Trivia: At first intending to become a minister, actor/monologist Andy Griffith (born June 1st, 1926) became active with the Carolina Playmakers, the prestigious drama-and-music adjunct of the University of North Carolina--Chapel Hill. He spent several seasons portraying Sir Walter Raleigh in the summertime outdoor drama The Lost Colony, spending the rest of the years as a schoolteacher. Griffith continued performing fitfully as an after-dinner speaker on the men's club circuit, developing hilariously bucolic routines on subjects ranging from Shakespeare to football. Under the aegis of agent/producer Richard O. Linke, Griffith returned to acting, attaining stardom in the role of bumptious Air Force rookie Will Stockdale in the TV and Broadway productions of No Time For Sergeants. Before committing Sergeants to film, Griffith made his movie debut in director Elia Kazan's A Face in the Crowd, in which he portrayed an outwardly folksy but inwardly vicious TV personality (patterned, some say, after Arthur Godfrey).After filming Face in the Crowd, No Time for Sergeants and Onionhead for Warner Bros. during the years 1957 and 1958, Griffith starred in a 1959 Broadway musical version of Destry Rides Again; as an added source of income, Griffith ran a North Carolina supermarket. On February 15, 1960 he first appeared as Andy Taylor, the laid-back sheriff of Mayberry, North Carolina, on an episode of The Danny Thomas Show. This one-shot was of course the pilot film for the Emmy-winning The Andy Griffith Show, in which Griffith starred from 1960 through 1968. Eternally easygoing on camera, Griffith, who owned 50% of the series, ruled his sitcom set with an iron hand, though he was never as hard on the other actors as he was on himself; to this day, he remains close to fellow Griffith stars Don Knotts and Ron Howard. An unsuccessful return to films with 1969's Angel in My Pocket was followed by an equally unsuccessful 1970 TV series Headmaster. For the next 15 years, Griffith confined himself to guest-star appearances, often surprising his fans by accepting cold-blooded villainous roles. In 1985, he made a triumphal return to series television in Matlock, playing a folksy but very crafty Southern defense attorney. A life-threatening disease known as Gillian-Barre syndrome curtailed his activities in the late 1980s, but as of 1995 Andy Griffith was still raking in the ratings with his infrequent Matlock two-hour specials. The actor worked on and off throughout the late nineties and early 2000s, and co-starred with Keri Russell and Nathan Fillion in the romantic comedy Waitress in 2007.

Trivia: While a still scrawny, undersized pre-teen in Morgantown, WV, Don Knotts dreamed of becoming an entertainer, but was too nervous to offer himself as a "single." Purchasing a dummy named Danny, Knotts worked up a ventriloquist act (admittedly stolen from Edgar Bergen) and headed to New York to seek his fortune. After flunking out twice on Major Bowes' Amateur Hour, Knotts returned to Morgantown. He attended West Virginia University as a speech major, intending to become a teacher. He was given a second opportunity to hone his entertaining skills while in Special Services during World War II. He continued pursuing ventriloquism until the fateful night that he threw his dummy into the ocean: "I wanted to get the laughs," Knotts would explain later. And laughs he got as a monologist from both GI and civilian audiences. Never completely conquering his stage fright, Knotts incorporated his nervousness into his act, impersonating such tremulous creatures as a novice TV weatherman and a tongue-tied sportcaster. In New York after the war, Knotts secured work on a local children's show before spending several years on the daytime soap opera Search for Tomorrow. In 1955, Knotts was cast in two small roles in the Broadway play No Time for Sergeants, which starred another teacher-turned-monologist named Andy Griffith, who would become Knotts' lifelong friend and co-worker. From 1955 through 1960, Knotts was a regular on The Steve Allen Show, provoking uncontrollable bursts of laughter as the bug-eyed, quivering "man on the street." He made his screen debut in the 1958 film version of No Time for Sergeants, re-creating his stage role of the squeaky-voiced coordination therapist. In 1960, he was cast as uptight, self-important, overzealous, magnificently inept deputy Barney Fife on The Andy Griffith Show. This was the role that won Knotts seven Emmies: five during his five-year tenure on the series, and two more when he returned to the show as a guest star in 1966 and 1967. Knotts left the Griffith Show when his contract expired in 1965, hoping to achieve movie stardom. From 1966 through 1971, Knotts ground out a series of inexpensive comedies for Universal (called "regionals" because they played primarily in non-urban and rural theaters). Panned or ignored by the critics on their first release, many of Knotts's starring films, especially The Ghost and Mr. Chicken (1966) and Shakiest Gun in the West (1967), became fan favorites. Arguably, however, the best of Knotts' 1960s films was made at Warner Bros. while he was still an Andy Griffith regular: The Incredible Mr. Limpet, a blend of animation and live-action wherein Knotts was ideally cast as a henpecked husband who metamorphosed into a war-hero fish.In 1970, Knotts starred in his own TV variety series, which opened to good ratings but ran out of gas after a single season. He resumed his film career, first at Disney, then teamed with Tim Conway in a handful of cheap but amusing B-grade features (The Private Eyes, The Prize Fighter). He also returned to television as self-styled roué Mr. Furley on Three's Company (1979-1984) and as gung-ho principal Bud McPherson on the syndicated What a Country! (1986). That same year, Knotts reprised his most venerable role of Deputy Fife in the made-for-TV movie, Return to Mayberry, the last act of which saw the character becoming the sheriff of Mayberry, NC.Despite his advancing age, Knotts' output increased in the 1990s and early 2000s. He appeared as a school principal in the Rick Moranis/Tom Arnold comedy Big Bully (1996). Additional roles included a television repairman in Big scribe Gary Ross's 1998 directorial debut, Pleasantville; the voice of T.W. Turtle in Cats Don't Dance, the voice of Turkey Lurkey in the 2005 Disney comedy Chicken Little, and a turn as "The Landlord" on an episode of That '70s Show that represented a deliberate throwback to Three's Company. Knotts spent much of his final decade teaming up with his old friend and co-star, Tim Conway, on the voiceovers for the Hermie and Friends series, contemporary Christian animated videos about a bunch of colorful insects. The world lost Don Knotts on February 25, 2006; he died in Beverly Hills, CA. In his final years, Knotts's appearances on the big or the small screen were greeted with the sort of appreciative laughter and applause that is afforded only to a genuine television icon.

