his mother after his parents divorced when he was a small child. He saw his father on the weekends when the two went to the cinema; it was through these weekly outings that Dean developed an interest in film. He also took an early interest in music, something that carried him through a tumultuous adolescence that was marked by a short stint as a runaway in San Francisco when he was 16.Following his 1986 graduation from high school, Dean moved to New York to pursue a career in acting. Living in relative poverty, he eventually found an agent through a friend of a friend, and he began appearing onstage. The actor made his film debut in 1988 as the brother of an undercover cop in Martha Coolidge's Plain Clothes, and a year later, he played Lili Taylor's notoriously bad ex-boyfriend Joe in Cameron Crowe's celebrated ...Say Anything.Dean got what should have been a major career breakthrough in 1991, when he starred as Billy Bathgate's titular street urchin turned mob confidante. Unfortunately, the film flopped, although even its most naysaying critics usually singled Dean's performance out for praise. He subsequently appeared in a supporting capacity in films ranging from Apollo 13 (1995) to How to Make an American Quilt (1995) to Gattaca (1997), and he starred in a handful of films destined for video oblivion, such as 1492: Conquest of Paradise (1992), and Starf*cker (1998), which cast him as a cokehead ex-sitcom star. Dean received some of the best notices of his career when he starred as the eponymous small town shrink of Mumford (1999). He managed to stand out in a pleasant, unforced performance that was ably complemented by an ensemble cast which included Hope Davis, Alfre Woodard, Jason Lee, Mary McDonnell, and Pruitt Taylor Vince. Many observers were left to wonder where he had been hiding all this time. The following year, Dean resurfaced in Space Cowboys, an adventure drama that cast him as an astronaut sent along on a mission with a group of grizzled NASA veterans (Clint Eastwood, Tommy Lee Jones, James Garner, and Donald Sutherland) to repair a faulty satellite. After a major role in The War Bride, Dean appeared less frequently on screen limiting his output to some episodic television, The Poker Club, and 2010's Hilary Swank vehicle Conviction.

Trivia: Raised in Chicago by his divorced mother, Michael Rooker lived a hand-to-mouth existence until his teens. Rooker successfully auditioned for the Goodman School, and upon graduation, appeared in Chicago-area stage productions. He made a spectacular film debut in the sociopathic title role of Henry: Portrait of a Serial Killer, which was filmed in 1986 but not given a general release until four years later. Henry established Rooker as a gifted purveyor of "don't screw with me" roles, such as chief "Black Sox" conspirator Chick Gandil in Eight Men Out (1988). Michael Rooker's more rugged film assignments of the 1990s included Cliffhanger (1993) and Tombstone (1994).

Trivia: Although she may not have achieved her youthful dream of becoming a Solid Gold dancer, some might argue that it was more a matter of overshooting that dream rather than failing to achieve it. Elise Neal still loves to dance, even appearing on Star Search before working professionally as a dancer, though she is more likely to be recognized for her frequent work in television and film.Born in Tenessee, Neal's ballerina beginnings were set into motion after spending long hours in front of the television admiring the cutesy song-and-dance antics of Shirley Temple. A popular teenager, Neal was voted Homecoming Queen, and after high school moved to New York to pursue a career as a dancer. Finding frequent work in musical theater that eventually led to small roles in commercials, Neal soon began to realize her affection for appearing on camera. After moving to L.A. to chase her newfound dreams of becoming a full-time actress, Neal made an appearance on Law & Order before her screen debut in Spike Lee's Malcolm X (1992). Appearing frequently in television for the next few years with recurring roles in such series as SeaQuest DSV and Tales of the City, Neal later appeared in John Singleton's Rosewood and Money Talks (both 1997) before making a memorable appearance in Scream 2. Moving seamlessly between roles in television and film, Neal moved into sitcom territory with The Hughleys before returning to the screen in 2000 with Mission to Mars.

