Trivia: His high school senior class voted him most likely to recede.While working on a dog food commercial, the producer's girlfriend suggested he audition for Hanna-Barbera's Scooby-Doo, Where Are You!Originally auditioned for the role of Scooby in Scooby-Doo, Where Are You!Voiced eight of the original Decepticons and two of the original Autobots on the animated series The Transformers (1984).His Doctor Claw voice is the result of an impression of singer Barry White.His voice of the Cave of Wonder in Aladdin (1992) was based on Sir Sean Connery.Has voiced most of Scooby-Doo's Fred Jones, including animated series, parodies and cameos.The first voice actor to appear in two films that made $1 billion.Was honored with an Emmy Award for lifetime achievement in 2016.

Trivia: Of all the "break out" performers from the series The Facts of Life, Mindy Cohn was the most improbable. The others were all child actors with experience in performing, but Cohn never trained as an actress and knew little or nothing about the series when she first came to the attention of the producers. Born in Los Angeles, she was an ordinary high school student attending the Harvard-Westlake School when the makers of The Facts of Life, planning their first season, arrived there to observe and photograph an actual girls' school in operation. It was reportedly series star Charlotte Rae who first spotted Cohn, a student at the school, entertaining some friends, and brought her to the attention of the producers. All involved agreed that she was a "natural," one of those uncanny, untrained individuals who simply looked good and memorable and funny in front of the camera, in a manner comparable to the child performers they had already cast, and with that ability added something extra special in terms of verisimilitude -- and a good deal of wry humor -- to the cast they already had. And so Cohn was cast as Natalie Green and was one of the three original young first-season cast members to get spotlighted when the program moved to its second season, achieving stardom in the course of a seven-season run for the series. One very ironic moment came later in the run of the show when Cohn, who had always been on the heavy side and whose character had been conceived with that as an attribute, began to slim down. According to Cohn, in an interview for the DVD release of the first two seasons, the producers actually asked her to put the weight back on, if possible; when she refused, they came up with a compromise by having her character dress in clothes that made her look like she was still overweight. Since the series ended production, she has somewhat limited her acting work while earning a degree in cultural anthropology. Cohn has specifically taken parts that were devised to capitalize on her work from the series and has still found enough roles to keep her occupied. She has also been extremely busy as a voice artist, including portraying the role of Velma on Scooby-Doo.

Trivia: Of Irish, Dutch, French and Mexican descent.Was raised by her maternal grandmother.Graduated high school in the same class as actor and host Mario Lopez.Was interested in goth bands like The Cure, but her mother forbade her to listen to goth music.Started performing stand-up comedy in her late teens.A casting director watched her imitating voices in her comedy routine and advise she try voice acting.In 2002, along with Murry Hammond, participated in the documentary series A Wedding Story.

