Trivia: Jerry Orbach often commented, without false modesty, that he was fortunate indeed to have been a steadily working actor since the age of 20. Such was an understatement: graced with not only formidable dramatic instinct but one of American theater's top singing voices, Orbach resisted others' attempts to peg him as a character actor time and again and established himself as one of the most unique talents in entertainment per se. Television producer Dick Wolf perhaps put it best when he described Orbach as "a legendary figure of 20th century show business" and "one of the most honored performers of his generation."A native of the Bronx, Orbach was born to an ex-vaudevillian father who worked full time as a restaurant manager and a mother who sang professionally on the radio. The Orbachs moved around constantly during Jerry's youth, relocating from Gotham to Scranton to Wilkes-Barre to Springfield, Massachusetts and eventually settling in Chicago - a mobility that gave the young Orbach an unusual ability to adapt to any circumstance or situation, and thus presaged his involvement in drama. Orbach later attended Northwestern University, trained with Herbert Berghof and Lee Strasberg, and took his Gotham theatrical bow in 1955, as an understudy in the popular 1955 revival of Bertolt Brecht and Kurt Weill's The Threepenny Opera, eventually playing the lead role of serial killer Macheath. During the Threepenny run, Orbach made his first film appearance in the Manhattan-filmed low budgeter Cop Killer (1958). In 1960, Orbach created the role of flamboyant interlocutor El Gallo in the off-Broadway smash The Fantasticks, and later starred in such Broadway productions as Carnival (1961), Promises Promises (1966), Chicago (1975) and 42nd Street (1983). By day, Orbach made early-1960s appearances in several New York-based TV series, notably The Shari Lewis Show. In the early years, Orbach's film assignments were infrequent, but starting around 1981, with his pivotal role as officer Gus Levy in Sidney Lumet's masterful urban epic Prince of the City, the actor generally turned up in around one movie per year. His more fondly remembered screen assignments include the part of Jennifer Grey's father in Dirty Dancing (1987), Martin Landau's shady underworld brother in Woody Allen's Crimes and Misdemeanors (1989) the voice of the Chevalieresque candellabra in the Disney cartoon feature Beauty and the Beast (1990), and Billy Crystal's easily amused agent in Mr. Saturday Night (1992). Orbach perhaps made his most memorable contribution to television, however. After headlining a brief, short-lived detective series entitled The Law and Harry McGraw from September 1987 to February 1988 (a spinoff of Murder, She Wrote), Orbach landed a role that seemed to draw heavily from his Prince of the City portrayal: Detective Lennie Briscoe, a sardonic, mordant police investigator on Wolf's blockbuster cop drama Law & Order.Orbach carried the assignment for twelve seasons, and many attributed a large degree of the program's success to him.Jerry Orbach died of prostate cancer at the age of 69 on December 28, 2004. Three years later, Orbach turned up, posthumously, on subway print advertisements for the New York Eye Bank. As a performer with nearly perfect vision, he had opted to donate his eyes to two women after his death - a reflection on the remarkable humanitarian ideals that characterized his off-camera self.

