Trivia: Born August 18th, 1937, the rugged, dashingly handsome Robert Redford was among the biggest movie stars of the 1970s. While an increasingly rare onscreen presence in subsequent years, he remained a powerful motion-picture industry force as an Academy Award-winning director as well as a highly visible champion of American independent filmmaking. Born Charles Robert Redford Jr. on August 18, 1937, in Santa Monica, CA, he attended the University of Colorado on a baseball scholarship. After spending a year as an oil worker, he traveled to Europe, living the painter's life in Paris. Upon returning to the U.S., Redford settled in New York City to pursue an acting career and in 1959 made his Broadway debut with a small role in Tall Story. Bigger and better parts in productions including The Highest Tree, Little Moon of Alban, and Sunday in New York followed, along with a number of television appearances, and in 1962 he made his film debut in Terry and Dennis Sanders' antiwar drama War Hunt. However, it was a leading role in the 1963 Broadway production of Barefoot in the Park which launched Redford to prominence and opened the door to Hollywood, where in 1965 he starred in back-to-back productions of Situation Serious but Not Hopeless and Inside Daisy Clover. A year later he returned in The Chase and This Property Is Condemned, but like his previous films they were both box-office failures. Offered a role in Mike Nichols' Who's Afraid of Virginia Woolf?, Redford rejected it and then spent a number of months relaxing in Spain. His return to Hollywood was met with an offer to co-star with Jane Fonda in a film adaptation of Barefoot in the Park, released in 1967 to good reviews and even better audience response. However, Redford then passed on both The Graduate and Rosemary's Baby to star in a Western titled Blue. Just one week prior to shooting, he backed out of the project, resulting in a series of lawsuits and a long period of inactivity; with just one hit to his credit and a history of questionable career choices, he was considered a risky proposition by many producers. Then, in 1969, he and Paul Newman co-starred as Butch Cassidy and the Sundance Kid, a massively successful revisionist Western which poised Redford on the brink of superstardom. However, its follow-ups -- 1969's Tell Them Willie Boy Is Here and The Downhill Racer -- both failed to connect, and after the subsequent failures of 1971's Fauss and Big Halsey and 1972's The Hot Rock, many industry observers were ready to write him off. Both 1972's The Candidate and Jeremiah Johnson fared markedly better, though, and with Sydney Pollack's 1973 romantic melodrama The Way We Were, co-starring Barbra Streisand, Redford's golden-boy lustre was restored. That same year he reunited with Newman and their Butch Cassidy director George Roy Hill for The Sting, a Depression-era caper film which garnered seven Academy Awards, including Best Picture honors. Combined with its impressive financial showing, it solidified Redford's new megastar stature, and he was voted Hollywood's top box-office draw. Redford's next project cast him in the title role of director Jack Clayton's 1974 adaptation of The Great Gatsby; he also stayed in the film's 1920s milieu for his subsequent effort, 1975's The Great Waldo Pepper. Later that same year he starred in the thriller Three Days of the Condor before portraying Washington Post reporter Bob Woodward in 1976's All the President's Men, Alan J. Pakula's masterful dramatization of the investigation into the Watergate burglary. In addition to delivering one of his strongest performances to date in the film, Redford also served as producer after first buying the rights to Woodward and Carl Bernstein's book of the same name. The 1977 A Bridge Too Far followed before Redford took a two-year hiatus from the screen. He didn't resurface until 1979's The Electric Horseman, followed a year later by Brubaker. Also in 1980 he made his directorial debut with the family drama Ordinary People, which won four Oscars including Best Picture, Best Director, and Best Supporting Actor (for Timothy Hutton). By now, Redford's interest in acting was clearly waning; he walked out of The Verdict (a role then filled by Newman) and did not appear before the camera again for four years. When he finally returned in 1984's The Natural, however, it was to the usual rapturous public reception, and with 1985's Out of Africa he and co-star Meryl Streep were the focal points in a film which netted eight Oscars, including Best Picture. The 1986 film Legal Eagles, on the other hand, was both a commercial and critical stiff, and in its wake Redford returned to the director's chair with 1988's The Milagro Beanfield War. Apart from narrating the 1989 documentary To Protect Mother Earth -- one of many environmental activities to which his name has been attached -- Redford was again absent from the screen for several years before returning in 1990's Havana. The star-studded Sneakers followed in 1992, but his most significant effort that year was his third directorial effort, the acclaimed A River Runs Through It. In 1993 Redford scored his biggest box-office hit in some time with the much-discussed Indecent Proposal. He followed in 1994 with Quiz Show, a pointed examination of the TV game-show scandals of the 1950s which many critics considered his most accomplished directorial turn to date. After the 1996 romantic drama Up Close and Personal, he began work on his adaptation of Nicholas Evans' hit novel The Horse Whisperer. The filmmaker was back behind the camera in 2000 as the director and producer of The Legend of Bagger Vance. The film's sentimental mixture of fantasy and inspiration scored with audiences, and Redford next turned back to acting with roles in The Last Castle and Spy Game the following year. Though Castle garnered only a lukewarm response from audiences and critics alike, fans were nevertheless primed to see the seasoned actor share the screen with his A River Runs Through It star Brad Pitt in the eagerly anticipated Spy Game. 2004 brought with it a starring role for Redford, alongside Helen Mirren and Willem Dafoe, in The Clearing; he played a kidnapping victim dragged into the woods at gunpoint. The film drew a mixed response; some reviewers praised it as brilliant, while others felt it only average. In 2005, Redford co-starred with Morgan Freeman and Jennifer Lopez in the Lasse Hallstrom-directed An Unfinished Life. In addition to his acting and directing work, Redford has also flexed his movie industry muscle as the founder of the Sundance Institute, an organization primarily devoted to promoting American independent filmmaking. By the early '90s, the annual Sundance Film Festival, held in the tiny community of Park City, Utah, had emerged as one of the key international festivals, with a reputation as a major launching pad for young talent. An outgrowth of its success was cable's Sundance Channel, a network similarly devoted to promoting and airing indie fare; Redford also planned a circuit of art house theaters bearing the Sundance name.

