Trivia: He debuted onscreen in The Blackbord Jungle (1955) as a sadistic high school student, and after several years he moved up to starring roles. He often played vicious bad guys. He starred in the '60s TV series Combat. In the mid '60s he directed several off-Broadway plays and a couple of short films, then directed, co-produced, and co-wrote the film Deathwatch (1966), adapted from a Jean Genet play; after directing another feature he returned to acting, having gone eight years between screen roles. In 1982 he was killed by the blades of a helicopter while filming an action sequence in the film Twilight Zone: The Movie. He was the father of actress Jennifer Jason Leigh.

Trivia: Scion of a wealthy New York City family, Rick Jason managed to get himself expelled from eight different prep schools before finally graduating with acceptable grades from the Rhodes School. Following World War II service, Jason attended the American Academy of Dramatic Arts on the GI Bill. He was discovered for the theatre by actor/director Hume Cronyn, who cast Jason as an Ecuadorian Indian in the brief Broadway production Now I Lay Me Down to Sleep. After making his movie bow in 1952's Sombrero, Jason could be seen in lightweight second-lead roles in such films as The Lieutenant Wore Skirts (1955) and The Wayward Bus (1957). In 1960, he was cast as a tuxedoed secret agent on the syndicated TV series The Case of the Dangerous Robin. Two years later, he signed up for a five-season hitch as Lt. Gil Hanley on the popular TV war drama Combat. For the first time in his life, Jason found himself subjected to the fan-magazine publicity glare, raising eyebrows by marrying three women during a period of 19 months! Rick Jason's post-Combat career hasn't been quite so remarkable, with appearances in such second-echelon features as Color Me Dead (1969) and The Witch Who Came From the Sea (1976).

Trivia: Jack Hogan is a character actor and leading man best known for his work in television -- most notably as Private Kirby on the long-running 1960s series Combat! -- and in action films and dramas. Born Richard Roland Benson, Jr. in Chapel Hill, North Carolina in 1929, he briefly studied architecture at the University of North Carolina before entering the army in 1948, which took him to stations in the Far East. After leaving the service in 1952, he decided to try his hand at acting, and received training at the Pasadena Playhouse in California and the American Theatre Wing in New York. His screen career began in 1956 with the western in Man From Del Rio, starring Anthony Quinn and Katy Jurado. Two years later, he played "Guy Darrow" (sic), the film-a-clef stand-in for the notorious Depression-era bank robber Clyde Barrow in William Witney's The Bonnie Parker Story (1958), starring Dorothy Provine. And that same year, he co-starred with Michael Landon in Ted Post's The Story of Tom Dooley. Hogan appeared in episodes of Have Gun, Will Travel and Bonanza over the next few years, interspersed with occasional film work, until the series Combat! came along in 1962. Hired by director Robert Altman, who shepherded the series through its early stages, Hogan portrayed Private William Kirby in the middle of a strong cast headed by Vic Morrow and Rick Jason, and also including notable character actors Dick Peabody, Pierre Jalbert, and Conlan Carter. He still managed to stand out -- his Private William Kirby (nicknamed "Wild Man" back home) was a sometime screw-up, a skirt-chaser, and complainer, but also a top man with a BAR (Browning Automatic Rifle) and exactly the kind of soldier any sergeant would want in a tight spot. Hogan was perfect in the role, completely convincing in the action scenes, yet also the valid butt of jokes from his comrades (when one too-young recruit is being shipped home at the end of one episode and promises to be back in two years, he adds that "you guys will probably have this wrapped up by then," to which Vic Morrow's Sgt. Saunders, looking at Hogan after the boy leaves, says, "With you on our side, Kirby, it might be ten.")Following the series' cancellation, Hogan continued to work in television, on programs such as Adam-12, and also had a short-lived series called Sierra. He retired from acting in the 1980s and moved to Hawaii, where he founded a construction business, also working as casting director on Magnum, P.I. and appearing on Jake And The Fat Man. And thanks to the release of Combat! on DVD, and the series' being rerun on ME-TV, he is finding a whole new generation of fans for his work on the series in the twenty-first century.

