Trivia: The daughter of Mark Miller, an actor best known for his starring role on the mid-1960s TV sitcom Please Don't Eat the Daisies, actress Penelope Ann Miller was born in California and raised in Texas. After a year of attending Menlo College, Miller dropped out to train with acting coach Herbert Berghof. Her first role of note was as ditsy ingenue Daisy in the Neil Simon Broadway comedy Biloxi Blues, a role she would later recreate in the film version. For her role in Our Town she was nominated for a Tony award in 1989. In 1987, the blonde, saucer-eyed actress made her film debut in the wacked-out comedy Adventures in Babysitting, after which she costarred with popular leading men ranging from Pee-Wee Herman (Big Top Pee-Wee) to a GOlden Globe nominated performance alongside Al Pacino in Carlito's Way. Some of Miller's best known film roles have included that of Marlon Brando's enigmatic daughter in The Freshman (1990), a brief turn as silent film actress Edna Purviance in Chaplin (1992), and the svelte 1930s pulp heroine Margot Lane in The Shadow (1994). As the 1990s progressed Miller alternated ever more frequently between television and film, tempering high profile roles in The Shadow (1994) and The Relic (1997) with more intimate small screen roles in mini-series The Last Don (1997) and as the titular character in the true-life television feature The Mary Kay Letorneau Story: All American Girl (2000). If her roles in the following years weren't as high profile as in the previous decade, solid performances in Along Came a Spider (2001) and Rudy: The Rudy Giuliani Story (2003) eventually led to a role in the popular but shortlived Norm Macdonald sitcom A Minute with Stan Hooper. Cast as the titular character's (Macdonald) city-slicker wife, the coupled opted to eschew the city for small town life to Newhart-like effect. Her gift for comedy more obvious than ever, Miller was subsequently cast in the made for television feature National Lampoon's Thanksgiving Family Reunion (2003).

Trivia: At 18, Bronx-born blonde Cathy Moriarty had precisely no acting experience, which suited director Martin Scorsese just fine. Scorsese wanted a thoroughly natural, spontaneous actress to portray the bethumped Vickie La Motta, wife of volatile boxing champ Jake La Motta (Robert DeNiro), in the 1980 biopic Raging Bull. Moriarty won an Academy Award nomination for her fascinating portrayal of Vickie; alas, her next project was the much-maligned Neighbors (1981), which effectively killed her starring career before it had even begun. Her professional problems were exacerbated by a 1982 automobile accident. After back surgery and extensive emotional healing, Moriarty made a tentative film comeback in 1987. The film assignments began improving after 1990; she was terrific as a daytime-drama diva in Soapdish (1991), and even better as monotoned horror film star Ruth Corday in Matinee (1992). There have been a few setbacks during Moriarty's career renaissance (she was cut from the final print of Sean Penn's maiden directorial effect The Indian Runner), but there have been many more highs than lows, notably her winning the Cable ACE award for her work on a 1995 episode of Tales From the Crypt. Even if Cathy Moriarty never makes the uppermost ranks in stardom, she can always rely upon her trendy New York pizza parlor for a steady income.

Trivia: Character actor Richard Portnow has worked steadily in theater, feature films, and on television for many years. On stage, he has appeared both on and off Broadway, as well as in many regional productions, and at London's Royal Court Theatre. Portnow made his feature film debut with a bit part in Susan Seidleman's Desperately Seeking Susan (1985). On television, Portnow has guest starred on many series, including Seinfeld, NYPD Blue, and The Nanny.