Trivia: Actress, tabloid fodder, provocative Vanity Fair cover piece: the husky-voiced brunette Demi Moore is nothing if not an unforgettable roadside attraction on the pop culture highway. Rising to prominence with a string of successful films during the '80s and early '90s, Moore became known for both her onscreen and offscreen ability to draw attention for everything from her grin-and-bare-it roles in films like Striptease to her well-publicized marriage to (and divorce from) Bruce Willis.Born Demetria Guynes in Roswell, NM, on November 11, 1962, Moore led a troubled childhood. To call it tumultuous would be something of an understatement: along with her mother, half-brother and stepfather, she moved no less than 30 times before her adolescence, thanks to her stepfather's job as a newspaper ad salesman. The problems that went along with such an itinerant lifestyle were compounded by the dysfunctional, sometimes abusive relationship between Moore's mother and stepfather. The latter committed suicide when Moore was 15, around the time that she discovered that he was not her biological father. She dropped out of school a year later and did some modeling in Europe. When she was 18, Moore married rocker Freddy Moore; the union lasted four years, during which time the actress landed her first role playing Jackie Templeton on the TV daytime drama General Hospital. Moore made her film debut in 1981, appearing in both the coming-of-age drama Choices and the schlock-tastic Parasite. Following a bit role in 1982's Young Doctors in Love, she had her first lead role in No Small Affair (1984) as an aspiring rock singer opposite Jon Cryer. Her real breakthrough came the next year, when she starred as an unstable member of a group of college friends in St. Elmo's Fire. Apparently, her onscreen instability mirrored her offscreen condition at the time; she was reportedly fired from the film at one point and then rehired after going into drug rehab. The film was a hit, and Moore, along with such co-stars as Emilio Estevez (to whom she was engaged for three years), Rob Lowe, and Ally Sheedy, became a member of the infamous "Brat Pack."Fortunately for Moore, she managed to avoid the straight-to-oblivion fate of other Brat Pack members, increasing her fame and resume with films like About Last Night (1986) and The Seventh Sign (1988). Her fame further increased in 1987 when she wed Bruce Willis in a Las Vegas ceremony presided over by singer Little Richard. In 1990, Moore had her biggest hit to date with Ghost, a romantic drama that cast her as the grieving girlfriend of the deceased Patrick Swayze. A huge success, Ghost secured Moore a place on the A-list, something she managed to sustain despite the subsequent twin flops of The Butcher's Wife and Mortal Thoughts, both released in 1991. That same year, Moore gained exposure of a different sort when she appeared nude and hugely pregnant on the cover of Vanity Fair; the resulting hoopla gained her more attention than either of her movies that year. She was back on the magazine's cover the following year, nude again but fetus-free and sporting a layer of artfully applied body paint. The controversy surrounding her cover-girl appearances may have helped Moore weather similar flak around her next feature, 1993's Indecent Proposal. The story of a woman (Moore) who agrees to a one-night stand with a wealthy man (Robert Redford) for one million dollars after she and her husband (Woody Harrelson) find themselves in dire financial straits, Proposal was decried by a number of feminist groups as well as various film critics and went on to be another big, if controversial, hit for Moore.Following the commercial success of Indecent Proposal, Moore's career hit something of a downward spiral. 1994's Disclosure proved a disappointment, and the following year's Now and Then (which she also produced) staged a similarly wan performance at the box office; however, it was Moore's other film that year, a "free,"or, as some would say, staggeringly misguided, adaptation of Nathaniel Hawthorne's The Scarlet Letter, that had critics howling and audiences cowering like small children being forced to watch German expressionist films. An unintentionally hilarious rendering of the classic tale, it featured Moore's Hester Prynne exposing plenty of skin, luxuriating in what must have been one of Puritan New England's few hot tubs, having steamy sex on a shifting bed of grain, and walking off into the sunset with her beloved Reverend Dimmesdale (a moody Gary Oldman). Following this debacle, Moore took refuge on safer grounds, lending her voice to Disney's animated The Hunchback of Notre Dame in 1996; however, that same year, she encountered another career pitfall in the form of Striptease. Based on Carl Hiaasen's satirical novel about a divorcée who turns to stripping so that she can raise money to win back custody of her daughter, the tonally inconsistent film proved a failure, despite titillating advertisements promising that Moore would bare all for audiences. The actress' career suffered a further blow with the disappointment of Ridley Scott's G.I. Jane in 1997, and she found herself getting more attention for her offscreen life as she was, by that point, embroiled in a very public divorce from Willis. The two formally separated in 1998. Although her career in front of the camera suffered, Moore managed to do well for herself as a producer. In 1997, she produced the hugely successful Austin Powers: International Man of Mystery and served in the same capacity for its mega-hit sequels, 1999's Austin Powers: The Spy Who Shagged Me and 2002's Austin Powers in Goldmember. In 2000, Moore returned to the screen to star in Alain Berliner's Passion of Mind, a psychological drama that cast the actress in a dual role as two women who lead different lives but are tied by a single identity.The year 2003 brought Moore back to the spotlight in a big way -- not only did the 41-year-old actress play the shockingly buff-bodied bad guy in Charlie's Angels: Full Throttle, she gave the paparazzi something of a godsend by dating Punk'd and That '70s Show heartthrob Ashton Kutcher, sixteen years her junior. The two wed in late September 2005, at a ceremony attended by hundreds, including Bruce Willis and his three daughters with Moore; they later divorced amid tremendous media scrutiny in 2011. Moore maintained a lower profile after this union, but returned to the spotlight for former flame Estevez's ambitious political period-ensemble Bobby, about the events leading up to Robert Kennedy's assasination. Among the star-studded cast, Moore was given a showy, standout role as an alcoholic lounge singer; there was room, too, for Kutcher, as an acid-dropping hippie. The film garnered decidedly mixed reviews, even if Moore attracted some attention for her part.In 2007 the actress joined the cast of director Bruce A. Evans's psychological thriller Mr. Brooks, as a tough-as-nails detective on the trail of Kevin Costner's titular, obsessive suburban serial killer. The movie suffered an ignominious fate at the box office, and Moore was singled out by critics for her implausibility. This didn't stop her from taking on new projects, however, starring with Parker Posey in the 2009 comedy Happy Tears in 2009, and playing the female lead in the 2011 Wall Street drama Margin Call, before joining the cast of the romantic comedy LOL in 2012.

