Trivia: African-American comedian Richard Pryor grew up bombarded by mixed messages. Pryor's grandmother owned a string of brothels, his mother prostituted herself, and his father was a pimp. Still, they raised Richard to be honest, polite, and religious. Living in one of the worst slums in Peoria, IL, Pryor found that he could best defend himself by getting gang members to laugh at instead of pummeling him. This led to his reputation as a disruptive class clown, although at least one understanding teacher allowed Pryor one minute per week to "cut up" so long as he behaved himself the rest of the time. At age 14, he became involved in amateur dramatics at Peoria's Carver Community Center, which polished his stage presence. In 1963, Pryor headed to New York to seek work as a standup comic; after small gigs in the black nightclub circuit, he was advised to pattern himself after Bill Cosby -- that is, to be what white audiences perceived as "nonthreatening." For the next five years, the young comic flourished in clubs and on TV variety shows, making his film bow in The Busy Body (1967). But the suppression of Pryor's black pride and anger by the white power structure frustrated him. One night, sometime between 1969 and 1971, he "lost it" while performing a gig in Las Vegas; he either walked off-stage without a word or he obscenely proclaimed that he was sick of it. Over the next few years, Pryor found himself banned from many nightclubs, allegedly due to offending the mob-connected powers-that-be, and lost many of his so-called friends who'd been sponging off of him. Broke, Pryor went underground in Berkeley, CA, in the early '70s; when he re-emerged, he was a road-company Cosby no more. His act, replete with colorful epithets, painfully accurate character studies of street types, and hilarious (and, to some, frightening) hostility over black-white inequities, struck just the right note with audiences of the committed '70s. Record company executives, concerned that Pryor's humor would appeal only to blacks, were amazed at how well his first post-Berkeley album, That Nigger's Crazy!, sold with young white consumers. As for Hollywood, Pryor made a key early appearance in the Diana Ross vehicle Lady Sings the Blues. But ultra-reactionary Tinseltown wasn't quite attuned to Pryor's liberal use of obscenities or his racial posturing. Pryor had been commissioned to write and star in a Mel Brooks-directed Western-comedy about a black sheriff, but Brooks replaced Pryor with the less-threatening Cleavon Little; Pryor nonetheless retained a credit as one of five writers on the picture, alongside such luminaries as Andrew Bergman. When Pryor appeared onscreen in The Bingo Long Traveling All-Stars and Motor Kings and Silver Streak (both 1976), it was as a supporting actor. But Pryor's popularity built momentum, and by the end of the '70s he became the highest-paid starring comedian in films, with long-range contracts ensuring him work well into the next decade - when such efforts as Stir Crazy, Bustin' Loose, and The Toy helped to both clean up the foul-mouthed comic's somewhat raunchy public image, and endear him to a whole new generation of fans. His comedy albums -- and later, videocassettes -- sold out as quickly as they were recorded. The only entertainment arena still too timid for Pryor was network television -- his 1977 NBC variety series has become legendary for the staggering amount of network interference and censorship imposed upon it.By the early '80s, Pryor was on top of the entertainment world. Then came a near-fatal catastrophe when he accidentally set himself afire while freebasing cocaine. Upon recovery, he joked liberally (and self-deprecatively) about his brush with death, but, otherwise, he appeared to change; his comedy became more introspective, more rambling, more tiresome, and occasionally (as in the 1983 standup effort Richard Pryor: Here and Now) drew vicious heckling and catcalls from obnoxious audiences. His cinematic decline began with a thinly-disguised film autobiography, Jo Jo Dancer, Your Life Is Calling (1986), which Pryor starred in and directed; it met with critical scorn. Pryor's films declined in popularity, the audiences grew more hostile at the concerts, and Pryor deteriorated physically. Doctors diagnosed him with multiple sclerosis in the late '80s, and, by 1990, it became painfully obvious to everyone that he was a very sick man, although his industry friends and supporters made great effort to celebrate his accomplishments and buoy his spirits. The twin 1989 releases Harlem Nights and See No Evil, Hear No Evil (the latter of which re-teamed Pryor with fellow Silver Streak alums Arthur Hiller and Gene Wilder) failed to reignite Pryor's popularity or draw back his fanbase.Pryor's ill-fated attempt to resuscitate his stand-up act at L.A.'s Comedy Store in 1992 proved disastrous; unable to stand, Pryor was forced to deliver his monologues from an easy chair; he aborted his planned tour soon after. He appeared in television and films only sporadically in his final decade, save a rare cameo in David Lynch's 1997 Lost Highway. These dark omens foretold a sad end to a shimmering career; the world lost Pryor soon after. On December 12, 2005, the comedian - only 65 years old -- died of a heart attack in a Los Angeles hospital. But he left a peerless legacy behind as a stand-up comic and black actor.

