Trivia: American actor Telly Savalas was born into a transplanted Greek family in Garden City, New York. After dropping out of Columbia University, Savalas served in World War II, from which he was discharged with a Purple Heart disability. Though not a performer himself, Savalas remained active in show business via the Information Services of the State Department, which led to a news director post at the ABC network. Savalas was often called upon to help producers locate foreign-speaking actors for the various live TV dramatic series of the era. In 1959, Savalas attended an audition for the CBS anthology series Armstrong Circle Theatre, intending to prompt an actor friend who was up for a role. Instead, the casting director took Savalas's sinister demeanor (and bald head) into account and cast him in a character part, which led to other TV assignments. The 1960-61 CBS television anthology Witness, though not a ratings success, brought the novice actor a great deal of acclaim for his portrayal of racketeer Lucky Luciano, gaining attention from audiences, producers, and even a few of Luciano's old associates (who liked the show). More TV and movie roles of a slimy-villain nature followed, and then Savalas was cast as Burt Lancaster's fellow Alcatraz inmate in The Birdman of Alcatraz (1962) -- a performance that earned an Oscar nomination. Many in the industry felt that Savalas had what it took to be a leading man; Imogene Coca, with whom Savalas worked on an episode of Coca's TV series "Grindl," announced publicly that the actor was one of the funniest men she'd ever met (this from an actress who once costarred with Sid Caesar). Still, producers continued to use Savalas as a supporting bad guy. Even in The Greatest Story Ever Told (1965), Savalas incurred audience hisses as Pontius Pilate. In 1973 Savalas starred as police lieutenant Theo Kojak in The Marcus-Nelson Murders, a TV movie based on a real-life homicide. The actor's fully rounded interpretation of the sarcastic, incorruptible, lollipop-sucking New York detective earned him a full time TV job as the star of the series Kojak (which ran from 1973-78 on CBS, and, in a brief revival, 1989-90 on ABC). Now a genuine, 14-carat celebrity, Savalas assumed a great deal of creative control on Kojak, which included full script approval, choice of directors, and the insistence upon casting Savalas's brother George (professionally named "Demosthenes") in the role of Detective Stavros. Kojak lasted until 1978, during which time Savalas became a fixture of TV variety shows, where he frequently demonstrated his questionable singing talents. After the series, the actor embarked on a globe-trotting existence involving numerous forgettable European films and a sumptuous bon vivant lifestyle (which included the squiring of several attractive and much-younger ladies). Savalas periodically revived the character of Kojak in a few 1980s TV movies and profited from the (brief) revival of the Kojak series itself, but for the most part he was seen on the tube as spokesman for a high-priced credit card company. In the early 1990s, Savalas developed prostate cancer, ultimately succumbing to the disease at the age of 72.

Trivia: James Coburn was an actor whose style allowed him to comfortably embrace drama, action, and comedy roles, and many of his best-known performances found him blending elements of all these styles in roles that overflowed with charisma and a natural charm. Born in Laurel, NE, on August 31, 1928, Coburn relocated to California as a young man, and first developed an interest in acting while studying at Los Angeles City College. After appearing in several student productions, he decided to take a stab at acting as a profession, and enrolled in the theater department at U.C.L.A. Coburn earned his first notable reviews in an adaptation of Herman Melville's Billy Budd, staged at Los Angeles' La Jolla Playhouse, which starred Vincent Price. In the early '50s, Coburn moved to New York City, where he studied acting with Stella Adler, and began working in commercials and live television. In 1958, Coburn won a recurring role on a Western TV series called Bronco, and scored his first film role the following year in Budd Boetticher's Ride Lonesome, starring Randolph Scott. For a while, Coburn seemed to find himself typecast as a heavy in Westerns, most notably in The Magnificent Seven, and later starred in two action-oriented TV series, Klondike (which ran for 18 weeks between 1960 and 1961) and Acapulco (which lasted a mere eight weeks in 1961). However, after a strong showing in the war drama Hell Is for Heroes, Coburn finally got to play a big-screen hero as part of the ensemble cast of 1963's The Great Escape. In 1964, Coburn got a chance to show his flair for comedy in The Americanization of Emily, and in 1965 he appeared in Major Dundee, the first of several films he would make with iconoclastic director Sam Peckinpah. In 1966, Coburn finally hit full-fledged stardom in Our Man Flint, a flashy satiric comedy which put an American spin on the James Bond-style superspy films of the period. Coburn's deft blend of comic cheek and action heroics as Derek Flint made the film a major box-office success, and in 1967 he appeared in a sequel, In Like Flint, as well as two similar action comedies, Duffy and the cult film The President's Analyst (the latter of which Coburn helped produce). Moving back and forth between comedies (Candy, Harry in Your Pocket), Westerns (Pat Garrett and Billy the Kid), and dramas (The Last of Shelia, Cross of Iron), Coburn was in high demand through much of the 1970s. He also dabbled in screenwriting (he penned a script for his friend Bruce Lee which was filmed after Lee's death as Circle of Iron, starring David Carradine) and directing (he directed an episode of the TV series The Rockford Files, as well as handling second-unit work on Sam Peckinpah's Convoy). By the end of the decade, however, his box-office allure was not what it once was, although he remained a potent draw in Japan. Coburn remained busy in the 1980s, with supporting roles in theatrical films, larger roles in television projects, and voice-over work for documentaries. In 1979, Coburn was diagnosed with rheumatoid arthritis, and in the mid-'80s, when his illness failed to respond to conventional treatment, he began to cut back on his work schedule. But in the 1990s, a holistic therapist was able to treat Coburn using nutritional supplements, and he began appearing onscreen with greater frequency (he also appeared in a series of instructional videos on gambling strategies, one of Coburn's passions). He won a 1999 Academy Award as Best Supporting Actor for his intense portrayal of an abusive father in Paul Schrader's film Affliction, and the award kick-started Coburn's career. He would work on more than a dozen projects over the next two years, but Coburn then succumbed to a heart attack in 2002. Coburn was survived by two children, James H. Coburn IV and Lisa Coburn, his former spouse Beverly Kelly, and Paula Murad, his wife at the time of his death.

Trivia: Foghorn-voiced stage actor David Landau was brought to Hollywood in 1931 to re-create his Broadway role of the homicidal Maurrant in Elmer Rice's Street Scene. Landau went on to appear in 32 films over a four-year period. Seldom permitted to play a sympathetic role, Landau thrived in parts calling for drunkenness (1932's Taxi), brutality (1932's I Am a Fugitive From a Chain Gang) and all-around skullduggery (Mae West's 1933 vehicle She Done Him Wrong). Modern filmgoers will recall David Landau as high-rolling gambler Jennings in the Marx Brothers' Horse Feathers (1932) and as the mysterious, tattered transient Bob Gillis in Will Rogers' Judge Priest (1934).

Trivia: French supporting actor Georges Geret may best be remembered for playing the gamekeeper (his film debut) in Louis Bunuels Journal d'une Femme de Chambre/Diary of a Chambermaid (1964). He specialized in playing tough guys.