Trivia: Born August 18th, 1937, the rugged, dashingly handsome Robert Redford was among the biggest movie stars of the 1970s. While an increasingly rare onscreen presence in subsequent years, he remained a powerful motion-picture industry force as an Academy Award-winning director as well as a highly visible champion of American independent filmmaking. Born Charles Robert Redford Jr. on August 18, 1937, in Santa Monica, CA, he attended the University of Colorado on a baseball scholarship. After spending a year as an oil worker, he traveled to Europe, living the painter's life in Paris. Upon returning to the U.S., Redford settled in New York City to pursue an acting career and in 1959 made his Broadway debut with a small role in Tall Story. Bigger and better parts in productions including The Highest Tree, Little Moon of Alban, and Sunday in New York followed, along with a number of television appearances, and in 1962 he made his film debut in Terry and Dennis Sanders' antiwar drama War Hunt. However, it was a leading role in the 1963 Broadway production of Barefoot in the Park which launched Redford to prominence and opened the door to Hollywood, where in 1965 he starred in back-to-back productions of Situation Serious but Not Hopeless and Inside Daisy Clover. A year later he returned in The Chase and This Property Is Condemned, but like his previous films they were both box-office failures. Offered a role in Mike Nichols' Who's Afraid of Virginia Woolf?, Redford rejected it and then spent a number of months relaxing in Spain. His return to Hollywood was met with an offer to co-star with Jane Fonda in a film adaptation of Barefoot in the Park, released in 1967 to good reviews and even better audience response. However, Redford then passed on both The Graduate and Rosemary's Baby to star in a Western titled Blue. Just one week prior to shooting, he backed out of the project, resulting in a series of lawsuits and a long period of inactivity; with just one hit to his credit and a history of questionable career choices, he was considered a risky proposition by many producers. Then, in 1969, he and Paul Newman co-starred as Butch Cassidy and the Sundance Kid, a massively successful revisionist Western which poised Redford on the brink of superstardom. However, its follow-ups -- 1969's Tell Them Willie Boy Is Here and The Downhill Racer -- both failed to connect, and after the subsequent failures of 1971's Fauss and Big Halsey and 1972's The Hot Rock, many industry observers were ready to write him off. Both 1972's The Candidate and Jeremiah Johnson fared markedly better, though, and with Sydney Pollack's 1973 romantic melodrama The Way We Were, co-starring Barbra Streisand, Redford's golden-boy lustre was restored. That same year he reunited with Newman and their Butch Cassidy director George Roy Hill for The Sting, a Depression-era caper film which garnered seven Academy Awards, including Best Picture honors. Combined with its impressive financial showing, it solidified Redford's new megastar stature, and he was voted Hollywood's top box-office draw. Redford's next project cast him in the title role of director Jack Clayton's 1974 adaptation of The Great Gatsby; he also stayed in the film's 1920s milieu for his subsequent effort, 1975's The Great Waldo Pepper. Later that same year he starred in the thriller Three Days of the Condor before portraying Washington Post reporter Bob Woodward in 1976's All the President's Men, Alan J. Pakula's masterful dramatization of the investigation into the Watergate burglary. In addition to delivering one of his strongest performances to date in the film, Redford also served as producer after first buying the rights to Woodward and Carl Bernstein's book of the same name. The 1977 A Bridge Too Far followed before Redford took a two-year hiatus from the screen. He didn't resurface until 1979's The Electric Horseman, followed a year later by Brubaker. Also in 1980 he made his directorial debut with the family drama Ordinary People, which won four Oscars including Best Picture, Best Director, and Best Supporting Actor (for Timothy Hutton). By now, Redford's interest in acting was clearly waning; he walked out of The Verdict (a role then filled by Newman) and did not appear before the camera again for four years. When he finally returned in 1984's The Natural, however, it was to the usual rapturous public reception, and with 1985's Out of Africa he and co-star Meryl Streep were the focal points in a film which netted eight Oscars, including Best Picture. The 1986 film Legal Eagles, on the other hand, was both a commercial and critical stiff, and in its wake Redford returned to the director's chair with 1988's The Milagro Beanfield War. Apart from narrating the 1989 documentary To Protect Mother Earth -- one of many environmental activities to which his name has been attached -- Redford was again absent from the screen for several years before returning in 1990's Havana. The star-studded Sneakers followed in 1992, but his most significant effort that year was his third directorial effort, the acclaimed A River Runs Through It. In 1993 Redford scored his biggest box-office hit in some time with the much-discussed Indecent Proposal. He followed in 1994 with Quiz Show, a pointed examination of the TV game-show scandals of the 1950s which many critics considered his most accomplished directorial turn to date. After the 1996 romantic drama Up Close and Personal, he began work on his adaptation of Nicholas Evans' hit novel The Horse Whisperer. The filmmaker was back behind the camera in 2000 as the director and producer of The Legend of Bagger Vance. The film's sentimental mixture of fantasy and inspiration scored with audiences, and Redford next turned back to acting with roles in The Last Castle and Spy Game the following year. Though Castle garnered only a lukewarm response from audiences and critics alike, fans were nevertheless primed to see the seasoned actor share the screen with his A River Runs Through It star Brad Pitt in the eagerly anticipated Spy Game. 2004 brought with it a starring role for Redford, alongside Helen Mirren and Willem Dafoe, in The Clearing; he played a kidnapping victim dragged into the woods at gunpoint. The film drew a mixed response; some reviewers praised it as brilliant, while others felt it only average. In 2005, Redford co-starred with Morgan Freeman and Jennifer Lopez in the Lasse Hallstrom-directed An Unfinished Life. In addition to his acting and directing work, Redford has also flexed his movie industry muscle as the founder of the Sundance Institute, an organization primarily devoted to promoting American independent filmmaking. By the early '90s, the annual Sundance Film Festival, held in the tiny community of Park City, Utah, had emerged as one of the key international festivals, with a reputation as a major launching pad for young talent. An outgrowth of its success was cable's Sundance Channel, a network similarly devoted to promoting and airing indie fare; Redford also planned a circuit of art house theaters bearing the Sundance name.