Trivia: Canadian comic actor John Candy was geared toward a performing career even while studying for a journalism degree in college. Candy's bulky frame and built-in likability enabled him to secure small roles in Canadian film and TV productions. In the early '70s, Candy joined Canada's Second City Troupe, sharing the spotlight with such potent talent (and subsequent close friends) as Joe Flaherty, Eugene Levy, Dave Thomas, Andrea Martin, and Catherine O'Hara. Second City TV, popularly known as SCTV, entered the Canadian TV airwaves in 1975 and was syndicated to the United States two years later. Candy scored an instant hit with such characters as porcine poseur Johnny LaRue, overly unctuous talk show sidekick William B., and ever-grinning "Lutonian" musician Yosh Shmenge. So popular did Candy become that suddenly many of his obscurer pre-starring Canadian films (It Seemed Like a Good Idea at the Time, The Clown Murders) became hot properties on the video rental circuit. Candy stayed with the various SCTV syndicated and network programs until 1983, earning two Emmys in the process. One of the few genuine nice guys in the realm of comedy, Candy was beloved by both co-workers and fans -- even when this lovability was stretched to the breaking point in substandard films. He scored in supporting roles (Splash [1984], Brewster's Millions [1985]), but such thinnish starring features as Summer Rental (1985) and Who's Harry Crumb (1989) seemed to suggest that Candy couldn't carry a film by himself. Then he starred in Uncle Buck (1989), a disarming comedy about a ne'er-do-well with hidden nobility. Receiving relatively little promotion, Uncle Buck was a surprise hit, and stands today as perhaps Candy's best-ever vehicle after Planes, Trains and Automobiles. Unfortunately, most of his follow-up films were on a par with the disastrous Nothing but Trouble (1990) and Delirious (1992). At the same time, Candy's leading role in Only the Lonely (1991) and his supporting performance in JFK (1992) proved that a major talent was being squandered by the film industry. Candy was as frustrated as his fans, manifesting this frustration in excessive eating, drinking, and smoking. The actor's superlative seriocomic turn as a disgraced Olympic star in Cool Runnings (1993), which Candy also co-produced, seemed to point toward a career upswing. But while filming Wagons East in Mexico, 43-year-old John Candy suffered a heart attack and died in his sleep. Wagons East was released in the summer of 1994, utilizing Candy's existing footage as well as possible; it proved, sadly, an inadequate epitaph for one of film comedy's funniest and most ingratiating stars.

Trivia: From stage to screen to recording studios, Lonette McKee has worked as both an actress and vocalist. Although actors who also sing have been a dime a dozen since the earliest days of stage and cinema, McKee's groundbreaking performance as the first African-American actress to portray the character of Julie in a major American production of Show Boat would have earned her a place in entertainment history even if she hadn't gone on to earn Image Award nominations for her roles in To Dance With Olivia (1997) and As the World Turns. A Motor City native, McKee kicked off her career in the entertainment industry when she became a recording artist in her hometown as a young teen, releasing an album on the Detroit-based Sussex label before being drawn to the screen in the mid-'70s. Cast in a key role in the 1976 musical drama Sparkle, McKee made an impression as a drug-addicted singer in a Supremes-like band, and she quickly caught the eye of casting agents. Appearing in such features as The Cotton Club and Brewster's Millions during the '80s, it was also during this period that she essayed her Tony-nominated role in Show Boat. Spike Lee later cast her in three of his films during the '90s: Jungle Fever, Malcolm X, and He Got Game. After being voted one of People magazine's "50 Most Beautiful People in the World" in 1995, McKee began a two-year stint on the soap opera As the World Turns. She also returned to the studio in 1992 to record Natural Love, her first album in nearly 20 years. The actress alternated between film and television in the early 2000s with parts in Men of Honor (2001), Honey (2003), and a recurring role in the NBC series Third Watch. McKee is married to a New York social worker and is the sister of dancer/actress Kathrine McKee.