Trivia: While significant mainstream recognition has eluded Robert Patrick, with two notable exceptions -- he all but replaced David Duchovny in the waning days of The X-Files and admirably portrayed "the liquid metal cop guy" in Terminator 2: Judgment Day (1991) -- he has nonetheless built an impressive resumé with over 60 television and film appearances since the mid-'80s. The eldest of five children, Patrick didn't choose to pursue a career in acting until his mid-twenties, despite having a bona fide diva moment during a third-grade production of Peter Pan, for which he refused to wear the required green tights. Rather, after a successful stint as a linebacker for Bowling Green University, Patrick became a house painter and may have continued as such were it not for a serious accident in the waters of Lake Erie, where he nearly drowned. The accident served as a revelation of sorts for Patrick, who promptly quit his day job and moved from Ohio to Los Angeles. It took more than a few sacrifices -- a then 26-year-old Patrick lived in his car and tended bar for his major source of income -- but the young actor found himself playing small roles in various low-budget films, which he credited to his tough-looking exterior and motorcycle-riding abilities.Though Patrick spent most of the late '80s paying his dues, his breakout performance landed him opposite Arnold Schwarzenegger in director James Cameron's Terminator 2: Judgment Day. Patrick readied himself for the role of the T-1000 android in a rather unique fashion; in addition to martial arts, endurance, and strength training, he observed the movements of cats, eagles, and praying mantises. Odd as that may have sounded at the time, it certainly enhanced one of the most memorable roles in one of the most memorable films of the decade. After T2, Patrick was able to leave the world of B-movies and hold his own alongside some of the most established actors in Hollywood, including a second performance with Schwarzenegger in Last Action Hero (1993) and a more prominent role opposite Demi Moore in Striptease (1996). Patrick also expressed a fondness for martial arts films, and starred in both Double Dragon and Hong Kong 97 in 1994. However, it was his 1993 performance as a stoic regular-guy-turned-UFO-believer in Fire in the Sky that caught the attention of X-Files director Chris Carter. Carter immediately thought of Patrick when David Duchovny distanced himself from The X-Files, and, after auditioning 70-odd actors for the role of John Doggett, became determined to initiate Patrick into his long-running world of conspiracy theories and paranormal phenomena. To the surprise of fans and critics alike, Patrick was received quite well on The X-Files, and quickly found himself gracing the covers of many a genre magazine -- he was even anointed one of the Ten Sexiest Men of Sci-Fi by TV Guide.By the time The X-Files aired its last show, Patrick had developed a solid reputation within the industry; critics, fans, and co-stars alike praised him for his work ethic, personality, and consistent performances. Rather than fading into the scenery, Patrick starred as the mysterious Mr. Lisp in Spy Kids (2001), and later starred as a reclusive wilderness tracker in Pavement (2002). After making appearances in Richard Shepard's Mexico City (2002), Charlie's Angels: Full Throttle (2003), and the sci-fi spin-off series Stargate: Atlantis, Patrick filmed director Jay W. Russell's Ladder 49 (2004). A memorable performance as Johnny Cash's distant father Ray in Walk the Line followed in 2005, with a subsequent role as a security expert in the Harrison Ford thriller Firewall preceeding a return to weekly television in the David Mamet-created series The Unit in 2006. Later in 2006, Patrick would incur the wrath of WWE superstar John Cena with his role as a ruthless kidnapper in the explosive action thriller The Marine. Patrick lives with his wife, Barbara, whom he married during the filming of T2, and their two children.

Trivia: Originally from South Carolina, actor Paul Benjamin made his film debut in 1969 as a bartender in Midnight Cowboy. After a small role in Sidney Lumet's The Anderson Tapes, he did television work throughout the '70s. A few notable exceptions involved small parts in Gordon Parks' biopic Leadbelly and Don Siegel's prison film Escape From Alcatraz. He fared better on CBS in the TV adaptations I Know Why the Caged Bird Sings and Gideon's Trumpet. He got his first major starring role in the HBO movie The Man Who Broke 1,000 Chains, based on the novel by Robert E. Burns. On the big screen during the '90s, Benjamin worked with some well-known directors. He appeared in Spike Lee's Do the Right Thing, Robert Townsend's The Five Heartbeats, Bill Duke's Hoodlum, and John Singleton's Rosewood. On television, he appeared in the 1994 pilot episode of ER, which led to his recurring role of homeless man Al Ervin during the next few seasons. Benjamin also worked on the American Masters documentary of Pulitzer Prize-winning author Ralph Ellison, which aired on PBS. After 2000, he appeared primarily in small independent films like Stanley's Gig, The Station Agent, Deacons for Defense, and James Hunter's 2004 drama Back in the Day.

Trivia: Burly and heavyset character actor Mark Boone Jr. specialized in portrayals of thuggish rednecks and imposing blue-collar types, occasionally those with a slightly shady undercurrent. Boone first stepped in front of the camera in the early '80s, and grew more prolific over time; he was memorable in films such as the 1990 Die Hard 2 (as a terrorist), the 1995 Seven (as a greasy FBI agent), and the 2003 2 Fast 2 Furious (as a detective). His onscreen activity crescendoed circa 2005, with performances in four of that year's features, including Batman Begins. The following year, Boone signed for one of the key supporting roles in David Slade's supernatural horror opus 30 Days of Night (2007).

Trivia: Played clarinet in his high school band and sang in the choir. Theater debut was in a 1970 college production of Shakespeare's The Taming of the Shrew. Taught an acting class at the Georgia State Penitentiary in the early 1970s. Made his big-screen debut in the 1989 thriller Black Rainbow. Has had recurring roles as an inmate on Prison Break and a former Naval Criminal Investigative Service agent on NCIS.