Trivia: Educated at Yale and the Sorbonne, Sam Waterston, born November 15th, 1940, is far more than the "general purpose actor" he was pegged to be by one well-known film historian. A respected player on the stage, screen, and television, Waterston has cultivated a loyal following with his quietly charismatic, unfailingly solid performances. After beginning his career on the New York stage -- where he has continued to perform throughout his long career -- Waterston made his film debut in The Plastic Dome of Norma Jean in 1966. For a long time, his film career was not nearly as remarkable as his work on the stage and television, although non-New York audiences were made acutely aware of the depth and breadth of Waterston's talents when, in 1973, he starred in the television adaptation The Glass Menagerie (appearing alongside Katherine Hepburn) and -- also on TV -- in Tony Richardson's A Delicate Balance. The following year, the actor further impressed television audiences when he starred as Benedick in the CBS TV adaptation of Joseph Papp's staging of Much Ado About Nothing. Also in 1974, Waterston proved to be the best of the screen's Nick Carraways when he was cast in that expository role in the The Great Gatsby; subsequent films ranged from the midnight-movie favorite Rancho Deluxe (1975) to the unmitigated disaster Heaven's Gate (1981). In the late '70s, Waterston was "adopted" by Woody Allen, joining the director's ever-increasing unofficial stock company for such films as Interiors (1978), Hannah and Her Sisters (1986), September (1987), and Crimes and Misdemeanors. Waterston was nominated for an Academy award for his powerful portrayal of a conscience-stricken American journalist in The Killing Fields (1984); three years later he appeared in Swimming to Cambodia, Spalding Gray's acclaimed documentary about the making of the film. Subsequent film appearances included a turn as Kathleen Turner's hilariously timid husband in Serial Mom (1994) and a role in Ismail Merchant's The Proprietor in 1996.However, Waterston has continued to make his greatest mark on television, starring in the acclaimed The Nightmare Years in 1989 and in the similarly lauded series I'll Fly Away and Law & Order. In addition, he has gained a certain amount of fame playing Abraham Lincoln multiple times: In 1988, he starred in Gore Vidal's Lincoln on television, while he won a Tony nod playing him in the Lincoln Center production of Abe Lincoln in Illinois and supplied the president's voice for Ken Burns' documentary The Civil War.Though Waterson is most recognizable for his work in Law & Order, he took on a variety of other television roles throughout the 1990s and 2000s, among them including a turn as the District Attorney Forrest Bedford in I'll Fly Away (the role would win him an Golden Globe). In 2012, Waterson joined the cast of HBO's The Newsroom.

Trivia: Jesse L. Martin is proof that talent and popularity are not mutually exclusive. When the award-winning stage actor joined the cast of NBC's Law and Order in its tenth season, the program's already high ratings increased by 40 percent. Martin's debut episode drew the largest audience in Law and Order's history and positive press attracted more viewers throughout the season. The once starving artist is now both a critic's darling and one of T.V. Guide's "Sexiest People on Television," confirming that he is an actor with genuinely wide appeal. Martin was born Jesse Lamont Watkins on January 18, 1969, in Rocky Mountain, VA. He is the youngest of five sons. Martin's parents, truck driver Jesse Reed Watkins and college counselor Virginia Price, divorced when he was a child. Ms. Price eventually remarried and the boys adopted their stepfather's surname. When Martin was in grade school, the family relocated to Buffalo, NY, and the move was not an immediate success: Martin hated to speak because of his thick Southern accent and was often overcome with shyness. A concerned teacher influenced him to join an after-school drama program and cast him as the pastor in The Golden Goose. Being from Virginia, the young Martin played the character the only way he knew how: as an inspired Southern Baptist preacher. The act was a hit, and Martin emerged from his shell. The actor attended high school at Buffalo School for the Performing Arts, where he was voted "Most Talented" in his senior class. He later enrolled in New York University's prestigious Tisch School of the Arts Theater Program. After graduation, Martin toured the states with John Houseman's Acting Company. He appeared in Shakespeare's Rock-in-Roles at the Actors Theater of