Trivia: American actor Stephen Collins was endowed with the sort of prep-school handsomeness that could adapt to heroics and villainy with equal aplomb. A graduate of Amherst and a veteran of the Broadway stage, Collins made his film bow in a microscopic role in All the President's Men (1976). He was seen to better advantage with a whole crop of relative newcomers in Joan Micklin Silver's low-budget Between the Lines (1977), then graduated to "A" parts in "A" pictures, such as the role of Decker in Star Trek: The Motion Picture (1978). Television has always been kind to Stephen Collins: he received substantial acting assignments in the 1977 anthology Best Sellers (as David Spaulding in the "Rhineman Exchange" story arc), the 1982 Indiana Jones derivation Tales of the Gold Monkey (lead role, as Jake Cutter), the 1988 weekly Tattinger's (title role), and the 1990 middle-age-angst sitcom Working it Out (as David Stewart). Eventually he became known for his role as the family patriarch in the Christian-oriented series 7th Heaven (1996-2003). In 2012, Collins played a supporting role in The Farrelly brothers' film reboot of Three Stooges. He would continue to work on television as well, taking guest spots on shows like The Office and Devious Maids, and a recurring role on the second season of Revolution.

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: Burly character actor Pat Hingle held down a variety of bread-and-butter jobs--mostly in the construction field--while studying at the University of Texas, the Hagen-Bergdorf studio, the Theatre Wing and the Actors Studio. Earning his Equity card in 1950, Hingle made his Broadway debut in 1953 as Harold Koble in End as a Man (he would repeat this role in the 1957 film adaptation, retitled The Strange One). One year later, he was cast as Gooper-aka "Brother Man"-in Tennessee Williams' Pulitzer-winning play Cat on a Hot Tin Roof. Also in 1954, he made his inaugural film appearance in On the Waterfront as a bartender. Though a familiar Broadway presence and a prolific TV actor, Hingle remained a relatively unknown film quantity, so much so that he was ballyhooed as one of the "eight new stars" in the 1957 release No Down Payment. As busy as he was before the cameras in the 1950s, 1960s and 1970s, Hingle's first love was the theatre, where he starred in such productions as William Inge's Dark at the Top of the Stairs and Archibald MacLeish's JB, and later appeared in the one-man show Thomas Edison: Reflections of a Genius. His made-for-TV assignments include such historical personages as Colonel Tom Parker in Elvis (1979), Sam Rayburn in LBJ: The Early Years (1988), J. Edgar Hoover in Citizen Cohn (1992) and Earl Warren in Simple Justice (1993). Among his more recent big-screen assignments has been Commissioner Gordon in the Batman films. Amidst his hundreds of TV guest shots, Pat Hingle has played the regular roles of Chief Paulton in Stone (1980) and Henry Cobb in Blue Skies (1988), was briefly a replacement for Doc (Milburn Stone) on the vintage western Gunsmoke, and has shown up sporadically as the globe-trotting father of Tim Daly and Steven Weber on the evergreen sitcom Wings.