Trivia: George Segal kicked off his performing career as a boy magician in his Long Island neighborhood. An accomplished banjoist, Segal played with Bruno Lynch and His Imperial Jazz before enrolling at Columbia University. After three years' military service, Segal resettled in New York in 1959, and that same year was cast in his first off-Broadway play. Entering films with 1961's The Young Doctors, Segal quickly established himself as one of Hollywood's most accomplished young character actors; in 1967, he received an Oscar nomination for his portrayal of Nick in Who's Afraid of Virginia Woolf. When one compiles a list of favorite films from the late 1960s-early 1970s, one usually spends a great deal of time exclaiming "Hey! Segal was in that, too." He played a hustling POW in King Rat (1965), a Cagneyesque hood in Saint Valentine's Day Massacre (1967), ulcerated homicide detective Mo Brummel in No Way to Treat a Lady (1968), a neurotic New York Jewish intellectual in Bye Bye Braverman (1968), a straight-laced bachelor in love with a foul-mouthed hooker in The Owl and the Pussycat (1970), and a repressed lawyer saddled with an outrageously senile mother in Where's Poppa? (1970). During this same period, Segal had an arrangement with the ABC TV network, permitting him to star in television adaptations of classic Broadway plays: he was cast as George opposite Nicol Williamson's Lenny in Of Mice and Men, then switched gears as vicious escaped criminal Glenn Griffin in The Desperate Hours. Throughout this busy period in his life, Segal fronted the Beverly Hills Unlisted Jazz Band, cutting several records and making a number of memorable Tonight Show appearances. In 1973, Segal's successful screen teaming with Glenda Jackson in A Touch of Class enabled him to demand a much higher price for his film services; unfortunately, many of the films that followed--The Black Bird (1975) and The Duchess and the Dirtwater Fox (1976) in particular--failed to justify Segal's seven-figure price tag. In the 1980s, Segal starred in two well-written but low-rated TV weeklies, Take Five (1987) and Murphy's Law (1989). His film career was lifted from the doldrums in the late 1980s with such plum roles as the pond-scum father of Kirstie Alley's baby in Look Who's Talking (1989) and the "pinko" comedy writer in For the Boys (1991). Segal's projects of the 1990s have included the syndicated TV adventure series High Tide (1994) and such film roles as the bemused husband of abrasive Jewish mama Mary Tyler Moore in the 1996 Ben Stiller vehicle Flirting with Disaster. In 1996, Segal found renewed success on television playing a well-meaning but rather duplicitous publisher whose estranged daughter comes to work for him in the razor-sharp NBC sitcom Just Shoot Me. Though he worked less frequently during the 21st century, he appeared in a variety of projects including The Linda McCartney Story as the main character's father, Fielder's Choice, 2012, and Love and Other Drugs.