Trivia: The daughter of a traveling salesman, actress Carroll Baker joined a dance company after one year of college, then worked as a magician's assistant. After a brief marriage to a furrier, she went to Hollywood to act, but was unable to get anything more than a bit role (in 1953's Easy to Love) and so left for New York. At first finding work only in commercials (plus a walk-on in the Broadway play Escapade), in 1954 she enrolled at the Actors Studio; there she met director Jack Garfein, whom she married the following year (they were divorced in 1969). After her appearance in a few TV dramas and Robert Anderson's play All Summer Long (1955), she was noticed by Warner scouts and subsequently cast in James Dean's vehicle Giant (1956). Her success continued that same year when her role as the thumb-sucking wife in Baby Doll (1956) earned her an Academy Award nomination for Best Actress. She also delivered an exemplary lead performance in director Irving Rapper's The Miracle (1959). With the success of Marilyn Monroe, Hollywood started looking for other Monroe "types" and producers began grooming Baker for the role, as is evident from her work in such films as The Carpetbaggers (1964); in 1965, she played the doomed title role in the film Harlow, another attempt to cast her in the Monroe mold. However, she never caught on with American audiences; in the late 60s, she moved to Italy and began appearing in Italian productions. In 1977 she made her London stage debut in W. Somerset Maugham's Rain, then made a few Hollywood and UK pictures in the late 70s and 80s, as well as putting in a "camp" appearance in Andy Warhol's Bad (1977) and a more straightlaced role as the mother of Dorothy Stratten in Star 80.

Trivia: While still a child, Linda Hunt decided to become an actress, and began taking drama lessons at age 13. As she was quite small (4'9") and not a great beauty, she also studied directing, in case she never landed any acting roles. Hunt majored in directing at the prestigious Goodman Theater School in Chicago, and went on to spend several years in New York, working as a stage manager, director, and occasionally as an actress; during some of that time she worked in alternative theater with companies such as La Mama and the Open Theater. Following years of getting bit parts and directing for a children's theater, Hunt finally started landing good roles and ultimately won two Obie awards and a Tony nomination. She debuted onscreen in Robert Altman's Popeye (1980), but it was her second film, The Year of Living Dangerously (1983), that made her internationally known; for her portrayal of a male Indonesian dwarf, she won a Best Supporting Actress Oscar. She followed that up with a part in David Lynch's infamous adaptation of the sci-fi classic Dune, and immediately segued into the part of a beloved saloon owner in Lawrence Kasdan's throwback western Silverado. She maintained a steady career appearing in various projects including She-Devil, Kindergarten Cop, Maverick and Stranger Than Fiction. Her distinctive voice led to steady gigs in animated films and as a narrator of documentary films.

Trivia: Although her earthy and somewhat plain appearance might have prevented her from landing the sort of glamorous parts Hollywood seems to reserve for A-list beauty queens, actress Pamela Reed still managed to maintain a healthy career with a series of winning supporting roles. A Washington native who spent the majority of her childhood in Maryland, Reed moved back to the Northwest for an opportunity to work on the Trans-Alaska Pipeline. There, she began to study drama at the University of Washington, where she stood out amongst her classmates due to her age (she was nearly 30 when she graduated and began seeking out roles in New York and L.A.). She later appeared off-Broadway in Curse of the Starving Class and impressed audiences with her performance in Aunt Dan and Lemonand her skillful interpretation of Shakespeare in All's Well That Ends Well. In 1978, Reed made her Broadway debut in a production of The November People. With a solid stage resumé, the actress moved to the screen in Walter Hill's 1980 Western The Long Riders. Reed could bring style and depth to even the most threadbare of roles, and in the years that followed, she made a name for herself by essaying key supporting parts in such films as Eyewitness (1981) and The Right Stuff (1983); though her characters rarely broke the mold of supportive wife/girlfriend, her performances were always graceful and believable. Reed took a turn toward the small screen with a role in the 1990 comedy series Grand, and alternated frequently between film and television for the remainder of the decade. From her scene-stealing turn alongside Arnold Schwarzenegger in Kindergarten Cop (1990) to her performance as a housewife with a history in the made-for-TV mystery Woman With a Past, Reed proved equally adept at both comedy and drama. Following a memorable role in Tim Robbins' 1992 political satire (and directorial debut) Bob Roberts, the actress returned to television in 1995 for the short-lived comedy series The Home Court. She built a sturdy fan base of Lifetime viewers with such made-for-cable features as The Man Next Door (1995), and continued to appear in such hit features as Bean (1997) and Why Do Fools Fall in Love (1998). Reed later starred in the 2000 blockbuster Proof of Life, and appeared in the small-screen drama Book of Days (2003) and Glory Days in 2004.