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: Canadian-born actor Hume Cronyn was the son of a well-known Ontario politician. At his father's insistence, young Cronyn studied law at McGill University, but had by then already decided he wanted to be an actor; he made his stage bow with the Montreal Repertory Company at 19, while still a student. After taking classes at the American Academy of Dramatic Arts and working with regional companies in Washington, DC and Virginia, Cronyn made it to Broadway in 1934. His first important role was as the imbibing, jingle-writing hero of Three Men on a Horse, directed and co-written by George Abbott. He remained with Abbott to work in Room Service and Boy Meets Girl - not only establishing himself as a versatile stage actor but also gleaning a lifelong appreciation of strict artistic discipline from the authoritarian Mr. Abbott. Cronyn went from one taskmaster to another when he made his film debut in Alfred Hitchcock's Shadow of a Doubt. The 32-year-old Cronyn quietly stole several scenes in the film as a fiftyish mystery-novel fanatic. Cronyn would remain beholden to Hitchcock for the rest of his career: He acted in Hitchcock's Lifeboat (1944) and worked several times thereafter on the director's TV series; he adapted the stage play Rope and the novel Under Capricorn for Hitchcock's filmizations; and he sprang to the late director's defense when a dubious biography of Hitchcock was published in the mid-1980s. Though well-versed in Shakespeare and Moliere on stage, Cronyn was often limited to unpleasant, weasely and sometimes sadistic characters in films; one of his nastiest portrayals was as the Hitleresque prison guard Munsey in Brute Force (1947). A somewhat less hissable Cronyn appeared in The Green Years (1946), wherein he portrayed the father of his real-life wife Jessica Tandy, who was in fact two years older than he. Cronyn had married Tandy in 1942, a union that was to last until the actress' death in 1994. They worked together often on stage (The Fourposter, The Gin Game) and in films (Batteries Not Included), and delighted in giving joint interviews where they'd confound and misdirect the interviewer. Their daughter, Tandy Cronyn, matured into a fine actress in her own right. Seemingly indefatigable despite health problems and the loss of one eye, Cronyn remained gloriously active in films, television and stage into the 1990s, encapsulating many of his experiences in his breezy autobiography A Terrible Liar.

Trivia: Stage actor Joe Grifasi was 33 when he made his inaugural movie appearance during the lengthy opening wedding sequence in 1978's The Deer Hunter as the bandleader. The actor has since been seen in such films as Still of the Night (1982) and Presumed Innocent (1990), appearing in the latter as Tommy Molto. In 1990, Joe Grifasi was cast in the regular role of TV-station public relations man Tony Pro on the brief TV series WIOU. A graduate of the Yale School of Drama, Grifasi first gained professional experience on the New York stage. In addition to his acting credits, Grifasi frequently appears in television commercials.

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

Trivia: Character actor David White is best remembered for playing advertising executive Larry Tate on the popular '60s sitcom Bewitched (1964-1972), but he began his career as a movie actor in 1957 with The Sweet Smell of Success. White died of a heart attack in 1990. He was married to actress Mary Welch.

Trivia: Jerome Dempsey spent most of his career as a stage actor, but he also occasionally appeared in feature films, including Network (1976), Brewster's Millions (1985), and The Hudsucker Proxy (1994). On television, Dempsey appeared in such television movies as The Fitzgeralds and the Kennedys.

Trivia: Like many African-American actors of the '60s, Ji-Tu Cumbuka unfortunately found the demand for his services limited until black performers became "fashionable." Active in films since 1967, Cumbuka appeared in such productions as Uptight (1968), Mandingo (1975), Bound for Glory (1976), Fun with Dick and Jane (1977) and Brewster's Millions (1985). The actor also did plenty of TV, including the 1977 miniseries Roots (as "The Wrestler") and the unsold 1979 pilot for Mandrake the Magician, wherein he played Mandrake's muscular assistant Lothar. Among the "sold" TV series featuring Ji-Tu Cumbuka were Young Dan'l Boone (1977) and Robert Conrad's A Man Called Sloane (1979). Cumbuka died in 2017, at age 77.

Trivia: A gruff character actor, Caridi has been onscreen from the '70s.