Trivia: Before he turned to performing, Zero Mostel intended to be a painter, but by his late 20s he had begun appearing in nightclubs and on radio. A few Hollywood films followed: Du Barry Was A Lady (1943), Panic in the Streets (1950), and The Enforcer (1951), among other early '50s films. Unfortunately, his career was amputated when he became a victim of Hollywood's McCarthy-era blacklisting, and he would not work again until the end of the decade. His talent was rewarded when he won three Tony Awards for his Broadway appearances in Rhinoceros, A Funny Thing Happened on the Way to the Forum, which he repeated for the screen in 1966, and Fiddler on the Roof. He followed Forum with one of the classic comedy performances of all time, producer Max Bialystock in Mel Brooks' The Producers (1968). Almost all of Mostel's performances are worth watching, but especially The Angel Levine (1970), The Hot Rock (1972), and his poignant, heart-rending performance as a blacklisted TV comic in The Front (1976). Mostel's final appearance was in the Academy Award-winning documentary Best Boy (1979). His son is actor Josh Mostel.

Trivia: The son of a Manhattan clothing manufacturer, Ron Leibman defied his family's wishes by dropping out of Wesleyan University to study at the Actor's Studio. Appearing in off-Broadway productions from 1959, Leibman made his Broadway debut in 1963's Dear Me, the Sky is Falling. He won an Obie Award for his work in Transfers, and a New York Drama Desk Award for We Bombed in New Haven. An undeniably major talent, Leibman's explosive temper and entrenched insistence upon integrity at all costs has lost him more jobs than he'd probably care to count (There are some who say that much of Leibman's fabled contentiousness was incorporated into Dustin Hoffman's character in Tootsie). After resisting series TV for many years, Leibman accepted the role of Martin Kazinksi, ex-con turned lawyer, in the 1978 weekly Kaz; the show died after a single season, but not before he won an Emmy Award (At the time, he insisted he'd never do another series; in 1991, however, he could be seen as Detective Al Burkhardt on the weekly Pacific Station, and earlier had been one of the candidates for the starring role in the TV sitcom Coach). In films, Leibman seems to relish wildly extroverted roles: The relentless stalker of Billy Pilgrim in Slaughterhouse Five (1971), gonzo NYPD troubleshooter "Batman" in The Super Cops (1973), the out-of-town union organizer in Norma Rae (1979), the lithping Cathtillian heavy in Zorro the Gay Blade (1981), abrasive racing promoter Dave Davis in Phar Lap (1984), and Dolly Parton's greasy agent in Rhinestone (1985) (he was starred in Mad Presents Up the Academy, but had a falling out with the producers and insisted that his name be removed from the credits). Returning to Broadway in 1993, Leibman won a Tony Award for Angels in America. Once married to actress Linda Lavin, Ron Leibman is currently wed to actress Jessica Walter.

