Trivia: Brooding and intense, Al Pacino has remained one of Hollywood's premier actors throughout his lengthy career, a popular and critical favorite whose list of credits includes many of the finest films of his era. Pacino was born April 25, 1940, in East Harlem, NY. Raised in the Bronx, he attended the legendary High School for Performing Arts, but dropped out at the age of 17. He spent the next several years drifting from job to job, continuing to study acting and occasionally appearing in off-off-Broadway productions. In 1966, Pacino was accepted to train at the Actors' Studio, and after working with James Earl Jones in The Peace Creeps, he starred as a brutal street youth in the off-Broadway social drama The Indian Wants the Bronx, earning an Obie Award as Best Actor for the 1967-1968 theatrical season. A year later, he made his Broadway debut in Does the Tiger Wear a Necktie? Although the play itself closed after less than 40 performances, Pacino was universally praised for his potent portrayal of a sociopathic drug addict, and he won a Tony Award for his performance. Pacino made his film debut in the 1969 flop Me, Natalie. After making his theatrical directorial debut with 1970's Rats, he returned to the screen a year later in Panic in Needle Park, again appearing as a junkie. (To prepare for the role, he and co-star Kitty Winn conducted extensive research in known drug-dealer haunts as well as methadone clinics.) While the picture was not a success, Pacino again earned critical raves. Next came Francis Ford Coppola's 1972 Mafia epic The Godfather. As Michael Corleone, the son of an infamous crime lord reluctantly thrust into the family business, Pacino shot to stardom, earning a Best Supporting Actor Oscar nomination for his soulful performance. While the follow-up, 1973's Scarecrow, was received far less warmly, the police drama Serpico was a smash, as was 1974's The Godfather Part II for which he earned his third Academy Award nomination. The 1975 fact-based Dog Day Afternoon, in which Pacino starred as a robber attempting to stick up a bank in order to finance his gay lover's sex-change operation, was yet another staggering success.The 1977 auto-racing drama Bobby Deerfield, on the other hand, was a disaster. Pacino then retreated to Broadway, winning a second Tony for his performance in the title role in The Basic Training of Pavlo Hummel. Upon returning to Hollywood, he starred in ...And Justice for All, which did not appease reviewers but restored him to moviegoers' good graces. Pacino next starred in William Friedkin's controversial Cruising, portraying a New York City cop on the trail of a serial killer targeting homosexuals; it was not a hit, nor was the 1982 comedy Author! Author! Brian DePalma's violent 1983 remake of Scarface followed; while moderately successful during its initial release, the movie later became a major cult favorite. Still, its lukewarm initial reception further tarnished Pacino's star. However, no one was fully prepared for the fate which befell 1985's historical epic Revolution; made for over $28 million, the film failed to gross even $1 million dollars at the box office. Pacino subsequently vanished from the public eye, directing his own film, The Local Stigmatic, which outside of a handful of 1990 showings at the Museum of Modern Art was never screened publicly. While his name was attached to a number of projects during this time period, none came to fruition, and he disappeared from cinema for over four years. Finally, in 1989, Pacino returned with the stylish thriller Sea of Love; the picture was a hit, and suddenly he was a star all over again. A virtually unrecognizable turn as a garish gangster in 1990's Dick Tracy earned him a sixth Oscar nomination, but The Godfather Part III was not the financial blockbuster many anticipated it to be. The 1991 romantic comedy Frankie and Johnny was a success, however, and a year later Pacino starred in the highly regarded Glengarry Glen Ross as well as Scent of a Woman, at last earning an Oscar for his performance in the latter film. He reunited with DePalma for 1993's stylish crime drama Carlito's Way, to which he'd first been slated to star in several years prior. Remaining in the underworld, he starred as a cop opposite master thief Robert De Niro in 1995's superb Heat, written and directed by Michael Mann. Pacino next starred in the 1996 political drama City Hall, but earned more notice that year for writing, directing, producing, and starring in Looking for Richard, a documentary exploration of Shakespeare's Richard III shot with an all-star cast. In 1997, he appeared with two of Hollywood's most notable young stars, first shooting Donnie Brasco opposite Johnny Depp, and then acting alongside Keanu Reeves in The Devil's Advocate. Following roles in The Insider and Any Given Sunday two-years later, Pacino would appear in the film version of the stage play Chinese Coffee (2000) before a two-year periods in which the actor was curiously absent from the screen. Any speculation on the workhorse actor's slowing down ended when in 2002 Pacino returned with the quadruple-threat of Insomnia, Simone, People I Know and The Recruit. With roles ranging from that of a troubled detective investigating a murder in the land of the midnight sun, to a film producer who builds the worlds first virtual actress, Pacino reenforced his image as a versatile, energetic and adventurous an actor. The films struck uneven chords, however; Insomnia hit a zenith, critically and commercially, while Pacino scraped bottom with Simone. Pacino fared better at the box and in the press with Michael Radford's December 2004 Merchant of Venice but dodged critical bullets with the D.J. Caruso-helmed 2005 gambling drama Two for the Money. Circa 2006, Pacino starred as Jack Gramm in 88 Minutes, the gripping tale of a college prof who moonlights as a forensics expert for the feds. He also announced plans, that year, to join the cast of Steven Soderbergh's Ocean's Thirteen and a remake of Jules Dassin's seminal Rififi, to reunite him with City Hall helmer Harold Becker.

