Trivia: American actor James Arness had an unremarkable Minneapolis childhood, but his wartime experiences shattered that normality - literally. During the battle of Anzio, Arness' right leg was peppered with machine gun bullets, and when the bones were set they didn't mend properly, leaving him with a slight but permanent limp. The trauma of the experience mellowed into aimlessness after the war. Arness became a "beach bum," lived out of his car, and worked intermittently as a salesman and carpenter. Acting was treated equally lackadaisically, but by 1947 Arness had managed to break into Hollywood on the basis of his rugged good looks and his 6'6" frame. Few of his screen roles were memorable, though one has become an object of cult worship: Arness was cast as the menacingly glowing space alien, described by one character as "an intellectual carrot," in The Thing (1951). For a time it looked as though Arness would continue to flounder in supporting roles, while his younger brother, actor Peter Graves, seemed destined for stardom. John Wayne took a liking to Arness when the latter was cast in Wayne's Big Jim McLain (1953). Wayne took it upon himself to line up work for Arness, becoming one of the withdrawn young actor's few friends. In 1955, Wayne was offered the role of Matt Dillon in the TV version of the popular radio series Gunsmoke. Wayne turned it down but recommended that Arness be cast and even went so far as to introduce him to the nation's viewers in a specially filmed prologue to the first Gunsmoke episode. Truth be told, Arness wasn't any keener than Wayne to be tied down to a weekly series, and as each season ended he'd make noises indicating he planned to leave. This game went on for each of the 20 seasons that Gunsmoke was on the air, the annual result being a bigger salary for Arness, more creative control over the program (it was being produced by his own company within a few years) and a sizeable chunk of the profits and residuals. When Gunsmoke finally left the air in 1975, Arness was the only one of the original four principals (including Amanda Blake, Milburn Stone and Dennis Weaver) still appearing on the series. Arness made plans to take it easy after his two-decade Gunsmoke hitch, but was lured back to the tube for a one-shot TV movie, The Macahans (1976). This evolved into the six-hour miniseries How the West Was Won (1977) which in turn led to a single-season weekly series in 1978. All these incarnations starred Arness, back in the saddle as Zeb Macahan. The actor tried to alter his sagebrush image in a 1981 modern-day cop series, McClain's Law -- which being set in the southwest permitted Arness to ride a horse or two. It appeared, however that James Arness would always be Matt Dillon in the hearts and minds of fans, thus Arness obliged his still-faithful public with three Gunsmoke TV movies, the last one (Gunsmoke: The Last Apache) released in 1992. In between these assignments, James Arness starred in a 1988 TV-movie remake of the 1948 western film classic Red River, in which he filled the role previously played by his friend and mentor John Wayne.

Trivia: Milburn Stone got his start in vaudeville as one-half of the song 'n' snappy patter team of Stone and Strain. He worked with several touring theatrical troupes before settling down in Hollywood in 1935, where he played everything from bits to full leads in the B-picture product ground out by such studios as Mascot and Monogram. One of his few appearances in an A-picture was his uncredited but memorable turn as Stephen A. Douglas in John Ford's Young Mr. Lincoln. During this period, he was also a regular in the low-budget but popular Tailspin Tommy series. He spent the 1940s at Universal in a vast array of character parts, at one point being cast in a leading role only because he physically matched the actor in the film's stock-footage scenes! Full stardom would elude Stone until 1955, when he was cast as the irascible Doc Adams in Gunsmoke. Milburn Stone went on to win an Emmy for this colorful characterization, retiring from the series in 1972 due to ill health.

Trivia: Following her training in regional theatre and radio, red-headed actress Amanda Blake was signed by MGM in 1949, where she was briefly groomed for stardom. Among her MGM assignments was 1950's Stars in My Crown, in which she was cast for the first time opposite James Arness. Film fame eluded Amanda, especially after her sizeable role in the 1954 version of A Star is Born was almost completely excised from the release print. By 1955, she had to make do with appearances in such epics as the Bowery Boys' High Society. Amanda's fortunes took a turn for the better later in 1955, when she won the role of Miss Kitty, the euphemistically yclept "hostess" of the Long Branch Saloon on the TV western Gunsmoke, which starred James Arness as Marshal Matt Dillon. She remained with Gunsmoke until its next-to-last season in 1974. After Gunsmoke, Amanda went into semi-retirement save for a handful of film projects like the made-for-TV Betrayal (1974), the theatrical releases The Boost (1988) and B.O.R.N (1989), and the 1987 reunion project Gunsmoke: Return to Dodge. Amanda Blake died in 1989 at the age of sixty.