Louisville and The Butcher's Daughter at the Cleveland Playhouse, and returned to Manhattan to perform in local theater, soap operas, and commercials. Finding that auditions, regional theater, and bit parts were no way to support oneself, Martin waited tables at several restaurants around the city. He was literally serving a pizza when his appearance on CBS's Guiding Light aired in the same eatery. Martin made his Broadway debut in Timon of Athens, and then performed in The Government Inspector with Lainie Kazan. While employed at the Moondance Diner, he met the late playwright Jonathan Larson, who also worked on the restaurant's staff. In 1996, Larson's musical Rent took the theater world by storm -- with Martin in the part of gay computer geek Tom Collins. The '90s update of Puccini's La Bohème earned six Drama Desk Awards, five Obie Awards, four Tony Awards, and the Pulitzer Prize. Martin soon landed roles on Fox's short-lived 413 Hope Street and Eric Bross' independent film Restaurant (1998). Ally McBeal's creator, David E. Kelly, attended Rent's Broadway premiere and remembered Martin when the show needed a new boyfriend for Calista Flockhart's Ally. The actor's performance as Dr. Greg Butters on Ally McBeal caught David Duchovny's eye, who then cast Martin as a baseball-playing alien in a 1999 episode of The X-Files that he wrote and directed. While still shooting Ally McBeal, Martin heard rumors that actor Benjamin Bratt planned to leave the cast of Law and Order. Martin tried out for the show years before and won the minor role of a car-radio thief named Earl the Hamster, but decided to wait for a bigger part. With the opportunity presenting itself, Martin begged Law and Order producer Dick Wolf for Bratt's role. Wolf hoped to cast him, and upon hearing that CBS and Fox both offered Martin development deals, he gave the actor the part without an audition. During his first year on Law and Order, Martin co-produced the one-man show Fully Committed, about the amusing experiences of a waiter at an upscale restaurant. A skilled vocalist -- he sang in Rent, on Ally McBeal, and The X-Files -- Martin later appeared in the Rocky Horror Picture Show anniversary special and hopes to star in a big-screen biography of his mother's favorite singer, Marvin Gaye. Over the coming decade, Martin would appear in several more pictures, like The Cake Eaters, the big screen adaptation of Rent, and the TV series The Philanthropist.

Trivia: S. Epatha Merkerson is a Tony-nominated and Obie-winning, African-American stage actress, but is best known for her portrayal of detective squad chief Lt. Anita Van Buren in the series Law and Order. Born and raised in Detroit as the youngest of five children, she was a fine arts graduate of Wayne State University and began her New York theater career in the late 1970s. Merkerson was nominated for a Tony award for Best Actress for her performance as Berniece in The Piano Lesson and won an Obie award in 1992 for her work in I'm Not Stupid. Her screen credits include Jacob's Ladder and Loose Cannons and, perhaps most visibly, her role as Joe Morton's terrified wife in James Cameron's Terminator 2: Judgment Day. Merkerson made her television debut as Reba, the Mail Lady on Pee Wee's Playhouse, and has appeared on The Cosby Show, among other series, but her most important single television appearance may have been in the first season Law and Order show "Mushrooms," in which she portrayed the grief-stricken mother of an 11-month-old boy who is shot accidentally. Her work was not only memorable to the audience during that key first season, but also to the producers, who later picked Merkerson for the role of the new detective squad chief in the series' fourth season--a role she continued to play for over ten years. Merkerson's talent on the small screen led to roles in numerous TV movies such as Breaking Through and A Mother's Prayer, as well as roles in such films as Radio and The Rising Place. Still, her monumental gifts in both presence and interpretation may not have truly been utilized until she took the part of a strong matriarch who runs a 1960's boarding house in HBO's mini series Lackawanna Blues. Her first leading role in almost twenty years on screen, her performance earned her an Emmy Award as well as a Golden Globe. After her triumphant turn in Lackawanna Blues she returned to the big-screen in Craig Brewer's follow-up to Hustle & Flow, Black Snake Moan co-starring Christina Ricci and Samuel L. Jackson.Over the coming years, Merkerson would appear in a number of films, like The Six Wives of Henry Lefay and Mother and Child.