Trivia: With her luxurious, sun-streaked, long mane of curly blond hair, voluptuous and beautiful Dyan Cannon is an actress who is hard to miss. She has been in films and occasionally on television since making her debut opposite Art Carney in The Ding-a-Ling Girl, a presentation on the television series Playhouse 90. Born Samille Diane Friesen in Tacoma, WA, Cannon got her start as a showroom model in L.A. following two years of study in anthropology at the University of Washington. Thanks to the help of writer/producer Jerry Wald, who came up with her stage name (which was originally Diane Cannon), she landed a contract at MGM and made her feature film debut playing Wiggles, a troubled high school student in This Rebel Breed (1960). She then appeared in The Rise and Fall of Legs Diamond (1960). After a couple appearances on Broadway and some work on television, Cannon met and fell in love with Cary Grant, who was 38 years her senior. While involved with him, she placed her acting career on hold. The two married in 1965 and she bore him a daughter. Three years later, Grant and Cannon went through a bitter public divorce. In 1969, Cannon returned to films in the then-controversial sex comedy Bob & Carol & Ted & Alice and won the Best Supporting Actress award from the New York Film Critics. Her role also won her an Oscar nomination. The 1970s were her most active period as an actress and Cannon appeared frequently in films. In 1978, she earned another Best Supporting Actress nomination for playing a conniving, adulterous wife in Heaven Can Wait. By the early '80s, Cannon sharply curtailed her feature-film career, but did appear in a few television movies and miniseries. In 1976, Cannon wrote, produced, directed, and even helped edit a 42-minute film sponsored by the American Film Institute. Titled Number One, Cannon designed it to teach children about sexuality and their bodies. It earned an Oscar nomination for best live-action short. Cannon has since directed two more films, including The End of Innocence, which is based on her autobiography. Cannon returned to acting on a limited basis in the 1990s and continued to appear on television in such outings as Arnold Schwarzenegger's Christmas in Connecticut (1992) and features such as Out to Sea (1997).Cannon would appear in several films and TV shows over the coming years, memorably appearing on shows like Ally McBeal and Three Sisters.