Trivia: A track star at the University of Oklahoma, Dennis Weaver went on to serve as a Navy Pilot during World War II. After failing to make the 1948 U.S. decathalon Olympic team, Weaver accepted the invitation of his college chum Lonny Chapman to give the New York theatre world a try. He understudied Chapman as "Turk Fisher" in the Broadway production Come Back Little Sheba, eventually taking over the role in the national company. Deciding that acting was to his liking, Weaver enrolled at the Actors' Studio, supporting his family by selling vacuum cleaners, tricycles and ladies' hosiery. On the recommendation of his Actors' Studio classmate Shelley Winters, Weaver was signed to a contract at Universal studios in 1952, where he made his film debut in The Redhead From Wyoming (1952). Though his acting work increased steadily over the next three years, he still had to take odd jobs to make ends meet. He was making a delivery for the florist's job where he worked when he was informed that he'd won the role of deputy Chester Goode on the TV adult western Gunsmoke. So as not to be continually upstaged by his co-star James Arness (who, at 6'7", was five inches taller than the gangly Weaver), he adopted a limp for his character--a limp which, along with Chester's reedy signature line "Mis-ter Diillon" and the deputy's infamously bad coffee, brought Weaver fame, adulation and a 1959 Emmy Award. Though proud of his work on Gunsmoke--"I don't think any less seriously of Chester than I did about King Lear in college"--Weaver began feeling trapped by Chester sometime around the series' fifth season. Having already proven his versatility in his film work (notably his portrayal of the neurotic motel night clerk in Orson Welles' Touch of Evil [1958]), Weaver saw to it that the Gunsmoke producers permitted him to accept as many "outside" TV assignments as his schedule would allow. Twice during his run as Chester, Weaver quit the series to pursue other projects. He left Gunsmoke permanently in 1964, whereupon he was starred in the one-season "dramedy" series Kentucky Jones (1965). In 1967, he headlined a somewhat more successful weekly, Gentle Ben (1967-69) in which he and everyone else in the cast played second fiddle to a trained bear (commenting upon his relationship with his "co-star", Weaver replied "I liked him, but it was a cold relationship...Ben didn't know me from a bag of doughnuts.") The most successful of Weaver's post-Gunsmoke TV series was McCloud, in which, from 1970 to 1977, he played deputy marshal Sam McCloud, a New Mexico lawman transplanted to the Big Apple. In addition to his series work, Weaver has starred in several made-for-TV movies over the past 25 years, the most famous of which was the Steven Spielberg-directed nailbiter Duel (1971). Dennis Weaver is the father of actor Robby Weaver, who co-starred with his dad on the 1980 TV series Stone.

Trivia: It was while attending Colorado College that American actor/singer Ken Curtis discovered his talent for writing music. After an artistic apprenticeship on the staff of the NBC radio network's music department in the early '30s, Curtis was hired as male vocalist for the Tommy Dorsey Orchestra, then went on to work for bandleader Shep Fields. Preferring country-western to swing, Curtis joined the Sons of the Pioneers singing group in the 1940s, and in this capacity appeared in several western films. Columbia Pictures felt that Curtis had star potential, and gave the singer his own series of westerns in 1945, but Ken seemed better suited to supporting roles. He worked a lot for director John Ford in the '40s and '50s, as both singer and actor, before earning starring status again on the 1961 TV adventure series Ripcord. That was the last we saw of the handsome, clean-shaven Ken Curtis; the Ken Curtis that most western fans are familiar with is the scraggly rustic deputy Festus Haggen on the long-running TV Western Gunsmoke. Ken was hired to replace Dennis Weaver (who'd played deputy Chester Good) in 1964, and remained with Gunsmoke until the series ended its 20-year run in 1975. After that, Ken Curtis retired to his spread in Fresno, California, stepping back into the spotlight on occasion for guest appearances at western-movie conventions.