Trivia: Perhaps better known to the general public as an actor, John Cassavetes' true artistic legacy derives from his work behind the camera; arguably, he was America's first truly independent filmmaker, an iconoclastic maverick whose movies challenged the assumptions of the cinematic form. Obsessed with bringing to the screen the "small feelings" he believed that American society at large attempted to suppress, Cassavetes' work emphasized his actors above all else, favoring character examination over traditional narrative storytelling to explore the realities of the human condition. A pioneer of self-financing and self-distribution, he led the way for filmmakers to break free of Hollywood control, perfecting an improvisational, cinéma vérité aesthetic all his own.The son of Greek immigrants, Cassavetes was born December 9, 1929, in New York City. After attending public school on Long Island, he later studied English at both Mohawk College and Colgate University prior to enrolling at the New York Academy of Dramatic Arts. Upon graduating in 1950, he signed on with a Rhode Island stock company while attempting to land roles on Broadway and made his film debut in Gregory Ratoff's Taxi in 1953. A series of television roles followed, with Cassavetes frequently typecast as a troubled youth. By 1955, he was playing similar parts in the movies, appearing in pictures ranging from Night Holds Terror to Crime in the Streets. Cassavetes' career as a filmmaker began most unexpectedly. In 1957, he was appearing on Night People, a New York-based radio show, to promote his recent performance in the Martin Ritt film Edge of the City. While talking with host Jean Shepherd, Cassavetes abruptly announced that he felt the film was a disappointment and claimed he could make a better movie himself; at the close of the program, he challenged listeners interested in an alternative to Hollywood formulas to send in a dollar or two to fund his aspirations, promising he would make "a movie about people." No one was more surprised than Cassavetes himself when, over the course of the next several days, the radio station received over 2,000 dollars in dollar bills and loose change; true to his word, he began production within the week, despite having no idea exactly what kind of film he wanted to make.Assembling a group of students from his acting workshop, Cassavetes began work on what was later titled Shadows. The production had no script or professional crew, only rented lights and a 16 mm camera. Without any prior experience behind the camera, Cassavetes and his cast made mistake after mistake, resulting in a soundtrack which rendered the actors' dialogue completely inaudible (consequently creating a three-year delay in release while a new soundtrack was dubbed). A sprawling, wholly improvised piece about a family of black Greenwich Village jazz musicians -- the oldest brother dark-skinned, the younger brother and sister light enough to pass for white -- the film staked out the kind of fringe society to which Cassavetes' work would consistently return, posing difficult questions about love and identity.Unable to find an American distributor, the completed Shadows appeared in 1960, and was widely hailed as a groundbreaking accomplishment. After receiving the Critics Award at that year's Venice Film Festival, it finally was released in the U.S. with the backing of a British distributor. The film's success brought Cassavetes to the attention of Paramount, who hired him to direct the 1961 drama Too Late Blues with Bobby Darin. The movie was a financial and critical disaster, and he was quickly dropped from his contract. Landing at United Artists, he directed A Child Is Waiting for producer Stanley Kramer. After the two men had a falling out, Cassavetes was removed from the project, which Kramer then drastically re-cut, prompting a bitter Cassavetes to wash his hands of the finished product. Stung by his experiences as a Hollywood filmmaker, he vowed to thereafter finance and control his own work, turning away from directing for several years to earn the money necessary to fund his endeavors. A string of acting jobs in films ranging from Don Siegel's The Killers to Roman Polanski's Rosemary's Baby to Robert Aldrich's The Dirty Dozen (for which he received an Academy Award nomination for Best Supporting Actor) wrapped up Cassavetes for all of the mid-'60s, but in 1968 he returned to filmmaking with Faces, the first of his pictures to star his wife, the brilliant actress Gena Rowlands. Another edgy drama shot in Cassavetes' trademark cinéma vérité style, Faces was a tremendous financial and critical success, garnering a pair of Oscar nominations as well as winning five awards at the Venice Film Festival; its success again brought Hollywood calling, but this time the director entertained only those offers affording him absolute creative control and final cut.After coming to terms with Columbia, Cassavetes began work on 1970's Husbands, which co-starred Peter Falk and Ben Gazzara. After helming 1971's Minnie and Moskowitz for Universal, he turned to self-financing, creating his masterpiece A Woman Under the Influence, which earned Rowlands an Academy Award nomination in the Best Actress category. With a story he developed with longtime fan Martin Scorsese, Cassavetes next turned to 1976's film noir The Killing of a Chinese Bookie; though also reissued two years later in a truncated version, the picture failed to find an audience, and was barely even circulated. When the same fate befell 1978's Opening Night, Cassavetes was forced to return to Columbia in 1980 to make Gloria.Four years passed before the director's next film, Love Streams. His subsequent effort was 1985's aptly titled Big Trouble, a comedy already in production when Cassavetes took over for writer/director Andrew Bergman, who had abruptly quit the project. The finished film was subsequently recut by its producers, and Cassavetes publicly declared it a disaster. Upon completing the picture, he became ill; regardless, he continued working, turning to the theatrical stage when he could no longer find funding for his films. A Woman of Mystery, a three-act play which was his final fully realized work, premiered in Los Angeles in 1987. On February 3, 1989, John Cassavetes died. Son Nick continued in his father's footsteps, working as an actor as well as the director of the films Unhook the Stars (1996) and She's So Lovely (1997), the latter an adaptation of one of his father's unfilmed screenplays.

Trivia: A native of Moscow, art director Paul Sheriff (born Paul Shouvalov) was one of the best set designers in British films between the 1940s and the mid-'60s. Before entering the British film industry in the late '30s to work as an apprentice of fellow Russian art director Lazare Meerson, Sheriff was an architect and a mining engineer.