Trivia: Making a career out of playing either sociopaths or the hyperkinetically weird, Matthew Lillard has established himself as one of the more promising, to say nothing of idiosyncratic, actors of his generation. Originally hailing from Lansing, MI, where he was born on January 24, 1970, Lillard was raised in California. His first break came in the form of Ghoulies 3: Ghoulies Go to College (1993), in which he was credited as Matthew Lynn. More auspicious work followed in John Waters' lovably warped Serial Mom (1994), which cast Lillard as the gore-obsessed son of the decidedly unhinged Kathleen Turner. The role was one of the first in which Lillard played the type of superficially normal yet profoundly wacked-out character that was to become his trademark. It was followed by a minor role in the Drew Barrymore/Chris O'Donnell doomed love vehicle Mad Love (directed by Antonia Bird in 1995) and a cyberpunk turn in Hackers (also 1995). Next up was the film that would make him famous, Wes Craven's Scream (1996). The film, in addition to simultaneously parodying and reviving the teen horror genre, helped to enhance the careers of more than a few of its actors, including David Arquette, Courtney Cox, Neve Campbell, and Skeet Ulrich.Lillard's next project of any acclaim (following such disappointments as Dish Dogs, The Curve, and Senseless, all made in 1998) was Robert Towne's Without Limits (1998), the critically lauded, if little-seen, story of the life of runner Steve Prefontaine (played by Billy Crudup, with Donald Sutherland as his coach). Lillard's subsequent film, SLC Punk! (1999), met with similarly good reviews, with praise being singled out for both Lillard's performance and that of his co-star, Michael Goorjian. The film told the story of two punks growing up in staid Salt Lake City during the Reagan years, and contained the type of small-budget charm lacking in Lillard's next two projects, Wing Commander and She's All That. Both films featured Lillard co-starring with Freddie Prinze Jr., as well as a score of bad reviews. However, while the former also succumbed to dismal box-office performance, the latter met with widespread success, virtually guaranteeing future work for Lillard and his young co-stars. Following the release of such efforts as Summer Catch and 13 Ghosts (both 2001), Lillard would take on the role of the fragile-nerved Shaggy in the live-action adaptation of the enduring cartoon Scooby-Doo in 2002. He appeared in The Baker and The Escapsit in 2008, and in 2011 he was cast in the well-reviewed made-for-cable series Homeland. That same year he appeared in the period pot comedy Your Highness.

Trivia: Veteran stage actress Frances Conroy studied drama at the Neighborhood Playhouse and the Juilliard School in New York. During the '70s, she performed regularly with regional and touring theater companies, including an off-Broadway production of Othello with Richard Dreyfuss and Raul Julia. One of her first film appearances was as a generic Shakespearean actress in Woody Allen's 1979 classic Manhattan. In 1980, she made her Broadway debut in The Lady From Dubuque. Small roles followed in feature films like the sports drama Amazing Grace and Chuck and the family drama Rocket Gibraltar (as one of Burt Lancaster's daughters). She mainly focused on her stage career for the rest of the '80s, appearing with the Broadway cast of Our Town and receiving several Drama Desk nominations.In 1992, Conroy became friends with famed playwright Arthur Miller. This friendship led to much involvement in his productions, on both stage and screen. During this time, she also appeared on some television shows, miniseries, and made-for-TV movies, and met and married fellow actor Jan Munroe. She was nominated for a Tony Award in 1998 for her work on the Broadway hit Ride Down Mt. Morgan. Like many of her theatrically trained colleagues, she received unexpected attention for the award-winning HBO dramatic series Six Feet Under. For her role of family matriarch Ruth Fisher, she's been recognized by the Screen Actor's Guild, the Golden Globes, and the Emmys. Following small roles in the mainstream Maid in Manhattan and the independent Die Mommie Die, Conroy portrayed legendary actress Katharine Hepburn's mother, Kit, in Martin Scorsese's 2004 Howard Hughes biopic The Aviator.In 2005 she had a small part in the drama Broken Flowers, and appeared in the ill-fated remake of The Wicker Man in 2006. In 2008 she lent her vocal talents to the cast of The Tale of Despereaux and in 2010 she acted with Robert De Niro in the drama Stone. 2011 saw her return to the small screen with a part in American Horror Story.