Trivia: While still attending high school in Toronto, Rick Moranis held down a part-time job as a radio engineer. After working as a solo nightclub comic and radio deejay, Moranis joined the Second City comedy troupe, which lead to his television bow in 1980 on the syndicated weekly Second City TV. Like his SCTV colleagues, Moranis' strong suit was his versatility, though his early fame rested on a single characterization. Grudgingly honoring a Canadian regulatory requirement that Second City TV include a sequence of "identifiable Canadian content" in each episode, Moranis and Dave Thomas created the characters of Bob and Doug McKenzie, a pair of beer-guzzling, back-bacon-chewing "hosers" who allegedly represented certain Canadians. The largely improvised McKenzie brothers segments scored an immediate hit, spawning a 1983 feature film Strange Brew, which Moranis and Thomas starred in, co-wrote and co-directed. Since leaving Second City TV, Moranis has pursued a successful film career, usually playing clueless or self-involved nerds. He played reluctant "ghost host" Louis Tully in the two Ghostbusters films, was cast as Seymour Krelboin in the 1986 musical version of Little Shop of Horrors, and was seen as eccentric inventor Wayne Szalinski in Honey I Shrunk the Kids (1989) and its sequel Honey I Blew Up the Kid (1992). Even in his 40s, Moranis convincingly portrayed geekish losers-turned-winners in such films as Little Giants (1994) and Big Bully (1995). He played a convincing live-action version of Barney Rubble in The Flintstones (1994). In 1997, he reprised Wayne Szlalinski in Disney's third installment of their now direct-to-video series Honey We Shrunk Ourselves. Having lost his wife Ann to liver cancer in 1991, the beloved character actor subsequently retreated from the spotlight to raise their two children, emerging only occasionally for vocal work on projects like The Animated Adventures of Bob and Doug McKenzie and Brother Bear (both 2003), or to record his Grammy-nominated country album The Agoraphobic Cowboy.

Trivia: A New York-based radio actor from childhood, Conrad Janis was 16 when he made his first Broadway appearance in Junior Miss. Janis went on to star in the 1945 film comedy Snafu then played supporting roles in such 20th Century-Fox productions as Margie (1946) and The Brasher Doubloon (1947, as a teenaged murderer). His subsequent Broadway credits include The Brass Ring (for which he won a Theatre World Award), Time Out for Ginger and Visit to a Small Planet. Premature baldness compelled him to switch from leading-man assignments to character roles. A veteran of some 350 TV appearances, Janis was seen on a regular weekly basis as Otto Palindrome on the 1978 sci-fi spoof Quark, and as Mindy McConnell's dad Fred on the Robin Williams sitcom Mork and Mindy. Dropped from M & M after the 1978-79 season when the producers decided to retool the program, Janis was rehired in 1980, this time at a much heftier salary. Though justifiably proud of his acting accomplishments, Janis reportedly is prouder still of his activities as a jazz musician, fronting such prestigious musical aggregations as The Tailgaters and the Beverly Hills Unlisted Jazz Band (this latter group served as the subject of a lively PBS documentary). In addition, Janis is the owner operator of a prominent avant-garde art gallery, and is in charge of his own production company, MiraCom. In 1994, Conrad Janis made his film directorial bow with The Feminine Touch.

Trivia: An understudy to blacklisted actor Zero Mostel in Broadway's The Merchant, one might have to maintain a keen eye to spot character actor Joseph Leon in such films as Shaft (1971) and Sophie's Choice (1982). With such credit listings as Cab Driver #2 and Stamp Store Proprietor, as well as voiceover credits in numerous television commercials, Leon's face may not have etched itself into one's memory, but the feeling of "seen him somewhere before" is unavoidable. Born in 1918, in New York, NY, Leon appeared in features before moving to Broadway to understudy Mostel (taking over for the actor after his death) and appear in numerous New York productions, including Glengarry Glen Ross and Café Crown. Beginning a six-year tenure as a drama professor at Hofstra University in 1966, Leon shared his skills with students while frequently appearing on TV, stage, and in film. Joseph Leon died of natural causes in Bradenton, FL, in March 2001. He was 82.

Trivia: Character actor/director Robert Ellenstein first appeared onscreen in 1955.

Trivia: Of Franco-Spanish descent, American actor Reni Santoni began his show business career as a comedy writer. Santoni's big film break came when director Carl Reiner cast him in the leading role of aspiring thespian David Kolowitz (Reiner's blatantly obvious alter ego) in Enter Laughing (1967). Thereafter, Santoni could be seen in supporting parts in such films as Dead Men Don't Wear Plaid (1982, again directed by Carl Reiner), Brewster's Millions (1985), and Cobra (1986). He has also provided voice-over characterizations for crowd scenes in Rain Man (1988), Bright Lights, Big City (1988), and other films. Reni Santoni's weekly TV credits include the roles of lawyer Danny Paterno in Owen Marshall, Counselor at Law (1973-1974 season only) and police captain Nick Rivera in Manimal (1983).