Trivia: A leading light of network radio in the 1940s and 1950s, actor Parley Baer appeared on virtually every major program emanating from Los Angeles. Baer is most closely associated with the radio version of Gunsmoke, in which, from 1955 to 1961, he played Dodge City deputy Chester Proudfoot. Those who worked on Gunsmoke have had nothing but the kindest words for Baer, who endeared himself to his colleagues via his dedication, professionalism, and weekly purchase of donuts for the rehearsal sessions. The jowly, prematurely balding Baer began free-lancing in films around 1949. He played a number of small parts at 20th Century-Fox (his largest, and least typical, was the Nazi sergeant in 1957's The Young Lions), and later showed up in such films as Warner Bros.' Gypsy (1963) and Universal's Counterpoint (1993). On television, Baer portrayed Darby on The Adventures of Ozzie and Harriet, Mayor Stoner on The Andy Griffith Show (1962-63 season) and Mr. Hamble on the 1966 Red Buttons sitcom The Double Life of Henry Phyfe. Active into the 1990s--he was seen as the Senate Majority Leader in 1993's Dave--Parley Baer is most familiar to the public as the voice of commercialdom's Keebler Elf.

Trivia: Kay Stewart is best remembered for playing Mary Aldrich, the pragmatic, wise elder sister in the Henry Aldrich film series of the early 1940s. Later in her career, Stewart appeared on television and in commercials. She was typically cast as a wife or a mother.

Trivia: Even when she was only in her early forties, Isabel Randolph specialized in middle-aged "grand dame" roles on stage and radio, continuing in this vein when she entered films in 1940. Randolph gained nationwide popularity as the pompous Mrs. Uppington (aka "Uppy") on radio's Fibber McGee and Molly. She re-created this character onscreen in RKO's Look Who's Laughing (1941) and Here We Go Again! (1942), and in the Republic cornpone musical O, My Darling Clementine (1943). She went on to play scores of small roles in A-pictures and major assignments in B's; in at least one Republic Western of the early '50s, she was cast radically against type as a criminal mastermind. On TV, Isabel Randolph was seen as private-school proprietress Mrs. Nestor during the final (1955-1956) season of Our Miss Brooks.