Trivia: Fred Dalton Thompson spent 25 years as an active Nashville and Washington, D.C., attorney before making his film debut playing himself in a 1985 retelling of the true tale of a Tennessee woman who took on the state's crooked governor in Marie. When Thompson won more acclaim than the film's stars Sissy Spacek and Jeff Daniels, he decided to add "character actor" to his resumé, and went on to appear in numerous major features. Standing 6'5," he was a commanding presence and was usually cast as an authoritarian. Thompson put his film career on hold when he made a successful bid to become a Tennessee senator in 1994, then picked up where he left off when his term ended, playing DA Arthur Branch on Law & Order, along with other supporting film roles. Thompson returned to politics with an attempt at the 2008 presidential election, but was unsuccessful, and soon resumed his acting career. He played horse breeder Arthur Hancock in Secretariat (2010) and appeared in the Hank Williams biopic The Last Ride (2011). One of his final acting roles was as an FBI Director in the short-lived NBC series Allegiance in 2015. Thompson died later that year, at age 73.

Trivia: After attending Sarah Lawrence College and the University of Michigan, Tovah Feldshuh studied acting with Uta Hagen and Jacques LeCoq. Feldshuh made her professional debut at the Tyrone Guthrie Theatre in Cyrano de Bergerac; it was in this selfsame play that she made her Broadway bow in 1973. The following year, she was honored with the Theatre World Award for her starring appearance in Yentl. She later worked with the American Shakespeare Festival, starred in such Broadway productions as Sarava (1978) and Lend Me a Tenor (1989), and toured in her own one-woman show. Feldshuh inaugurated her film career in 1973 on a less-than-prestigious note with Scream, Pretty Peggy. Though the quality of her films improved over the next 20 years, she is held in higher esteem for her TV appearances. Feldshuh has been seen as Katharine Hepburn in the made-for-TV biopic The Amazing Howard Hughes (1977) and as Helena Slomova in the blockbuster miniseries Holocaust (1978); she also appeared as a regular on the ABC daytimer Ryan's Hope and as prison psychiatrist Dr. Deena Hertz in the prime-time weekly Mariah (1987). In addition to her acting accomplishments, Tovah Feldshuh has been active in numerous Jewish civic and charitable causes; for these and other selfless efforts, she has been honored with the Israeli Government Friendship Award and the Eleanor Roosevelt Humanitarian Award.

Trivia: Character player Garret Dillahunt appeared onscreen from the late '90s, and -- though versatile -- often displayed a predilection for evocations of slightly rugged types. Early in his career, Dillahunt essayed a string of guest portrayals on series including NYPD Blue and The X-Files, and signed on as a fixture on less successful series outings such as Maximum Bob (1998), Leap Years (2001), and A Minute with Stan Hooper (2003). When these programs folded not long after they first bowed, Dillahunt continued to find work on the small screen, appearing in multiple episodes of such series as ER (2005-2006), The 4400 (2005-2006), John from Cincinnati (2007), and Damages (2007), in such a variety of characterizations that his versatility as an actor was clearly notable. Dillahunt's ability to disappear into a role lead to him portraying not one but two memorable characters on HBO's critically acclaimed Western series Deadwood; his evocation of Wild Bill Hickock murderer Jack McCall so impressed the series' producers that he was brought back the next season to portray George Hearst's emissary Francis Wolcott (who was also secretly a serial killer). The next year, the actor's evocation of Jesus on Jack Kenny, Flody Suarez, and John Tinker's risky comedy drama series The Book of Daniel (2006) brought him lead billing, but the program never caught fire with the public. In 2007, Dillahunt transitioned to features and appeared in at least two A-list theatrical releases: The Assassination of Jesse James by the Coward Robert Ford and the Coen Brothers' No Country for Old Men. For No Country, Dillahunt and his co-stars picked up a Screen Actors Guild nomination for Outstanding Performance by a Cast in a Motion Picture. He appeared in the short-lived HBO surfing series John From Cincinnati, and had a recurring role on Terminator: The Sarah Connor Chronicles. In 2009 he starred in the big-screen remake of Last House on the Left, and had a small role in The Road. In 2010 he landed the role of the grandfather of the title character on the FOX sitcom Raising Hope, which turned into a ratings hit. He was one of the stars in the drama Any Day Now as a gay lawyer attempting to adopt a child.