Trivia: Known almost as much for his off-screen pastimes as his on-screen characterizations, Woody Harrelson is an actor for whom truth is undeniably stranger than fiction. Son of a convicted murderer, veteran of multiple arrests, outspoken environmentalist, and tireless hemp proponent, Harrelson is colorful even by Hollywood standards. However, he is also a strong, versatile actor, something that tends to be obscured by the attention paid to his real-life antics. Born in Midland, TX, on July 23, 1961, Harrelson grew up in Lebanon, OH. He began his acting career there, appearing in high-school plays. He also went professional around this time, making his small-screen debut in Harper Valley P.T.A. (1978) alongside Barbara Eden. While studying acting in earnest, Harrelson attended Indiana's Hanover College; following his graduation, he had his first speaking part (one line only) in the 1986 Goldie Hawn vehicle Wildcats. On the stage, Harrelson understudied in the Neil Simon Broadway comedy Biloxi Blues (he was briefly married to Simon's daughter Nancy) and at one point wrote a play titled Furthest From the Sun. His big break came in 1985, when he was cast as the sweet-natured, ingenuous bartender Woody Boyd on the TV sitcom Cheers. To many, he is best remembered for this role, for which he won a 1988 Emmy and played until the series' 1993 conclusion. During his time on Cheers, Harrelson also played more serious roles in made-for-TV movies such as Bay Coven (1987), and branched out to the big screen with roles in such films as Casualties of War (1989) and Doc Hollywood (1991). Harrelson's big break as a movie star came with Ron Shelton's 1992 sleeper White Men Can't Jump, a buddy picture in which he played a charming (if profane) L.A. hustler. His next film was a more serious drama, Indecent Proposal (1993), wherein he was miscast as a husband whose wife sleeps with a millionaire in exchange for a fortune. In 1994, Harrelson appeared as an irresponsible rodeo rider in the moronic buddy comedy The Cowboy Way, which proved to be an all-out clinker. That film's failings, however, were more than overshadowed by his other film that year, Oliver Stone's inflammatory Natural Born Killers. Playing one of the film's titular psychopaths, Harrelson earned both raves and a sizable helping of controversy for his complex performance. Following work in a couple of low-rated films, Harrelson again proved his mettle, offering another multi-layered performance as real life pornography magnate Larry Flynt in the controversial People Vs. Larry Flynt (1996). The performance earned Harrelson an Oscar nomination. The next year, he earned further praise for his portrayal of a psychotic military prisoner in Wag the Dog. He then appeared as part of an all-star lineup in Terrence Malick's The Thin Red Line (1998), and in 1999 gave a hilarious performance as Matthew McConaughey's meathead brother in EdTV. That same year, he lent his voice to one of his more passionate causes, acting as the narrator for Grass, a documentary about marijuana. In 2000, Harrelson starred in White Men collaborator Ron Shelton's boxing drama Play It to the Bone as an aspiring boxer who travels to Las Vegas to find fame and fortune, but ends up competing against his best friend (Antonio Banderas). The actor temporarily retired from the big screen in 2001 and harkened back to his television roots, with seven appearances as Nathan, the short-term downstairs boyfriend to Debra Messing's Grace, in producer David Kohan's long-running hit Will and Grace (1998-2006). After his return to television, Harrelson seemed content to land supporting roles for several years. He reemerged in cineplexes with twin 2003 releases. In that year's little-seen Scorched, an absurdist farce co-starring John Cleese and Alicia Silverstone, Harrelson plays an environmentalist and animal activist who seeks retribution on Cleese's con-man for the death of one of his pet ducks. Unsurprisingly, most American critics didn't even bother reviewing the film, and it saw extremely limited release. Harrelson contributed a cameo to the same year's Jack Nicholson/Adam Sandler vehicle Anger Mangement, and a supporting role to 2004's critically-panned Spike Lee opus She Hate Me. The tepid response to these films mirrored those directed at After the Sunset (2004), Brett Ratner's homage to Alfred Hitchcock. Harrelson stars in the diamond heist picture as federal agent Stan Lloyd, opposite Pierce Brosnan's master thief Max Burdett. Audiences had three chances to catch Harrelson through the end of 2005; these included Mark Mylod's barely-released, Fargo-esque crime comedy The Big White , with Robin