Trivia: Olan Soule was so familiar as a character actor in movies and television during the 1950s and 1960s -- and right into the 1980s -- that audiences could be forgiven for not even reckoning with his 25-year career on radio. Soule was born in 1909 in La Harpe, Illinois, to a family that reportedly could trace its ancestry back to three passengers on the Mayflower. He began acting in tent shows in his teens, and made his first appearance on radio in 1926. With his rich, expressive voice -- which frequently seemed to belong to characters that audiences thought of as more physically imposing than the slightly built, 135-pound actor -- he quickly found himself in demand for a multitude of roles. Soule ultimately became closely associated with two series, spending more than a decade on the radio soap opera Bachelor's Children, and a nine-year run on The First Nighter, starting in the 1940s. He made the jump to television in 1949, but even in the visual medium his voice was initially part of his fortune -- one of his early movie assignments was as the narrator of the feature film Beyond The Forest (1949), starring Bette Davis. And many of those early on-screen assignments in features were uncredited, such as his appearance as Mr. Krull in Robert Wise's The Day The Earth Stood Still (1951). Still, Soule did attract attention, with his signature thin physique and the fact that he seemed to show up dozens of times a year, all over television and in movies. By the start of the 1960s, he'd amassed literally hundreds of screen appearances, making him one of the most recognizable character actors of the time period.One producer who took full advantage of Soule's skills early and often was Jack Webb, himself a radio veteran, who cast him in well over two dozen episodes of the original in 1950s Dragnet television series, principally in the recurring role of Ray Pinker. When Webb revived Dragnet in the second half of the 1960s, Soule was no less active, showing up at least a half dozen times each season, often in the role of police-lab scientist Ray Murray. Soule's studious, cerebral portrayal of Murray was reminiscent of the lab technician portrayed by Webb himself in He Walked By Night, the movie that led Webb to create Dragnet in the first place. In between those assignments, Soule appeared in dozens of features and was seen on the small screen in everything from Bonanza and Petticoat Junction to My Three Sons and the Herschel Bernardi series Arnie. Later in his career, Soule returned to his roots, lending his vocal talent to the animated series Super Friends.

Trivia: Seemingly placed on this earth to play hatchet-faced busybodies and spinsters, American actress Ottola Nesmith made her first film appearance in 1915's Still Waters. After a handful of subsequent films, Nesmith returned to the stage, then came back to Hollywood in 1935, where she remained until her retirement in 1965. Her screen roles include Lady Jane in Becky Sharp (1935), Mrs. Robinson in My Name Is Julia Ross (1946), and Mrs. Tugham in Cluny Brown (1946), as well as scores of anonymous nurses, governesses, maids, matrons, and senior-citizen-home residents. Ottola Nesmith's last appearance was in the Natalie Wood starrer Inside Daisy Clover (1967).