Trivia: The daughter of an attorney father and writer mother, German-born Elisabeth Röhm spent the majority of her childhood and adolescence coming of age in New York. Röhm discovered an innate love of acting during her collegiate years (in the early '90s) and thereafter landed a regular role on the daytime drama One Life to Live. She graduated to fame, however, by virtue of two prime-time roles: Detective Kate Lockley on the supernatural drama series Angel (1999) and Assistant District Attorney Serena Southerlyn on NBC's Law & Order. Big-screen roles include supporting turns in Miss Congeniality 2: Armed and Fabulous (2005) and Aftermath (2008).

Trivia: Toronto-born Chris Diamantopoulos began his professional acting career at a young age, appearing in TV commercials and professional theater productions when he was only 9 years old. Despite the early experience, Diamantopoulos studied his craft at East York Collegiate Institute before heading to New York to test his true star potential. He didn't begin appearing on American screens until the early 2000s, with small roles on shows like Law and Order and Charmed. He had a memorable turn as an effeminate decorator in the 2008 mini-series The Starter Wife, but his big break didn't come until 2012, when he was cast as Moe in the Farrelley Brothers comedy The Three Stooges.

Trivia: The man behind some of the most innovative, creative, and visually inventive action films of the late '90s and early 2000s, director Robert Rodriguez is the epitome of the do-it-yourself attitude and a renaissance man of cinema. Directing, shooting, and editing nearly every one of his films,Rodriguez's energetic and self-immersing approach to filmmaking has resulted in some of the most stylish and exciting action films in modern cinema. Born June 20, 1968,Rodriguez became fascinated with cartooning and filmmaking at an early age. Prompted to jump behind the camera after becoming enamored by John Carpenter's Escape From New York at age 12, the fledgling director's brothers and sisters served as a capable cast and crew, and with his father's Super-8 camera in hand, Rodriguez took his first steps toward auteurhood. Awarded a scholarship to the University of Texas at Austin soon after his graduation from St. Anthony's High School, Rodriguez inked a popular comic-strip entitled Los Hooligans (inspired by the antics of his siblings) and continued to make films despite being rejected from the institution's film school due to poor academic promise. Undaunted by the rejection, it was Rodriguez who would have the last laugh as his 16 mm film Bedhead won multiple awards and opened many doors. A humorous tale of a girl who gains psychic powers after receiving a bump on the head, the film's unique humor stood out among the usually morose film-festival entries and charmed audiences and judges alike. Also recognized by Columbia University for his skills as a comic writer and artist during this period, Rodriguez soon began setting his sights on making a feature-length film. Intimidated by the high cost of processing film, the resourceful director came up with a unique form of financing and served as a human guinea pig by subjecting himself to experimental drug studies. In doing so, Rodriguez secured the 7,000 dollars he needed to get El Mariachi off the ground. With his good friend Carlos Gallardo serving as the hapless lead and a ragtag crew working round-the-clock in a Mexican border town, shooting was completed in 20 days for intended distribution in the Spanish video market. Bought by Columbia Pictures for distribution in the United States, El Mariachi was hailed for not only its unique style and energy, but also for the circumstances surrounding its creation. Brought in at the last minute to direct the made-for-cable feature Roadracers (1994) soon after, and helming "The Misbehaviors," arguably the most entertaining segment in the ill-received Four Rooms the following year, it wasn't long before Hollywood was calling for a sequel to Rodriguez's maiden effort. As much a remake as a sequel, though this time with the noted lead of Antonio Banderas (whom Rodriguez had worked with on "The Misbehavors"), Desperado displayed further indication of its director's resourcefulness but failed to capture the core energy of the original. Re-teaming with his Four Rooms cohort Quentin Tarantino for the super-kinetic crime/horror extravaganza From Dusk Till Dawn, the director continued to find his groove in the land of bloated budgets, and despite its dark humor and giddy energy, the film was criticized by many for not sticking to the conventions of a single genre. His follow-up, the subversive sci-fi teen romp The Faculty, was equally