Trivia: Possessing a pair of the most elegantly piercing steel blue eyes ever to be captured on celluloid, German cult actor Udo Kier has made a distinct mark for himself in the world of cinema with roles in everything from obscure European exploitation films to the most mainstream of Hollywood fare. Though as an actor Kier has made a name for himself by essaying frequently bizarre and sometimes sadistic film roles, the man himself is almost the complete opposite of the characters he portrays onscreen, exuding a flamboyant and personable earthy elegance that stands in stark contrast to his unforgettably cold, vampiric screen presence. Born in October of 1944 in Cologne, Germany, it may come as no surprise that Kier's incredibly dramatic birth would easily rival the intensity of any of the future actor's film roles. As war raged outside the serene confines of the hospital, Kier's mother requested a few moments alone with her newborn son immediately following his birth. Moments later the hospital was bombed and Kier's mother began the grueling task of digging herself and her son from out of the rubble. His father absent for much of his youth, Kier had a chance encounter with an aspiring young filmmaker named Rainer Werner Fassbinder before moving to Britain at the age of 18 to study English and acting. Shortly after Kier's arrival, director Mike Sarne offered him the role of a gigolo in The Road to St. Tropez (1966), and with that film the young actor made his screen debut. Though Kier would appear in a few films rounding out the 1960s, it was his part in the controversial 1970 film The Mark of the Devil that would truly set his career path in motion. His role as a witch hunter apprentice who meets a gruesome demise horrified audiences, and the film was subsequently banned in many areas of the world. Increasingly prolific in the following years, it was a pair of Paul Morrissey films from the mid-'70s that would leave an indelible impression on not only European audiences, but American audiences as well. It was while on a flight from Rome to Munich that Kier made the acquaintance of director Morrissey, and shortly thereafter Kier was cast in the role of Baron Frankenstein in Andy Warhol's Frankenstein (aka Flesh for Frankenstein). Filled to the brim with satirical gore and graphic violence, the notorious film immediately garnered an X-rating though it would become a hit with strong-stomached audiences who could appreciate its dark humor. Released that same year, Andy Warhol's Dracula (aka Blood for Dracula) once again found Kier relishing in gore-drenched satire. In 1977 Kier would appear before old friend Fassbinder's lens in the television drama The Stationmaster's Wife and play a small role in Italian horror director Dario Argento's Suspiria. The remainder of the 1970s as well as the majority of the 1980s, found Kier appearing frequently in European exploitation films with such lurid titles as G.I. Bro (1977) and Prison Camp Girls, Jailed for Love (1982). Though sharp-eyed American audiences could catch glimpses of Kier in such films as Moscow on the Hudson (1984) (in which he appeared uncredited), it was during this period that Kier would work almost exclusively in Europe. Though American audiences didn't necessarily bear witness to most of Kier's work in the 1980s, his career continued to flourish overseas and the actor began to develop a strong personal and professional relationship with director Lars von Trier. Following his appearance in von Trier's Medea (1987), Kier would not only appear in all of the director future films, but also become the godfather of von Trier's daughter Agnes as well. It was Kier's role in director Gus Van Sant's My Own Private Idaho (1991) that brought the actor back to stateside audiences, and following his memorable appearance in the film, Kier would appear in such big-budget American films as Johnny Mnemonic (1995), Armageddon (1998), and Blade (also 1998). Despite appearances in such mainstream comedies as Ace Ventura: Pet Detective (1994), Kier would remain true to his European roots by simultaneously appearing in numerous foreign films such as von Trier's Europa (1991) and the gleefully amoral Terror 2000 (1992). With the millennial turnover bringing Kier more stateside exposure than ever, following a memorable turn in Shadow of the Vampire (2000), the tireless actor would appear in no less than eight films in 2001 alone, including Werner Herzog's Invincible and the apocalyptic thriller Meggido: The Omega Code 2. His feature career continuing to flourish, Kier could now be considered a full-fledged star, as appearances in numerous commercials and music videos by such popular acts as Korn virtually guaranteed that while he might not necessarily be a household name, his face would be instantly recognizable by virtually anyone. Though he continued to appear in numerous mainstream films, his experimental side could be evidenced with his participation in director von Trier's film Dimension. The production of the film would span 30 years, following the actors (without makeup) as they aged. The actors and director got together once a year to shoot a scene. Spending much of his free time in nature, Kier enjoys gardening, enjoying the company of his dog, and working on his home in California.

Trivia: Started his career at age 19 in New York City doing stand up at open mic nights. Moved to Los Angeles at age 22. A a comic, has opened for acts including Rodney Dangerfield, George Carlin and Donna Summer in Las Vegas and Atlantic City. Has done voice-overs for TV, films, commercials and video games. Once was credited in a movie as a belch: Provided the belching sound for Buddy the Elf in the film Elf.