Trivia: A shy and withdrawn child, 11-year-old Paul Sanchez emerged from his shell upon joining Viola Spolin's Children's Theatre Workshop. Even at this early stage of the game, he was a gifted improvisational comedian, delighting friends and theatregoers alike with his inspired flights of fancy. After attending Los Angeles State College, he journeyed to Paris at his own expense, hoping to meet his idols Jean-Louis Barrault and Marcel Marceau. The latter was so impressed by his instinctive talents that he hired the young performer for his prestigious touring mime troupe. Upon returning to the states, he worked with Viola Spolin's son Paul Sills at Chicago's Second City; somewhere along the way, he changed his professional moniker from Sanchez to Sand. He appeared in the popular off-Broadway revue The Mad Show, then linked up with Sills again in Story Theatre, winning a Tony Award for his portrayal of an itching dog! Hired as a general-purpose comic actor by MTM productions at the recommendation of his old Story Theatre-cohort Valerie Harper, Paul was starred in his own sitcom, Paul Sand in Friends and Lovers. This fey, good-natured endeavor was widely touted as the sleeper of the 1974-75 television season. Unfortunately, viewers were not as enchanted by Sands' talents as "live" audiences had been, and Friends and Lovers was axed after 13 weeks. Paul Sand has continued to thrive as a supporting actor in films (his first was 1969's Viva Max) and such TV weeklies as St. Elswhere. Paul Sand's best showing of the 1980s was on the NBC sitcom Gimme a Break, in which he played Marty, an eccentric Manhattan-born restaurateur who posed as a flamboyant Mexican named Esteban for the benefit of his customers.

Trivia: Dynamic African-American actor Moses Gunn was one of the founders of the Negro Ensemble Company. Educated at Tennessee State and the University of Kansas, Gunn made his first New York appearance in a 1961 production of Measure for Measure; he remained active on the off-Broadway scene throughout his career, winning several Obie awards. His 1962 Broadway debut came by way of Jean Genet's The Blacks, which served to introduce many of the powerful black acting talents of the era. In films dating from 1964's Nothing But a Man, Gunn is best-remembered for his portrayal of gangster Bumpy Jonas in the first two Shaft films, and for his brief but telling cameo as Booker T. Washington in Ragtime, a performance which won him an NAACP Image award. On series television, Gunn was top-billed as Jebediah Nightlinger in The Cowboys (1972), played boxing trainer George Beifus in The Contender (1980), was featured as miner Moses Gage in Father Murphy (1981-84) and chewed the scenery as the epigrammatical "Old Man" in A Man Called Hawk (1989). He also played Carl Dixon, the man who married Florida Evans (Esther Rolle) after a whirlwind courtship during the 1976-77 season of Good Times. In 1977, Moses Gunn received an Emmy nomination for his appearance as tribal chieftain Kintango in the groundbreaking miniseries Roots.

Trivia: The son of a Manhattan orchestra conductor and a former Ziegfeld Follies girl, little Billy Redfield made his Broadway bow at age 9 in Swing Your Lady. Billy launched his radio career around the same time, and made his earliest movie appearance in 1939. As adult actor William Redfield, he was one of the original founders of the influential Actors Studio. While his film assignments of the 1950s and 1960s were unremarkable (as Captain Owens in 1966's Fantastic Voyage, for example, he played third fiddle to the special effects and Raquel Welch's diving suit), he remained a much-in-demand stage performer, and also proved a delightful raconteur on such TV chatfests as The Tonight Show. His reminiscences of the ups and downs of the acting profession were candid and perceptive without ever descending into maliciousness; many of his best anecdotes were self-deprecatory, notably his oft-repeated tale about being saddled in the 1956 film The Proud and the Profane with some of the worst movie dialogue ever written. An ever-busy TV performer, Redfield played the title role in the 1953 DuMont Network series Jimmy Hughes, Rookie Cop, and the following year was seen as Bobby Logan in The Marriage, the first live network series to be regularly broadcast in color. A talented writer, Redfield co-created the popular Wally Cox TV sitcom Mister Peepers, penned the stage play A View with Alarm, and published the 1965 volume Letters From an Actor, a candid memoir of his experiences while playing Guildenstern in the John Gielgud-directed 1964 staging of Hamlet, which starred Richard Burton. Not long after making his final film appearance as pensive mental patient Harding in the Oscar-winning One Flew Over the Cuckoo's Nest, 49-year-old William Redfield died of leukemia.