Trivia: Charming, handsome, and easy-going, lead actor and megastar Burt Reynolds entered the world on February 11, 1936. He attended Florida State University on a football scholarship, and became an all-star Southern Conference halfback, but - faced with a knee injury and a debilitating car accident - switched gears from athletics to college drama. In 1955, he dropped out of college and traveled to New York, in search of stage work, but only turned up occasional bit parts on television, and for two years he had to support himself as a dishwasher and bouncer.In 1957, Reynolds's ship came in when he appeared in a New York City Center revival of Mister Roberts; shortly thereafter, he signed a television contract. He sustained regular roles in the series Riverboat, Gunsmoke, Hawk, and Dan August. Although he appeared in numerous films in the 1960s, he failed to make a significant impression. In the early '70s, his popularity began to increase, in part due to his witty appearances on daytime TV talk shows. His breakthrough film, Deliverance (1972), established him as both a screen icon and formidable actor. That same year, Reynolds became a major sex symbol when he posed as the first nude male centerfold in the April edition of Cosmopolitan. He went on to become the biggest box-office attraction in America for several years - the centerpiece of films such as Hustle (1975), Smokey and the Bandit (1977) (as well as its two sequels), The End (1978), Starting Over (1979), The Best Little Whorehouse in Texas (1982), and The Man Who Loved Women (1983). However, by the mid-'80s, his heyday ended, largely thanks to his propensity for making dumb-dumb bumper-smashing road comedies with guy pals such as Hal Needham (Stroker Ace, The Cannonball Run 2). Reynolds's later cinematic efforts (such as the dismal Malone (1987)) failed to generate any box office sizzle, aside from a sweet and low-key turn as an aging career criminal in Bill Forsyth's Breaking In (1989). Taking this as a cue, Reynolds transitioned to the small screen, and starred in the popular sitcom Evening Shade, for which he won an Emmy. He also directed several films, created the hit Win, Lose or Draw game show with friend Bert Convy, and established the Burt Reynolds Dinner Theater in Florida. In the mid-'90s, Reynolds ignited a comeback that began with his role as a drunken, right-wing congressman in Andrew Bergman's Striptease (1996). Although the film itself suffered from critical pans and bombed out at the box office, the actor won raves for his performance, with many critics citing his comic interpretation of the role as one of the film's key strengths. His luck continued the following year, when Paul Thomas Anderson cast him as porn director Jack Horner in his acclaimed Boogie Nights. Reynolds would go on to earn a Best Supporting Actor Oscar nomination, and between the twin triumphs of Striptease and Nights, critics read the resurgence as the beginning of a second wind in the Deliverance star's career, ala John Travolta's turnaround in 1994's Pulp Fiction. But all was not completely well chez Burt. A nasty conflict marred his interaction with Paul Thomas Anderson just prior to the release of Boogie Nights. It began with Reynolds's disastrous private screening of Nights; he purportedly loathed the picture so much that he phoned his agent after the screening and fired him. When the Anderson film hit cinemas and became a success d'estime, Reynolds rewrote his opinion of the film and agreed to follow Anderson on a tour endorsing the effort, but Reynolds understandably grew peeved when Anderson refused to let him speak publicly. Reynolds grew so infuriated, in fact, that he refused to play a role in Anderson's tertiary cinematic effort, 1999's Magnolia. Reynolds's went on to appear in a big screen adatpation of The Dukes of Hazzard as Boss Hogg, and later returned to drama with a supporting performance in the musical drama Broken Bridges; a low-key tale of a fading country music star that served as a feature debut for real-life country music singer Toby Kieth. Over the coming years, Reynolds would also enjoy occasional appearances on shows like My Name is Earl and Burn Notice.

Trivia: A New Mexican of Native American extraction, actor Glenn Strange held down several rough-and-tumble jobs, from deputy sheriff to rodeo rider, before settling on a singing career. He made his radio bow on Los Angeles station KNX (the CBS-owned affiliate) as a member of the Arizona Wranglers singing group. Thanks to his husky physique and plug-ugly features, Strange had no trouble finding work as a stuntman/villain in western films and serials. He also displayed a flair for comedy as the sidekick to singing cowboy Dick Foran in a series of B-sagebrushers of the late '30s. During the war years, Strange became something of a bargain-basement Lon Chaney Jr., playing homicidal halfwits in a handful of horror pictures made at PRC and other low-budget studios. These appearances led to his being cast as the Frankenstein monster in the 1944 Universal programmer House of Frankenstein; he was coached in this role by the "creature" from the original 1931 Frankenstein, Boris Karloff. Given very little to do in House of Frankenstein and the 1945 sequel House of Dracula other than stalk around with arms outstretched at fadeout time, Strange brought none of the depth and pathos to the role that distinguished Karloff's appearances. Strange was shown to better advantage in his last appearance as The Monster in Abbott and Costello Meet Frankenstein (1948) where he convincingly menaced the eternally frightened Lou Costello and even indulged in a couple of time-honored "scare" routines, while still remaining in character (Some scenes had to be reshot because Strange couldn't stop laughing at Costello's antics; towards the end of shooting, Strange broke his ankle and had to be replaced in a few shots by Lon Chaney Jr., who was costarring in the film as the Wolf Man). Though typecast as heavies in both movies and television -- he played the hissable Butch Cavendish in the Lone Ranger TV pilot -- Strange was well known throughout Hollywood as a genuine nice guy and solid family man. Glenn Strange's last engagement of note was his 11-year run (1962-73) as Sam, the Long Branch bartender on TV's Gunsmoke.