Trivia: Alan Autry is best known by television audiences for his portrayal of police officer Bubba Skinner on the series In the Heat of the Night. Born Carlos Brown in Shreveport, LA, he was raised in Riverdale, CA, and became a star athlete and football player at the University of the Pacific in Stockton. He was drafted by the Green Bay Packers in 1975 and spent two years as a second string quarterback for the team. In 1978, he joined the British Columbia Lions in the Canadian Football League, and that same year he made his acting debut (as Carlos Brown) in Remember My Name. In 1979, he appeared in a small role in North Dallas Forty, and he portrayed Slug in Popeye (1980). Still working under his given name, he appeared in series such as Best of the West, and he was first noticed in a serious way in movies in 1982, with his portrayal of Bowden, one of the doomed National Guardsmen, in Southern Comfort. By 1983, he was working as Alan Autry, and got guest roles in series such as The A-Team and Cheers. Finally, in 1988, Autry was chosen for the role of Sergeant (later Captain) Bubba Skinner in the series In the Heat of the Night -- his good looks, deep voice, and complex character, as a white Southerner who takes some time to get accustomed to the working methods of a black police detective (portrayed by Howard E. Rollins) from up north, made him stand out in the part, and Autry became one of the key members of the ensemble cast. Autry continued acting regularly after In the Heat of the Night concluded its run in the 1990s, until 2000, when he ran successfully for Mayor of Fresno, CA, and was elected to a four-year term, thus joining Clint Eastwood, Sonny Bono, Fred Thompson and Ronald Reagan in the ranks of actors elected to political office.

Trivia: Character actor, onscreen from 1970.

Trivia: Detroit native Lin Shaye studied art history at the University of Michigan before moving to New York to focus on acting. She started landing film and TV roles in the late '70s and early '80s with appearances in movies like The Long Riders, Alone in the Dark, and Brewster's Millions, and began earning a reputation as a memorable character actress. She would become a familiar face for her memorable roles as Mrs. Nuegeboren in 1994's Dumb and Dumber and Magda in 1998's There's Something About Mary, and would continue to take on quirky projects in the years that followed, like in 2006's Snakes on a Plane and 2010's Insidious.

Trivia: Bennie E. Dobbins started out at as bit- player but went on to serve three terms as president of the Stuntman's Association of Motion Pictures. Between 1977 and 1988, he became a stunt director. He died while directing a stunt on Red Heat (released 1988).