Williams and Holly Hunter; Niki Caro's October 2005 sexual harrassment docudrama North Country, starring Charlize Theron; and the gifted Jane Anderson's period drama Prize Winner of Defiance Ohio. In the latter, Harrelson plays, Leo 'Kelly' Ryan, the drunken, increasingly violent husband of lead Julianne Moore, who manages to hold her family together with a steady stream of sweepstakes wins in the mid-fifties, as alcoholism and the financial burden of ten children threaten to either tear the family apart or send it skidding into abject poverty. Harrelson then joined the cast of maestro auteur Robert Altman's ensemble comedy-drama A Prairie Home Companion (2006), a valentine to Garrison Keillor's decades-old radio program with a strong ensemble cast that includes Meryl Streep, Lindsay Lohan and Kevin Kline. He also works wonders as a key contributor to the same year's Richard Linklater sci-fi thriller Through a Scanner Darkly, an adaptation of Philip K. Dick's 1977 novel that, like one of the director's previous efforts, 2001's Waking Life, uses rotoscoping to animate over live-action footage. It opened in July 2006 to uniformly strong reviews. As Ernie Luckman, one of the junkie hangers-on at Robert Arctor's (Keanu Reeves) home, Harrelson contributes an effective level of despondency to his character, amid a first-rate cast. After Harrelson shot Prairie and Scanner, the trades announced that he had signed up to star in Paul Schrader's first UK-produced feature, Walker, to co-star Kristin Scott-Thomas, Lauren Bacall, Ned Beatty, Lily Tomlin and Willem Dafoe. Harrelson portrays the lead, a Washington, D.C.-based female escort; Schrader informed the trades that he envisions the character as something similar to what American Gigolo's Julian Kaye would become in middle-age. Shooting began in March 2006. He also signed on, in June of the same year, to join the cast of the Coen Bros.' 2007 release No Country for Old Men, which would capture the Academy Award for Best Picture. Harrelson showed off his versatility in 2008 by starring in the Will Ferrell basketball comedy Semi-Pro as well as the thriller Transsiberian. He continued to prove himself capable of just about any part the next year with his entertaining turn in the horror comedy Zombieland, and his powerful work as a damaged soldier in Oren Moverman's directorial debut The Messenger. For his work in that movie, Harrelson captured his second Academy Award nomination, as well as nods from the Golden Globes, the Independent Spirit Awards, and the Screen Actors Guild - in addition to winning the Best Supporting Actor award from the National Board of Review. In 2012, the actor appeared as the flawed but loyal mentor to two young adults forced to compete to the death in the film adaptation of author Suzanne Collins' The Hunger Games.

Trivia: Fair-haired and often mustached character actor Seymour Cassel began making film and TV appearances as scruffy hippie types in the 1960s. He studied at the American Theatre Wing and the Actor's Studio before making his film debut in John Cassavetes' first film, Shadows (1959), for which he also served as associate producer. He then co-starred with Cassavetes in Too Late Blues (1961) and The Killers (1964). When Cassavetes turned to directing full-time, he utilized Cassel's talents as often as possible. The actor was Oscar-nominated for his portrayal of an aging hippie in Faces (1968) and later played Moskowitz in Minnie and Moskowitz (1971). A somewhat heavier Seymour Cassel continued as a character actor over the next few decades with roles in Tin Men, Colors, and the made-for-TV movie Blood Feud. In the '90s, he played Sam Catchem in Warren Beatty's Dick Tracy, dog-sled adventurer Skunker in the Disney classic White Fang, and a chauffeur in Indecent Proposal. His role as the shyster Joe in the black comedy In the Soup also earned special recognition at Sundance. Cassel then appeared in two romantic comedies with director Andrew Bergman: It Could Happen to You and Honeymoon in Vegas. For the rest of the '90s, his career prospered with small, but memorable, roles in such independent comedies and dramas as Things to Do in Denver When You're Dead, Trees Lounge, and Dream for an Insomniac. During this period, he developed a rapport with filmmaker Wes Anderson, who would cast him in many of his projects. Cassel would play Max Fisher's barber father in Rushmore, Royal's friend Dusty in The Royal Tenenbaums, and Steve's late friend Esteban in The Life Aquatic, Cassel would also continue to work consistently in all areas of film, appearing notably in comedies like Stealing Harvard, Stuck on You, Beer League, and L!fe Happens.