Trivia: A leading teen ingénue of the 1950s and 1960s, Tuesday Weld later emerged as one of the more intriguing actresses in Hollywood, delivering a string of well-received performances in the kinds of offbeat and idiosyncratic projects rarely visited by performers of her beauty and glamour. Born Susan Weld August 27, 1943, in New York City, the name "Tuesday" was an extension of a girlhood nickname, "Tu-Tu." She began working as a child model at age four to help support her family after the death of her father, quickly moving from mail-order catalogues to television commercials. She made her film debut in 1963's Rock, Rock, Rock before understudying in Broadway's 1957 production of The Dark at the Top of the Stairs. Upon signing a seven-year contract with 20th Century Fox, Weld was labeled by the press as "Fox's answer to Sandra Dee," but after just one film, 1959's Rally 'Round the Flag, Boys!, the studio dropped her.Weld shot to prominence through her work in the television comedy The Many Loves of Dobie Gillis, which premiered in 1959. That same year she appeared on the silver screen opposite Danny Kaye in The Five Pennies, followed in 1960 by the campus drama Because They're Young. Also in 1960, Weld began appearing under schlockmeister Albert Zugsmith, first in Sex Kittens Go to College and later in the following year's The Private Lives of Adam and Eve. Successive roles in Return to Peyton Place and the Elvis Presley vehicle Wild in the Country further crippled her attempts to mount a serious acting career, although her turn in the 1962 Frank Tashlin comedy Bachelor Flat showed signs of life. Weld then turned down the seemingly tailor-made title role in Stanley Kubrick's Lolita in order to study her craft at the Actors' Studio, and after holding her own opposite Steve McQueen and Jackie Gleason in 1963's Soldier in the Rain, she announced she would no longer accept teenage roles.However, teen roles were all that continued to come Weld's way, and after a two-year absence from the screen she resurfaced in 1965's I'll Take Sweden as the young daughter of star Bob Hope. She followed with an appearance in the McQueen gambling drama The Cincinnati Kid, and in 1966 delivered her strongest performance to date in George Axelrod's little-seen satiric gem Lord Love a Duck. That same year Weld married, later giving birth to her first child. Motherhood brought a temporary halt to her career, forcing her to turn down plum assignments including Bonnie and Clyde, Cactus Flower, True Grit, and Bob & Carol & Ted & Alice. She returned to work in 1968's Pretty Poison, again earning strong critical notices, but after 1970's I Walk the Line, it was reported that she had moved to Britain and retired from film.The move was not permanent, for in 1971 Weld appeared in her friend Henry Jaglom's A Safe Place. After 1972's Play It As It Lays, she returned to television work, starring in the TV films Reflections of Murder and F. Scott Fitzgerald in Hollywood. In 1977, Weld appeared in Looking for Mr. Goodbar, and a year later she starred in Who'll Stop the Rain? From 1980 to 1985, Weld was married to Dudley Moore, a period during which she appeared in Michael Mann's 1981 thriller Thief and Sergio Leone's 1984 classic Once Upon a Time in America. In the latter half of the decade, however, she appeared more infrequently before the camera, with only a pair of TV-movie credits, 1986's Something in Common and Circle of Violence: A Family Drama, and a lead role in the 1988 feature Heartbreak Hotel. In the 1990s, Tuesday Weld sightings were even more rare, including only 1991's Mistress, 1993's Falling Down, and 1996's Feeling Minnesota.

Trivia: Bitten by the performing bug at an early age, youngster Alan King sang for nickels and dimes in the Brooklyn subways. Born Irwin Alan Kniberg, King's first stage name was Earl Knight, of the itinerant musical aggregation Earl Knight and His Musical Knights. Abandoning music for stand-up comedy, he worked his way up the Catskills circuit and the burlesque wheels. His first big break came in 1949, when he headlined at New York's Paramount Theatre. Seven years later he opened for Judy Garland at the Palace, and subsequently accompanied Garland when she performed in London. Making his first film appearance in 1955, King provided side-of-the-mouth comedy relief in such films as Miracle in the Rain (1956) and The Helen Morgan Story (1957). Introduced to TV audiences by Ed Sullivan, King made innumerable appearances on the variety weeklies hosted by Sullivan, Garry Moore and Perry Como. A 1961 stand at his own weekly sitcom proved futile, though it resulted in a very funny pilot episode. By the early 1960s, King's act was a well-oiled mechanism: he could always be counted on to expound hilariously upon his childhood, his show business experiences, his misadventures in suburbia, and especially the trials and tribulations of married life ("Last year I took my wife on a trip around the world. This year she says 'Let's go someplace else.' "). While much of his earlier material might not pass muster in these more politically correct times, it always brought down the house--even in houses dominated by female spectators. Much of his stand-up material was incorporated in a brace of best-selling books, Anyone Who Owns His Own Home Deserves It and Help! I'm a Prisoner in a Chinese Bakery. Returning to films in the late 1960s, King was shown to particularly good advantage in three of director Sidney Lumet's projects: Bye Bye Braverman (1968) The Anderson Tapes (1971) and Just Tell Me What You Want (1980), in which he received top billing. He also shone in Memories of Me (1988) as "the king of the Hollywood extras," and Enemies: A Love Story (1989) as Rabbi Lembeck. In the mid-1960s, he launched another aspect of his career when he co-produced the hit Broadway comedy Impossible Years (1965). He has since served as executive or associate producer of such films as Lipstick (1976), Cattle Annie and Little Britches (1981), Wolfen (1981) and Cat's Eye (1983). Alan King has also functioned in a production capacity on the TV series The Corner Bar (1972-73) and Saturday Night Live with Howard Cosell (1975, as "executive in charge of comedy"), and was co-producer of the made-for-TV feature films Return to Earth (1974), How to Pick Up Girls (1978) and Reunion at Fairborough (1985).