Trivia: American actor Buck Taylor was the son of western comical sidekick Dub "Cannonball" Taylor. Buck was born in 1938, coincidentally the same year that Taylor pere made his film debut in You Can't Take it with You. True to his heritage, Buck showed up in the occasional western, notably Cattle Annie and Little Britches (1980) and Triumphs of a Man Called Horse (1983). For the most part, Taylor's film roles fell into the "young character" niche, notably his appearances in Ensign Pulver (1964), The Wild Angels (1966) (as motorcycle punk Dear John), and Pickup on 101 (1972). Buck Taylor will probably be seen on TV in perpetuity thanks to his recurring role as Newly O'Brian on the marathon TV western Gunsmoke, a role which he recreated for a 1987 Gunsmoke reunion film.

Trivia: One of the most prolific of the "Who IS that?"school of character actors, Dabbs Greer has been playing small-town doctors, bankers, merchants, druggists, mayors and ministers since at least 1950. His purse-lipped countenance and Midwestern twang was equally effective in taciturn villainous roles. Essentially a bit player in films of the 1950s (Diplomatic Courier, Deadline USA, Living It Up), Greer was given more screen time than usual as a New York detective in House of Wax (1953), while his surface normality served as excellent contrast to the extraterrestrial goings-on in Invasion of the Body Snatchers (1956) and It! The Terror from Beyond Space. A television actor since the dawn of the cathode-tube era, Greer has shown up in hundreds of TV supporting roles, including the "origin" episode of the original Superman series, in which he played the dangling dirigible worker rescued in mid-air by the Man of Steel. Greer also played the recurring roles of storekeeper Mr. Jones on Gunsmoke (1955-60) and Reverend Robert Alden on Little House on the Prairie (1974-83). Showing no signs of slowing down, Dabbs Greer continued accepting roles in such films as Two Moon Junction (1988) and Pacific Heights (1990) into the '90s. He died following a battle with kidney and heart disease, on April 28, 2007, not quite a month after his 90th birthday.

Trivia: Tom Brown was the "boy next door" type in many films, playing ideal, clean-cut, all-Americans youths in many films of the '30s. The son of vaudevillian Harry Brown and musical comedy star Marie (Francis) Brown, he was on radio and stage from infancy, Broadway from age nine. Brown began appearing in silent movies at age ten in 1923. Pleasantly baby-faced, in the thirties he acquired his typecast image, playing students, sons, sweethearts, military cadets, brothers. His first talkie was The Lady Lies (1929), playing Walter Huston's son; he appeared in more than 100 other films. After service in World War Two (as a paratrooper), he attempted to shed his image by playing heavies, without much success; his career was further derailed when he was called up for service in Korea, from where he returned as a lieutenant colonel. After that Brown did little film work but became a familiar face on TV; now bald-headed, he had continuing roles on the TV series Gunsmoke (as rancher Ed O'Conner) and on the soap operas General Hospital (as Al Weeks) and Days of Our Lives (as Nathan Curtis).