Trivia: Even as a teenaged performer with the Shorewood Players, a Milwaukee community-theatre group, Charlotte Rae thrived in playing characters much older than herself. Example: at 16, Charlotte starred as Dolly Gallegher Levi in a Shorewood production of Thornton Wilder's The Merchant of Yonkers (her 28-year-old "Horace Vandergelder" was future Broadway director Morton DaCosta). Following graduation from Northwestern University, Rae made her Broadway bow in 1952's Three Wishes for Jamie. The following year, she scored a hit as Mrs. Peachum in the long-running off-Broadway revival of Brecht and Kurt Weill's Threepenny Opera, and within three years she was portraying the ancient, wizened Mammy Yokum in Li'l Abner. She was a favorite of TV producer Nat Hiken, who hired her for several guest spots on The Phil Silvers Show. In 1961, Hiken cast the 35-year-old Charlotte as middle-aged hausfrau Sylvia Schnauzer, virago wife of officer Leo Schnauzer (played by fiftyish Al Lewis) on Car 54, Where are You? Rae's other TV series credits include the 1950s daytime drama From These Roots, the 1975 Norman Lear sitcom Hot L Baltimore and the 1976 Summer replacement The Rich Little Show. In 1978, Rae was cast as flibbertigibbet housekeeper Mrs. Garrett on the Gary Coleman series Diff'rent Strokes; the character struck such a responsive chord with audiences that she was spun off into her own starring sitcom The Facts of Life, in 1986. Rae remained with Facts as Mrs. Garrett until 1986, by which time she had been nominated for two Emmies (she has also received Obie and Tony nominations; an actual win is long overdue). More recently, Charlotte has provided voices for such animated offerings as Tom and Jerry: The Movie (1993) and TV's Itsy Bitsy Spider. An off-and-on nightclub and revue performer, Charlotte Rae took her one-woman "Broadway highlights" show on the road in 1994. Rae would continue to act in the decades to come, providing the voice of Nanny on the 101 Dalmations animated series, and appearing in films like You Don't Mess with the Zohan.

Trivia: After making his acting debut onstage, bald, heavily mustached Canadian character actor Graham Jarvis began showing up in bits in such films as In the Heat of the Night (1967), Alice's Restaurant (1970, as the music teacher) and What's Up Doc. He is best known to TV addicts as Charlie Haggers, the unctuous husband/manager of would-be country singer Loretta Haggers (Mary Kay Place) in Mary Hartman, Mary Hartman (1976-77), and as officious-vice principal Dyrenforth in the syndicated version of Fame (1985-87). Of his many TV-movie credits, Graham Jarvis' convincing turn as John Ehrlichmann in Blind Ambition (1982) features prominently.

Trivia: Though born in the Midwest, character actor Harry Bellaver spent the better part of his screen career playing New York- or Brooklyn-bred cops, cabbies, doormen and petty thieves. His four-decade career began with MGM's Another Thin Man (1939), and ended when he retired after 1980's Hero at Large. An inescapable guest-star presence on 1950s and 1960s television, Harry Bellaver also played Sergeant Frank Arcaro on the weekly New York-filmed cop series The Naked City (1959-63).