Trivia: Professionally, Ron Howard has come a long way from the tousle-haired, barefoot sheriff's son who trod the byways of idyllic Mayberry to reside in the heady company of Hollywood's most elite directors. Howard's films are pure entertainment; they are well-crafted efforts, frequently technically challenging from a production standpoint, and aimed at mainstream audiences. Though some of his lesser works have been criticized for possessing formulaic scripts, Howard's films approach even hackneyed subjects in fresh ways. Though he does not characterize himself as a risk taker, he loves the challenge of exploring different genres; therefore, his filmography includes B-movie actioners, domestic comedies, fantasies, sci-fi, suspense-thrillers, historical dramas, and big-budget action films. The son of actors Rance and Jean Howard, he made his theatrical debut at age two in a Baltimore production of The Seven Year Itch. He made his screen debut at age five in the suspenseful political drama The Journey (1959). The youngster became a hot property after that and appeared in several features, including The Music Man and The Courtship of Eddie's Father (both 1962). Through this period his father was a strong ally who kept Howard from being exploited by filmmakers. In a November 1996 interview with the Detroit News, Howard describes an incident in which he was six years old and during rehearsal could not cry on cue (Howard doesn't name the production), causing the director to threaten to flog him. Other children may have been terrified, but Howard felt secure because his father was on the set and would protect him. When producer Sheldon Leonard approached Rance Howard about casting Ronny (as he was billed during childhood) as Opie, the son of widowed sheriff Andy Taylor in The Andy Griffith Show (1960-1968), the elder Howard stipulated that his son be allowed time off for a normal childhood. It was as the mischievous but guileless Opie that Ronny Howard became famous. During the popular show's long run, Howard occasionally appeared in other feature films. While a series' demise often signals the death of a child actor's career, particularly if that child is obviously maturing, Howard managed the transition gracefully and continued working steadily. He was cast in a new television series, The Smith Family, in 1971 and starred opposite Henry Fonda, who became one of Howard's mentors, encouraging Howard to strive for creative growth and to take periodic risks to keep himself vital. The series lasted one season, but again Howard landed on his feet, making a bigger name for himself starring as a callow youth in George Lucas' smash hit American Graffiti (1973). The film spawned Garry Marshall's long-running hit, the '50s revival sitcom Happy Days (1974). Essentially reprising his role from the film, Howard (now billed as Ron Howard) starred as all-American youth Richie Cunningham. Again, Howard also worked simultaneously in films, notably in The Shootist (1976), where he played a teen who worshipped dying gunslinger John Wayne. Though playing a teenager on the series, Howard was in his early twenties and felt it was time to follow his longtime dream of becoming a director. Producer Roger Corman, who had recently starred Howard in Eat My Dust! (1976), let Howard helm the similarly themed Grand Theft Auto (1977). Howard also co-wrote the screenplay with his father and starred in the film. While not exactly an original masterpiece, the film earned praise for its fast-paced, high-energy action scenes. After leaving Happy Days in 1980, he directed Bette Davis in a television movie, Skyward, and managed to earn the great lady's respect with his filmmaking skills. Howard had his first big hit in 1982 with the black comedy Nightshift. It was to be the first of many instances in which he would work with producer Brian Grazer, who eventually became his partner and the co-founder of Howard's production company, Imagine Films Entertainment (established in 1985), and screenwriters Lowell Ganz and Babaloo Mandel, who formerly wrote for Happy Days. Howard had even greater success with the Tom Hanks/Darryl Hannah vehicle Splash (1984), which launched Disney's Touchstone Pictures and became the company's most successful live-action film to date. He followed this up with sentimental favorite Cocoon (1985). He had his first misstep after hitting it big with Willow, a George Lucas-produced fantasy extravaganza that never clicked with audiences, though it has since developed a devoted cult following. During the early '90s, Howard worked on a series of big-budget films such as Backdraft (1991) and Far and Away (1992), and Apollo 13 (1995), a gripping account of a failed moon mission. Apollo 13 was a huge international hit, nominated for nine Oscars (it won for Best Sound and Best Editing), and earned Howard the coveted Director's Guild award. In 1996, Howard attempted a new genre with the violent, bloody thriller Ransom, starring Mel Gibson. While an effective suspense thriller in it's own right, Ransom didn't darken Howard's sensibilities in any permanent terms, and after a few stints as producer on both the small screen (Felicity, Sports Night and the silver screen (Inventing the Abbots (1997) and Beyond the Mat (1999)), Howard was back in the director's chair for Ed TV in 1999, but itsuffered immediate and fatal comparisons to the more popular and strikingly similar Jim Carrey vehicle, The Truman Show. Undaunted, Howard next teamed with the rubber-faced star of Truman for How the Grinch Stole Christmas, which became a box-office smash. Once again turning back to reality after the marked departure of The Grinch, Howard helmed the sensitive real-life tale of paranoid schizophrenic mathematician turned Nobel Prize winning genius John Forbes Nash Jr. in A Beautiful Mind (2001). With Russel Crowe essaying the role of Nash and Jennifer Connelly as his faithful and enduring wife, the film gained generally positive reception upon release, and only seemed to cement Howard's reputation as one of the most versatile and gifted director's of his generation as the film took the Best Picture award at both the that year's Golden Globes and Oscars. Academy Award night proved to be an even bigger night for Howard as the film also took home awards for Best Actress, Best Adapted Screenplay and, of course, Best Director. Howard followed up his Oscar wins with the dark Western drama The Missing starring Tommy Lee Jones and Cate Blanchett. Unfortunately, neither critics or audiences were too fond of the over-long film. Lucky for Howard, his next project would see him re-team with A Beautiful Mind's Russell Crowe. The Depression-era boxing film Cinderella Man starred Crowe as real-life boxer Jim Braddock and was released in 2005 to positive reviews and Oscar-buzz. Next, he helmed the adaptation of Dan Brown's novel The Da Vinci Code, casting his old Splash leading man Tim Hanks in the lead. The film was as big a worldwide success as the book that inspired it. Howard followed the massive success with an adaptation of Peter Morgan's hit play Frost/Nixon. The film captured five Academy Award nominations including Best Picture, Best Actor, and Best Editing, as well as a nod for Howard's direction.As the 2000's continued to unfold, Howard would remain an extremely active filmmaker, helming movies like The Dilemma.