Trivia: American actor John Astin was the son of Dr. Allen V. Astin, director of the National Bureau of Standards. Evidently inheriting his intellectual bent from his father, Astin was a voracious reader and mathematician, at one point in his high school career mastering an entire semester's worth of study in one evening (that's his story, anyway). A part in the senior play at Johns Hopkins University (where he was majoring in math) cemented his desire to act, and in 1952 Astin did graduate work in dramatics at the University of Minnesota, where he appeared in 40 plays in and around the campus, played the violin, and gambled incessantly (and badly). With $100 in his pocket, Astin headed to New York, where he did janitorial work in theatres until securing a role in the off-Broadway Threepenny Opera for a princely $15 per week. Better money came Astin's way when he started doing voice-over work for animated commercials; in 1961 he extended his acting skills to films in a small but memorable part as a smarmy social worker in the Oscar-winning West Side Story. In 1962, Astin was teamed with Marty Ingels on the blue-collar sitcom I'm Dickens, He's Fenster, which despite a loyal following failed to garner ratings. The show did, however, establish Astin as a reliable laugh-getter, leading to a more successful run as Gomez Addams, the macabre but passionate paterfamilias on The Addams Family. This series ran from 1964 to 1966, after which Astin spent a great deal of time touring the country in theatrical productions - often living out of a van, a lifestyle he seemed to thrive upon. Joining Astin during his barnstorming days was his second wife, actress Patty Duke, who called herself Patty Duke Astin for the duration (Astin and Duke raised a son, Sean Astin, who grew up to become a popular film actor in his own right). The marriage ultimately dissolved due in part to Astin's bohemian point of view, though while the union lasted both Astin and Duke were tireless workaholics who were rarely without acting gigs. His many credits during this time period include 1974's Skyway to Death, and playing the dad in the original version of Freaky Friday. He directed and appeared in the TV movie Operation Petticoat. In the 1980's he landed recurring roles on both Murder, She Wrote and the sitcom Night Court. His marriage to Patti Duke ended in 1985, but Astin maintained a busy schedule appearing as a game-show host in National Lampoon's European Vacation, Teen Wolf Two, and Return of the Killer Tomatoes! As the 90s got under way he made two more Killer Tomatoes movies, appeared on the TV shows Mad About You and The Adventures of Brisco County Jr., and earned favorable reviews for his appearance in The Frighteners.

Trivia: Cadaverous, hollow-eyed Royal Dano made his theatrical entree as a minor player in the Broadway musical hit Finian's Rainbow. Born in New York City in 1922, he manifested a wanderlust that made him leave home at age 12 to travel around the country, and even after he returned home -- and eventually graduated from New York University -- he often journeyed far from the city on his own. He made his acting debut while in the United States Army during World War II, as part of a Special Services unit, and came to Broadway in the immediate postwar era. In films from 1950, he received his first important part, the Tattered Soldier, in John Huston's 1951 adaptation of Stephen Crane's The Red Badge of Courage. Thereafter, he was often seen as a Western villain, though seldom of the cliched get-outta-town variety; in Nicholas Ray's Johnny Guitar (1954), for example, he fleshed out an ordinary bad-guy type by playing the character as a compulsive reader with a tubercular cough. He likewise did a lot with a little when cast as Mildred Natwick's deep-brooding offspring in Hitchcock's The Trouble With Harry. With his deep, resonant speaking voice and intense eyes, Dano could make a recitation of the telephone book sound impressive and significant, and some of his non-baddie characters include the prophet Elijah, who predicts the destruction of the Pequod and the death of Ahab, in Huston's Moby Dick (1956), Peter in The King of Kings (1961) and Mayor Cermak in Capone (1975); in addition, he played Abraham Lincoln in a multipart installment of the mid-'50s TV anthology Omnibus written by James Agee. On the small screen, the producers of The Rifleman got a huge amount of mileage out of his talent in five episodes in as many seasons, most notably in "Day of Reckoning" as a gunman-turned-preacher. He also appeared in memorable guest roles in the high-rent western series The Virginian, The Big Valley, and Bonanza, and had what was probably his best television role of all as the tragically insensitive father in the two-part Little House On The Prairie episode "Sylvia." Toward the end of his life, Royal Dano had no qualms about accepting questionable projects like 1990's Spaced Invaders, but here as elsewhere, he was always given a chance to shine; one of Dano's best and most bizarre latter-day roles was in Teachers (1982), as the home-room supervisor who dies of a heart attack in his first scene -- and remains in his chair, unnoticed and unmolested, until the fadeout.

Trivia: Bo Hopkins has spent most of his career playing character roles, but he occasionally gets leading roles. Tall, light-haired, and possessing a distinctive drawl, he made his film debut in The Thousand Plane Raid (1969) following studies with drama instructor Uta Hagen in New York and training at the Desilu Playhouse school in Hollywood. He next appeared in Sam Peckinpah's The Wild Bunch (1969). Hopkins went on to work with the director in two more films, including The Getaway (1972). Hopkins specializes in action features and Westerns and is often cast as a redneck. Some of his notable leading roles include that of a gunfighter whose best friend of 30 years turns out to be a woman in The Ballad of Little Joe (1993). Hopkins also appears frequently on television in films and as a series guest star.