Trivia: A hulking character actor who brings new meaning to the concept of versatility, Oliver Platt has appeared in a dizzying array of films that make him instantly recognizable but not instantly placeable to the average filmgoer. Since making his screen debut as an oily Wall Street drone in Mike Nichols' Working Girl (1988), Platt has lent his talents to almost every conceivable genre, including period dramas, political comedies, children's films, and campy horror movies.The son of a U.S. Ambassador, Platt was born in Windsor on January 12, 1960, Platt and his family soon moved to Washington, D.C. Thanks to his father's job, he had an exceptionally itinerant childhood. By the time he was 18, he had attended 12 different schools in places as diverse as Tokyo, the Middle East, and Colorado. Long interested in acting, Platt received a BA in drama from Boston's Tufts University; following graduation, he remained in Boston for three years to pursue his stage career. In 1986 he moved to New York, where he performed in a number of off-Broadway productions and had the lead in the 1989 Lincoln Center production of Ubu. Following his screen debut in Working Girl, Platt began finding steady work in such films as Married to the Mob (1988), Postcards from the Edge (1990), Beethoven (1992) -- which featured him and future collaborator Stanley Tucci as puppy thieves -- and Benny and Joon (1993). He also proved himself adept at cheesy period drama in The Three Musketeers (1993), which cast him as Porthos, and at all-out comedy, as demonstrated by his turn as a struggling comic in Funny Bones (1995). Rarely cast as a leading man, Platt has always been visible in substantial supporting roles, equally comfortable at portraying nice guys, bad guys, and just flat out weird guys alike. As Ashley Judd's suitor in Simon Birch (1998), he was the straight man, while in The Impostors (1998), his second collaboration with Tucci (two years earlier he served as associate producer for the latter's Big Night), he again displayed his capacity for broad physical comedy as a struggling actor who finds himself a stowaway on an ocean liner. In Dangerous Beauty (1998), Platt was able to exercise his nasty side as a bitter nobleman-turned-religious zealot in 16th-century Venice; that same year, his capacity for exasperated quirkiness was displayed in Bulworth, which cast him as Warren Beatty's put-upon, coke-snorting campaign manager.1999 proved to be a somewhat disappointing year for Platt, as two of his films, Three to Tango (which featured him as a gay architect) and the schlock-horror Lake Placid, which cast him as an idiosyncratic mythology expert, were both critical and commercial flops. A third film that year, Bicentennial Man -- in which Platt played the scientist who turns the titular robot (Robin Williams) into a man -- fared somewhat better. The following year, Platt's comic abilities were again on display in Gun Shy, in which he hammed it up as a bottom-rung mafioso with an overblown ego.Fortunately for the workhorse actor, the 2000s seemed to prove the boost -- and exposure -- his sagging career needed. Earning back to back Emmy nominations in 2006 and 2007 for his performance opposite former Tufts University classmate Hank Azaria in the weekly dramedy Huff, Platt was also nominated for a Screen Actor's Guild Award for his turn as New York Yankees owner George Steinbrenner in the TV mini-series The Bronk is Burning (2007). With 2008 came yet another Ammy nomination -- this time for his guest role on the hit FX series Nip/Tuck -- and in 2009 he appeared as Nathan Detroit in the Broadway revival of Guys and Dolls. Other notable television appearances from this phase of Platt's career included a recurring character on the seriocomic HBO series Bored to Death and a prominent role as the husband of a suburban housewife diagnosed with cancer in the Showtime comedy drama series The Big C.

Trivia: One of Hollywood's few celebrators of the "Southern bad boy" image, country musician turned actor-screenwriter-director Billy Bob Thornton consistently engenders a reputation -- via chosen onscreen parts and fervent tabloid reports of his allegedly wild off-camera life -- as an iconoclastic American hellraiser with lightning in his veins. But appearances can deceive, for Thornton also reveals depth and complexity as one Hollywood's most articulate interviewees, graced with intelligent, sensitive observations, cultural allusions, and poignant reflections on his experiences as a thespian and film artist. Moreover, this acute insight evidences itself equally in Thornton's craftsmanship as a screenwriter and director. Though his behind-the-camera projects have become increasingly rare over time, his few directorial outings evince surprising control, refinement, insight, and taste. Born in Hot Springs, AR, on August 4, 1955, Thornton grew up dirt poor in the nearby backwoods community of Alpine. Despite his father's gainful employment as a history teacher, Thornton was forced to live with his parents and grandparents in a house without electricity or indoor plumbing. After high-school graduation, Thornton landed a steady job and got married; neither the job nor the marriage lasted, as Thornton divorced two years later and returned to college to study psychology; however, that didn't last, either -- he decided that his heart lay in rock & roll, and tried and failed to make it in New York. So Thornton returned to his job for awhile until he and Epperson renewed their dedication to a music career. Eventually, he would travel to California to write screenplays. It was a difficult time for Thornton who, in addition to living in poverty, also suffered a near-fatal heart attack. Thornton eventually turned to acting, making his screen debut in the straight-to-video Hunter's Blood in 1987. Subsequent roles in many forgettable movies followed (including Troma's Chopper Chicks in Zombietown), as did an appearance on the Burt Reynolds sitcom Evening Shade; the actor simultaneously weathered several marriages through the '80s and '90s, to Toni Lawrence, Cynda Williams, and Pietra Dawn Cherniak. Then, in 1990, Thornton caught the attention of critics when he wrote and appeared in Carl Franklin's critically acclaimed directorial debut, One False Move (1991). A dark crime drama set in a small Arkansas town, the film