Trivia: Character actor, onscreen from the '70s.

Trivia: An alumnus of New York City's High School of Music and Arts and Bard College, actor/writer/director Christopher Guest made his initial Broadway appearance in the 1970 revival of Room Service; two years later, he co-starred in Moonchildren. Guest's early acting accomplishments have tended to become obscured in the light of his extensive work for the National Lampoon folks: he wrote several articles for the Lampoon magazine, and was a writer/performer for the organization's radio programs, record albums, and stage reviews. His extensive comic talents went largely untapped in such "mainstream" acting assignments as the made-for-TV Blind Ambition (1982), in which he portrayed Nixon intimate Jeb Stuart Magruder, and the theatrical feature The Long Riders (1982), in which he was co-starred with his younger brother Nicholas.In 1982, Guest played divorced suburbanite Bucky Frische in Million Dollar Infield (1982), a made-for-TV movie produced and co-written by Rob Reiner. His association with Reiner extended into appearances in the latter's big-screen directorial efforts: In This is Spinal Tap (1983), Guest not only penned the script but also played heavy metal rocker Nigel Tufnel; and in The Princess Bride (1986), cast as the evil Count Rubin, he offered a sly impression of British character actor Henry Daniell. Guest has since parlayed his "Spinal Tap" association into something of a second career, touring as Nigel Tufnel with fellow "Tap" members David St. Hubbins (Michael McKean) and Derek Smalls (Harry Shearer) and composing many of the group's "hits." On TV, Guest was a regular during the 1984-1985 season of Saturday Night Live and shared a scriptwriting Emmy for a 1976 Lily Tomlin special. Making his directorial debut with the Tinseltown satire The Big Picture (1989), Guest has gone on to helm the TV-movie remake of Attack of the 50 Foot Woman (1993), the "Johnny Appleseed" segment of Shelley Duvall's cable-TV anthology American Tall Tales and Legends, and most of the episodes of Rob Reiner's 1992 TV sitcom Morton and Hayes.After once again appearing as Nigel Tufnel in The Return of Spinal Tap (1992), the latter '90s found Guest expanding on his successes in the world of showbiz mockery by taking the directors chair with a few irreverent faux documentaries of his own. Re-teaming with fellow bandmates McKean and Shearer for the musical numbers in Waiting for Guffman (1996), the critically praised comedy proved that Guest's eye for satire was indeed as sharp as his pen. Following with some vocal work in Small Soldiers (1998), Guest returned to the director's chair for what would be comedian Chris Farley's last film, Almost Heroes (1998). Both of these projects proved to be brief diversions, though, and, as old habits die hard, Guest couldn't resist his urges for parody for long.Though not related (in a traditional sense) to show business, Best in Show targeted a subject that some may say was screaming for parody, the world of Championship Dog shows. His skills as a director more focused and refined than ever, Guest lead a talented cast of the usual suspects in creating yet another hilarious and scathing take on a what many considered to be well-deserving subject. After earning a Golden Globe nomination for "Best Comedy" at that year's ceremony, the film went on to live a healthy life on DVD and cable television. Guest's next film set its sights on a target that many may agree was begging for the treatment even more so than that of his last subject, and though A Mighty Wind's spot on folk song parodies would prove almost so effective as to be considered the real deal, the film itself differed from Best in Show in that it sharply divided its supporters and detractors as few of his films had. Guest worked as an actor, screenwriter, songwriter, and director for The Mighty Wind (2003), an award-winning mockuementary chronicling the ups and downs of a career in folk music, and again with For Your Consideration (2006). The actor would co-star with Judi Dench and Bob Hoskins in Mr. Henderson Presents (2005), which followed a wealthy eccentric determined to transform a dingy London theater into a thriving hotspot for entertainment, and take on roles in 2009's The Invention of Lying and Night at the Museum: Battle of the Smithsonian. Guest is married to actress Jamie Lee Curtis.