Trivia: American actor Bob Dishy was trained in the demanding art of improvisational comedy. So certain of Dishy's skills were the producers of the 1968 TV adaptation of Arsenic and Old Lace that they allowed the actor--essaying the role of a cop with playwrighting aspirations--to "wing" most of his dialogue. Among Dishy's film credits are The Tiger Makes Out (1967), Lovers and Other Strangers (1970), First Family (1980), Brighton Beach Memoirs (1986) and Critical Condition (1987). Bob Dishy also appeared as part of a comic repertory company (which included such notables as Peter Bonerz, Paul Sand, Hamilton Camp and Melinda Dillon) on the largely ad-libbed 1971 syndicated TV series Story Theatre.

Trivia: Born Ariadne Meyers, this lead actress and former ingenue appeared onscreen from the '80s.

Trivia: Upon leaving the Midwest where he was born, raised, and educated (University of Iowa), James Tolkan headed for New York, where he studied acting with Stella Adler. In movies since 1969, Tolkan has been seen in gritty urban character roles in such films as The Friends of Eddie Coyle (1973), Author! Author! (1981), Off Beat (1985), and Made in Heaven (1987). In the first two Back to the Future films, Tolkan appeared as acerbic high school teacher Strickland; in Top Gun (1986), he was seen as Stinger; and in Dick Tracy (1990), he showed up as minor criminal Numbers. On television, James Tolkan appeared on the short-lived 1985 Mary Tyler Moore sitcom Mary as mobster Lester Mintz, and on both installments of the two-episode Sunset Beat (1990), in which he played Captain Parker.

Trivia: Launching his career as a standup comic, American performer Richard Belzer entered the 1970s as a member of an odd New York-based comedy troupe called Channel One. Anticipating the home video explosion by over a decade, Channel One staged satirical, scatological routines lampooning the banalities of television -- and staged them in front of TV cameras, which transmitted the routines to little TV monitors, which in turn were watched by the live audience. Some of the best sketches were assembled into an X-rated comedy feature, The Groove Tube (1970), which featured Belzer, Ken Shapiro, and a brash newcomer named Chevy Chase. For the next decade, Belzer played the comedy-club circuit, popped up as a talkshow guest, and appeared in occasional films like Fame (1982). He joined still another comedy troupe in 1983, which appeared nightly on the syndicated interview program Thicke of the Night. The host was Allan Thicke, and Belzer's comic cohorts included such incipient stars as Charles Fleischer, Chloe Webb and Gilbert Gottfried. Thicke of the Night was one of the more notorious bombs of the 1983-84 season, but it enabled Belzer to secure better guest-star bookings, and ultimately a hosting job on his own program, debuting in 1986 over the Lifetime Cable Service. It was on this series that wrestler Hulk Hogan, demonstrating a stranglehold on Belzer caused the host to lose consciousness -- which prompted a highly publicized lawsuit instigated by Belzer against the Hulkster. In the early 1990s, Richard Belzer could be seen as a non-comic regular on the TV series Homicide. His Homicide character, John Munch, would become one of the longest-running fictional creations on TV appearing in more than a half-dozen other television shows, most notably Law & Order: Special Victims Unit.

Trivia: A staunch proponent of the Avant-Garde theater movement, Andre Gregory was one of the most influential actor/directors on the off-Broadway scene of the early 1970s. He then quit theatre cold for five years due to personal difficulties. He "announced" his return with a most unorthodox film: 1981's My Dinner With Andre, co-written by Gregory and his friend Wallace Shawn, who comprise the "cast" of this captivating 2-hour chatfest. If you're looking for biographical information on Mr. Gregory, just sit back and listen to the soundtrack of My Dinner With Andre, wherein he details his career highs and lows, his world travels, his fascination with The Little Prince, the time that he ate dirt, and so on. Andre Gregory's later film credits include Always (1985), Bonfire of the Vanities (1990), Demolition Man (1993), and The Last Temptation of Christ (1988), in which he played John the Baptist.