provided a suitable antecedent to Some Folks Call It a Sling Blade, a 1993 short that Thornton scripted. The George Hickenlooper-directed piece stars Thornton as Karl Childers, a mentally retarded, soft-spoken man, institutionalized for murder, who delivers a reflective monologue to a reporter (Molly Ringwald) just prior to his release from the psychiatric institution where he resides. (Thornton allegedly invented the Childers character years prior, while shaving and talking to himself in the mirror.) The effort won a number of positive notices and Thornton subsequently appeared in Jim Jarmusch's Dead Man in 1995 and (with Epperson), co-authored the screenplay for A Family Thing (1996), a gentle Southern drama starring Robert Duvall as a Caucasian man who discovers that he is half black.After years of relative obscurity as an actor and screenwriter, Thornton made a great cultural impact with the low-budget, independent drama Sling Blade. A feature-length expansion of the Hickenlooper short, and a sequel of sorts to that work, the picture finds Karl Childers returning to the outside world for the first occasion in decades, and attempting to begin a new, quiet life in a small Southern town. In the story, Karl befriends a local woman, her little boy, and a gay storekeeper (John Ritter), and finds lodging and steady income, but runs headfirst into Doyle Hargraves (Dwight Yoakam), a psychotically abusive lout who turns life for the mother and son into a waking nightmare. Bit by bit, Karl's old demons awaken and he feels himself being drawn back into the sphere of retributive violence. When Sling Blade premiered during the late 1996 holiday season, it swept away the hearts of audiences and critics worldwide and heralded the arrival of a major new talent. Journalists waxed rhapsodic in their praise. For Thornton's work on the film, he won a Best Adapted Screenplay Oscar, as well as a Best Actor Oscar nomination. The 1996 triumph of Sling Blade brought Thornton a whirlwind of opportunities. He followed his success with a key supporting role in Robert Duvall's The Apostle (1998) as a hardened racist, a turn in Primary Colors (1998) as a James Carville-like campaign manager with a penchant for exhibitionism, and a role in Armageddon as NASA's executive director. Also in 1998, he received another Best Actor nomination for his work in Sam Raimi's A Simple Plan, the story of two brothers (Thornton and Bill Paxton) who descend into the depths of distrust and paranoia after stumbling upon four million dollars in the woods; it allowed Thornton to plumb the darker areas of the backwoods psyche as only he could do so well. The following year, Thornton starred in Mike Newell's Pushing Tin (1999), a comedy about two dueling air traffic controllers (Thornton and John Cusack). He also returned to his duties behind the camera, directing, writing, and starring in Daddy and Them, a comedy drama about the ups and downs of an eccentric Alabama family. In addition to Daddy and Them, Thornton signed on to act in a number of projects during 2000, including Wakin' Up in Reno, a romantic comedy about two white-trash couples; and South of Heaven, West of Hell, an ensemble Western that marked the directorial debut of country singer Dwight Yoakam. Thornton then delivered a pair of impressive dramatic performances in the first year of the new millennium. Agreeing to appear in Joel and Ethan Coen's neo noir The Man Who Wasn't There without so much as looking at the script (Thornton immediately accepted the role based on his creative respect for the Coens), the gangly actor earned a Golden Globe nomination for his turn as a barber who gets in over his head while attempting to execute a seemingly simple blackmail scheme. Subsequently cast alongside Bruce Willis in Barry Levinson's summer 2001 crime comedy Bandits, that film fared only marginally better than Thornton's sophomore directorial effort Daddy and Them.Thornton's performance in the redemption-themed drama Monster's Ball more than redeemed him in the eyes of the public and press. In that picture, Thornton offers a sensitive portrayal of a conflicted soul who attempts to come to terms with his love for an African-American woman in the face of his racist father's hateful teachings. After once again chasing redemption in the Sundance premiere Levity, Thornton joined the Coen brothers for the disappointing romantic comedy Intolerable Cruelty. In December of that same year, Thornton appeared in a role that only the gutsiest actors would take: the title character in Terry Zwigoff's (jet) black comedy, Bad Santa. Though gleefully, deliberately offensive, the picture never sacrifices its sharp sense of humor or its acid insight, and (perhaps as a result) became a massive runaway hit -- the definitive sleeper of 2003. At about the same time, Thornton cameoed as a slimy, philandering U.S. president who attempts to thwart the amorous conquest of Hugh Grant's prime minister, in the British romantic comedy Love Actually (2003).In 2004, Thornton essayed the role of Davy Crockett in the historical action-epic The Alamo (2004). He was instrumental in bringing Bad Santa scribes John Requa and Glenn Ficarra on board for exhaustive rewrites of Richard Linklater's Bad News Bears remake (2005). Thornton then starred in director Todd Phillips' remake of Robert Hamer's 1960 comedy School for Scoundrels, which debuted in September 2006. Despite some scattered exceptions, the film received mostly negative reviews. Not long after, Thornton essayed the title role in the spectacular drama The Astronaut Farmer, issued in February 2007. This film cast the actor as Charlie Farmer, a retired NASA astronaut-cum-farmer who raises the ire of government authorities by building a spacecraft in his barn. Subsequent roles included a sadistic gym teacher in Mr. Woodcock (2007), an issue-ridden Hollywood studio head in The Informers (2008), and a manure salesman in The Smell of Success (2009). Not long after, Thornton announced his return to directing with the eagerly-anticipated drama Jayne Mansfield's Car. In 2011 he voiced Jack, of Jack and Kill fame, in the hit animated film Puss In Boots. In 2014, Thornton took a lead role in the massively popular TV series Fargo, nabbing an Emmy nomination in the process. Later in the year, he had a supporting role in the film The Judge.