compelling. In subsequent years, Rodriguez would remain only slightly involved with the two straight-to-video From Dusk Till Dawn sequels, and many may have found it ironic that the director would receive his most substantial critical success yet with what was essentially a children's film. A massive box-office hit that offered a family friendly adventure yarn served with a distinctively stylish and surreal twist, Spy Kids (2001) retained all the elements that had endeared Rodriguez to fans and critics, sans the graphic violence and adult elements. Alarmed by the fact that numerous kids had approached him and expressed their love of his very adult-oriented previous features, Rodriguez set out to craft an energetic adventure that called back to his more lighthearted early efforts. With its deliciously twisted villain, bizarre set-pieces, high-tech gadgetry, and positive messages pertaining to the worth of a healthy self-image and the importance of family, Rodriguez won over a whole new generation of fans while retaining his already solid fan base. Again turning out a stylish and flashy finished product on a remarkably tight budget, the director proved that his talent spanned numerous genres. Soon beginning work on a sequel to Spy Kids, Rodriguez also kept busy by beginning production on his longtime dream project, the epic final installment to his Mariachi trology, Once Upon a Time in Mexico. In the wake of a visit with filmmaker and digital cinema advocate George Lucas, Rodriguez was became convinced that the future of film lay not in celluloid but in digital video -- and from Spy Kids 2 on shot all of his future films on the emerging format. Indeed, Rodriguez's subsequent digital films were as visually vibrant as ever, with Spy Kids 3 using the process to particularly pleasing effect. If Once Upon a Time in Mexico -- Rodriguez's epic conclusion to the El Mariachi trilogy -- failed to reach the delirious heights promised by its undeniably ambitious title in the eyes of some fans, the arrival of the visually striking and masterfully constructed Sin City in early 2005 proved without a doubt that Rodriguez was still one of the most daring mainstream filmmakers in contemporary cinema. Despite the fact that Sin City author Frank Miller had made no secret of the fact that he had no desire to ever let the legacy of his notorious noir comic blighted by a sub-par film adaptation, Rodriguez secretly shot a scene showcasing his remarkably faithful vision for the film and offered it to Miller as a proposal for a feature length version of Sin City. Immediately recognizing the sincerity and respect with which Rodriguez had handled the source material--going so far as to use the panels of the graphic novel for storyboards--Miller agreed to let the director bring Sin City to life on the big screen and in turn, Rodriguez resigned from the Director's Guild of America so that he could make Miller the official co-director of the film. When Sin City finally arrived in theaters in April of 2005, few fans of the comic could have realized what a faithful adaptation the film would be, and though it did draw some criticism for its stratospheric level of violence, longtime fans of Miller's comic took to the film in droves and praised it for its unapologetic adherence to his dark vision. Rodriguez finished off 2005 with another family adventure in the style of Spy Kids -- although far less successful -- called The Adventures of Shark Boy and Lava Girl. He then spent 2006 teaming up with friend and colleague Quentin Tarantino to work on the over-the-top double-feature project Grindhouse. The film set out to follow in the tradition of the genre it was named after -- bang for your buck drive-in/Times Square exploitationers -- and the final product would include a movie by each director, as grindhouse theaters were known for screening double or triple features. While the grindhouse movies of the '70s made up for the lack of starpower afforded by their shoestring budgets with intense violence, wild action sequences, and shocking premises, Rodruigez and Tarantino reveled in the chance to make a movie just as outlandish and campy, but with big budgets and major stars as well. Released with a maximum of fanfare by the Weinstein Company on Easter weekend, 2007, the film became one of the surprise flops of the spring, despite strong reviews from critics. In the years that followed, Rodriguez emerged with a feature-length version of the "Machete" trailer from the Grindhouse double bill, starring Danny Trejo in the title role. He also returned to the Spy Kids series to helm a fourth entry in the franchise, released in 2011 and titled, Spy Kids: All The Time in the World.