Trivia: With his lean but bold and visually powerful approach, filmmaker Walter Hill's career proved that action films can be smart, stylish, and distinctive, and his movies put a fresh spin on the traditional themes of Westerns, crime dramas, and even buddy filmsThe son of a riveter who worked in shipbuilding, Hill was born in Long Beach, CA, on January 10, 1942. He briefly followed in his father's blue-collar footsteps, earning his living in oil drilling and construction, before focusing his career on the arts. Hill studied drawing for a spell in Mexico, and later enrolled at Michigan State University, where he received a degree in Journalism. In time, he developed a passion for filmmaking and moved back to California, where he earned his first movie credits as an assistant director on such pictures as The Thomas Crown Affair and Take the Money and Run. Hill next worked as a screenwriter; two films were based on his scripts in 1972: the dark crime drama Hickey and Boggs and Sam Peckinpah's adaptation of Jim Thompson's novel The Getaway. Hill's taut, muscular screenplays, sometimes written in blank verse, earned him a potent reputation in the industry, and, in 1975, he landed his first assignment as a director when he brought his own script, Hard Times, to the screen with Charles Bronson and James Coburn in the leads. While his next project as a writer/director, The Driver, earned a cult following, Hill's third feature really put him on the map. The Warriors earned both rave reviews and controversy; the tale of a New York street gang making its way home through unfriendly territory was accused of inspiring a number of violent incidents at theaters showing the film. However, it also earned a handsome profit, allowing Hill to take on two more ambitious projects: The Long Riders, a period Western in which a number of criminal siblings join forces, and Southern Comfort, an atmospheric suspense film about men on Army Reserve exercises who discover they're fighting a real war. The director then scored a blockbuster with the Eddie Murphy/Nick Nolte comedy 48 Hours. His subsequent movies tended to be more cult-oriented than bona fide hits, but Hill's sharp visual style and tough, street-smart scripts kept him in demand, and he earned some of his strongest reviews in years for his 2002 boxing-behind-bars drama Undisputed. In 1979, Hill moved into producing, working behind the scenes on the sci-fi smash Alien, and helped produce most of his own films, as well as the successful HBO series Tales From the Crypt. He also helped end the career of the infamous and imaginary director Alan Smithee; Hill was hired to step in as director on the troubled sci-fi epic Supernova shortly before shooting began, but opted out of the project before editing was completed, and requested that his name be removed from the film. Since the Director's Guild of America's registered pseudonym for dissatisfied filmmakers, Alan Smithee, had become common knowledge in the wake of the comedy An Alan Smithee Film: Burn, Hollywood, Burn, a new assumed name was created to accommodate Hill -- Thomas Lee -- and the name Smithee was officially retired.

Trivia: Tulane University business major Lawrence Gordon began his show-business career as an assistant to TV producer Aaron Spelling. Gordon's first producing credit was Spelling's popular "millionaire cop" series Burke's Law. After serving in executive capacities at Bob Banner Productions, American-International and Screen Gems, Gordon formed his own production company in 1971. From 1984 to 1986, he was president of 20th Century-Fox. In 1987, he went independent again as head of Largo Productions. Lawrence Gordon has occasionally worked in collaboration with his producer-brother Charles Gordon.

Trivia: A movie buff practically since infancy, American producer Joel Silver attended the film school at New York University. After graduation Silver quickly worked his way up to an assistant producer post under Universal's Lawrence Gordon; after considerable success with a series of popular pictures, including a handful of Burt Reynolds vehicles, Silver was appointed president of Lawrence Gordon Productions. As head of his own Silver Pictures in 1980, Silver began inauspiciously with the mishmosh Olivia Newton-John vehicle Xanadu before finding his niche with the stylized violent action of 1984's Streets of Fire. Intense and demanding, Silver drove his staff, cast and crews mercilessly, but such prize properties as the Lethal Weapon and Die Hard series made the effort worthwhile. Silver was able to maintain his industry standing on the basis of these successes, permitting him to ride out his many failures, including Jumpin' Jack Flash (1985), Ford Fairlane (1990), and the potentially career-busting Hudson Hawk (1991). Silver more or less played himself (loud clothes and all) in the on-camera role of an explosive cartoon director in 1988's Who Framed Roger Rabbit? (1988).Silver's trademark franchises would continue to pad his resume as the years went by, as he produced sequels to movies like Die Hard, Lethal Weapon, and Predator. He would also produce new, but less successful action movies of a similar style, like 1993's Demolition Man and 1995's Fair Game. He would also executive produce countless episodes of the HBO series Tales from the Crypt between 1989 and 1996. Then, in 1999, Silver struck gold -- once again -- when he produced the monumentally successful sci-fi thriller The Matrix. The movie was a huge hit, even if its sequels, released in 2003 and 2004, were dramatically less so. Silver wouldn't be able to duplicate the Matrix's success with productions like 2001's Swordfish and 2002's Ghost Ship, but he gained some niche popularity with 2006's V for Vendetta, and as an executive producer for the series Veronica Mars. Middling projects like the 2009 horror flick Orphan and Arctic thriller Whiteout kept Silver hard at work, and he would find serious box office success again with the Robert Downy, Jr. hit Sherlock Holmes in 2009, and 2010's apocalyptic Denzel Washington picture, The Book of Eli.

Trivia: Comedic supporting actor Archie Hahn first appeared onscreen in the '70s.