Trivia: Multi-talented Billy Connolly is a world-famous comic, an actor on stage, screen, and television, a playwright, and a folk musician. Connolly was born on the kitchen floor of a Glasgow tenement in 1942. During the war, his father William joined the Royal Air Force and due to the stress of separation, his marriage to Connolly's mother disintegrated, leaving William in charge of raising Connolly and his little sister, Flo. He in turn sent the children to live with his two sisters, which made for a difficult home life as they resented their new responsibilities. At age 15, Connolly left school and worked as a delivery boy at a bookstore and then a bakery until he was old enough to work in the shipyards. In 1960, Connolly began a five-year welding apprenticeship. He left in the early '60s to join the Parachute regiment of the Territorial Army and during his stint completed 17 parachute jumps. After leaving the military, he finished his welding apprenticeship and took a job constructing an oil rig in Biafra, Nigeria. The work was unpleasant and eventually he returned to Glasgow.An episode of The Beverly Hillbillies inspired Connolly to buy a banjo and, following experience in other folky bands, founded the Humblebums with guitarist Tam Harvey. They were later joined by pop singer Gerry Rafferty. Their music, coupled with Connolly's joke-telling between songs, led to considerable popularity, and the Humblebums enjoyed the wild life of touring, partying, and doing everything excessively. Due to his growing tendency to dominate their concerts with comedy, he and Rafferty had a falling out and the group disbanded in 1971 while they were in London. Connolly stayed and worked on his comedy career. By 1975, he had become a roaring success and was touring like a madman. In 1977, he wrote his first play, the unsuccessful An' Me Wi' A Bad Leg, Tae. Actually, none of his subsequent plays were as successful as his irreverent and sometimes coarse standup routines. In 1979, Connolly made his film debut in Absolution, a drama starring Richard Burton. By the 1980s, Connolly had become a superstar in the U.K. and was having trouble with privacy issues, drinking, and exhaustion. He was involved in a bitter divorce/custody battle with his first wife, and his girlfriend Pamela Stephensen was pregnant. His divorce was granted in 1985 and he received custody of his two children. In the late '80s, Stephenson was working on Saturday Night Live in New York; Connolly periodically guested on the show and on David Letterman. He also did an HBO special with Whoopie Goldberg. In 1989, Connolly starred opposite Liam Neeson in The Big Man, married Stephenson, and replaced Howard Hesseman in the American sitcom Head of the Class. He proved successful and Warners signed a two-year contract with him. But the series was canceled and so Connolly was hired to portray the same character in a new sitcom, Billy, which was based on the film Green Card. He and his family decided to remain in the U.S.; shortly after settling in, the series was canceled. He made a cameo appearance in Indecent Proposal in 1992 and the following year returned to Glasgow to appear in Down Among the Big Boys. Since then he has become more involved with BBC television, notably in a fascinating tour of Scotland that resulted in his winning a Scottish BAFTA award. He also won a Best Arts Programme award for the BBC production The Bigger Picture and a Best Drama award for Down Among the Big Boys. Connolly continued his U.S. film career and even occasionally made guest appearances on U.S. television as he did in the short-lived 1996-1997 sitcom Pearl. Connolly received the best reviews for any of his dramatic work playing opposite Judi Dench in the engaging drama Mrs. Brown. He continued to balance a respected career as a stand-up comic with work in small films such as Beverly Hills Ninja, The Boondock Saints, Who Is Cletus Trout, and An Everlasting Piece. He scored a dramatic role in a big American film with his appearance in The Last Samurai opposite Tom Cruise, and was one of the many funny people who contributed to The Aristocrats. In 2006 Connolly kept the laughs coming opposite Jim Carrey in the highly stylized Brad Siberling comedy Lemony Snicket's A Series of Unfortunate Events, and an appearance as a vile lord with lofty designs for the future in Garfield: A Tail of Two Kitties. A vocal performance as a rogue squirrel in the computer animated adventure Open Season marked the first time Connolly had returned to the world of animation since the 1995 Disney musical Pocohontas. Connolly would continue to remain an active force in entertainment for years to come, appearing in movies like the comedy-horror Fido, and the fantasy adventure film Gulliver's Travels.

Trivia: Redheaded character actress Mariclare Costello has been in films and television since 1967. Best known as Rosemary Hunter Fordwick, wife of Rev. Fordwick (John Ritter) on TV's The Waltons (a role she played from 1973 to 1977), Costello was also a regular on the TV weeklies Sara (1976) and The Fitzpatricks (1977). Of her many TV-movie appearances, she is most fondly remembered as the aggrieved wife of the title character in The Execution of Private Slovik (1974). Always a welcome presence, Costello has yet to win her long-overdue stardom. For a while, it looked as though Mariclare Costello's breakthrough would be the theatrical feature Ragtime (1981), in which she was cast as anarchist Emma Goldman; alas, her entire performance ended up on the cutting room floor.

Trivia: Scottish pop singer Sheena Easton made her acting debut as a regular on the hit television series Miami Vice in 1987. While her feature-film work has been sporadic, she has found continued success on television, primarily as a voice artist for such animated series as Disney's Gargoyles. Her feature-film voice work includes the animated All Dogs Go to Heaven 2 (1996). Easton has also appeared on-stage, notably in a Broadway revival of the musical Grease in which she played the peppery Rizzo.

Trivia: Influential jazz pianist and composer Herbie Hancock has scored a number of feature films beginning with the music for Blow Up (1966). Hancock's best-known score was that for the jazz lover's delight 'Round Midnight, which won him an Oscar for Best Original Score. Hancock also appeared in the film as a piano player.

Trivia: British-born director Adrian Lyne "grew up" professionally in TV commercials, carrying over the quick-cut, hard-sell techniques of that specialized genre into his first film, Foxes (1980). Lyne went on to embrace the burgeoning "MTV" directorial school for his breakthrough feature, Flashdance (1983). His next project, 9 1/2 Weeks (1986), represented Lyne's first creative battle with the editing room. The director had one notion of what constituted "too much" in this erotic drama, the editors (backed by the producers) had another -- and the result was two separate release versions, one rated R, the other not rated at all. In Fatal Attraction (1987), his biggest box-office hit, Lyne favored the script's original ironic-twist ending, but preview audiences demanded that leading lady Glenn Close be punished for her psychotic behavior.As with 9 1/2 Weeks, Fatal Attraction ultimately went out in two versions: theatergoers saw the heavily revised ending (filmed a full year after principal photography ended), while videocassette and laserdisc connoisseurs were treated to the director's cut. Jacob's Ladder (1990) still stands as the most complexly structured of Lyne's films. Alas, it failed to register at the box office, while Lyne's subsequent film, the spell-it-all-out Indecent Proposal (1993) made money by the basketful -- indicating perhaps that, whatever the future holds for Adrian Lyne, his choice of film subjects and manner of treatment will be governed less by his personal vision than by popular taste.By this time no stranger to controversy, Lyne's 1997 interpretation of Lolita raised much public uproar with its intimate scenes between the then 15-year-old Dominique Swain and the considerably older Jeremy Irons (though a body double was used for the more questionable scenes). The release of Unfaithful (2002) found Lyne returning to the familiar subject of marital infidelity, and audiences once again flooded the theaters en masse, keeping the film comfortably in the Top Ten for nearly a month following its lukewarm opening weekend debut and a fairly ambivalent reception from critics.

Trivia: Fans of Howard Hawks' Rio Lobo (1969) may be intrigued to discover that the beautiful secondary heroine who is facially disfigured by the villains is the same person who later produced Fatal Attraction (1987), The Accused (1988) and Indecent Proposal (1993). Chicago-born film executive Sherry Lansing did indeed pursue an acting career after graduating from Northwestern University. Sensing that her film roles might be limited to Rio Lobo-type supporting parts, Ms. Lansing applied her intelligence and drive to the production end. She joined Talent Associates in 1974, where she was an executive in charge of development; three years later, she was appointed vice president in charge of production at Columbia. Hit films like the Oscar-winning Kramer vs. Kramer catapulted Ms. Lansing into the presidency of 20th Century-Fox -- the first woman ever to hold such a position. While undaunted by the heavy administrative responsibilities, Lansing preferred to be a hands-on moviemaker, thus in 1984 she teamed with one-time Paramount Pictures president Stanley R. Jaffe to form the successful independent production company, Jaffe-Lansing. When Jaffe was appointed president of Paramount Communications in 1990, Sherry Lansing became that organization's chairperson.

Trivia: The 12th of 13 children of a Welsh miner, actor Richard Burton left his humble environs by winning a scholarship to Oxford. Blessed with a thrillingly theatrical voice, Burton took to the stage, and, by 1949, had been tagged as one of Britain's most promising newcomers. Director Philip Dunne, who later helmed several of Burton's Hollywood films, would recall viewing a 1949 London staging of The Lady's Not for Burning and watching in awe as star John Gielgud was eclipsed by juvenile lead Richard Burton: "He 'took' the stage and kept a firm grip on it during every one of his brief appearances." A few years after his film debut in The Last Days of Dolwyn (1949), the actor was signed by 20th Century Fox, which had hopes of turning him into the new Lawrence Olivier -- although Burton was not quite able to grip films as well as he did the stage. Aside from The Robe (1953), most of Burton's Fox films were disappointments, and the actor was unable to shake his to-the-rafters theatricality for the smaller scope of the camera lens. Still, he was handsome and self-assured, so Burton was permitted a standard-issue 1950s spectacle, Alexander the Great (1956). His own film greatness would not manifest itself until he played the dirt-under-the-nails role of Jimmy Porter in Look Back in Anger (1959). In this, he spoke the vernacular of regular human beings -- rather than that of high-priced, affected Hollywood screenwriters -- and delivered a jolting performance as a working-class man trapped by the system and his own personal demons. Following a well-received Broadway run in the musical Camelot, Burton was signed in 1961 to replace Stephen Boyd on the benighted film spectacular Cleopatra (1963). It probably isn't necessary to elaborate on what happened next, but the result was that Burton suddenly found himself an international celebrity, not for his acting, but for his tempestuous romance with co-star Elizabeth Taylor. A hot property at last, Burton apparently signed every long-term contract thrust in front of him, while television networks found themselves besieged with requests for screenings of such earlier Burton film "triumphs" as Prince of Players (1955) and The Rains of Ranchipur (1956). In the midst of the initial wave of notoriety, Burton appeared in a Broadway modern-dress version of Hamlet directed by John Gielgud, which played to standing-room-only crowds who were less interested in the melancholy Dane than in possibly catching a glimpse of the Lovely Liz. Amidst choice film work like Becket (1964) and The Spy Who Came in From the Cold (1966), Burton was also contractually obligated to appear with Taylor in such high-priced kitsch as The V.I.P.s, (1963) The Sandpiper (1965), and Boom! (1968). A few of the Burton/Taylor vehicles were excellent -- notably Who's Afraid of Virginia Woolf? (she won an Oscar; he didn't, but should have) -- but the circus of publicity began to erode the public's ability to take Burton seriously. It became even harder when the couple divorced, remarried, and broke up again. Moreover, Burton was bound by contract to appear in such bland cinematic enterprises as Candy (1968), Villain (1971), The Assassination of Trotsky (1972), The Klansman (1974), and that rancid masterpiece Exorcist II: The Heretic (1977). So low had Burton's reputation sunk that when he delivered an Oscar-caliber performance in Equus (1977), it was hailed as a "comeback," even though the actor had never left. (Once again he lost the Oscar, this time to Richard Dreyfuss.) Burton managed to recapture his old performing fire in his last moviemaking years, offering up one of his best performances in his final picture, 1984 (1984). He died later that year.

Trivia: French actor Maurice Sherbanee played character roles in a number of American feature films and television series during the 1970s. With his thick, black hair and moustache, Sherbanee was typically cast as an Arab or European fellow.

Trivia: Chi Muoi Lo began his professional acting career on television and got his first real break after his guest-starring role on In the Heat of the Night proved so popular that he became a recurring character. He also occasionally appeared on Northern Exposure and guest starred on such series as China Beach and Night Court. Chi starred in the acclaimed miniseries Vanishing Son. Born in Vietnam, but raised in Philadelphia (his parents fled their homeland to escape the war), he studied drama at San Francisco's American Conservatory Theater on a scholarship. Chi's feature film credits include Kindergarten Cop (1990), Buffy the Vampire Slayer (1992), and The Relic (1996).