Trivia: One of the postwar era's most successful actors, Gregory Peck was long the moral conscience of the silver screen; almost without exception, his performances embodied the virtues of strength, conviction, and intelligence so highly valued by American audiences. As the studios' iron grip on Hollywood began to loosen, he also emerged among the very first stars to declare his creative independence, working almost solely in movies of his own choosing. Born April 5, 1916, in La Jolla, CA, Peck worked as a truck driver before attending Berkeley, where he first began acting. He later relocated to New York City and was a barker at the 1939 World's Fair. He soon won a two-year contract with the Neighborhood Playhouse. His first professional work was in association with a 1942 Katherine Cornell/Guthrie McClintic ensemble Broadway production of The Morning Star. There Peck was spotted by David O. Selznick, for whom he screen-tested, only to be turned down. Over the next year, he played a double role in The Willow and I, fielding and rejecting the occasional film offer. Finally, in 1943, he accepted a role in Days of Glory, appearing opposite then-fiancée Tamara Toumanova. While the picture itself was largely dismissed, Peck found himself at the center of a studio bidding war. He finally signed with 20th Century Fox, who cast him in 1944's The Keys of the Kingdom - a turn for which he snagged his first of many Oscar nods. From the outset, he enjoyed unique leverage as a performer; he refused to sign a long-term contract with any one studio, and selected all of his scripts himself. For MGM, he starred in 1945's The Valley of Decision, a major hit. Even more impressive was the follow-up, Alfred Hitchcock's Spellbound, which co-starred Ingrid Bergman. Peck scored a rousing success with 1946's The Yearling (which brought him his second Academy Award nomination) and followed this up with another smash, King Vidor's Duel in the Sun. His third Oscar nomination arrived via Elia Kazan's 1947 social drama Gentleman's Agreement, a meditation on anti-Semitism which won Best Picture honors. For the follow-up, Peck reunited with Hitchcock for The Paradine Case, one of the few flops on either's resumé. He returned in 1948 with a William Wellman Western, Yellow Sky, before signing for a pair of films with director Henry King, Twelve O'Clock High (earning Best Actor laurels from the New York critics and his fourth Oscar nod) and The Gunfighter. After Captain Horatio Hornblower, Peck appeared in the Biblical epic David and Bathsheba, one of 1951's biggest box-office hits. Upon turning down High Noon, he starred in The Snows of Kilimanjaro. To earn a tax exemption, he spent the next 18 months in Europe, there shooting 1953's Roman Holiday for William Wyler. After filming 1954's Night People, Peck traveled to Britain, where he starred in a pair of features for Rank -- The Million Pound Note and The Purple Plain -- neither of which performed well at the box office; however, upon returning stateside he starred in the smash The Man in the Gray Flannel Suit. The 1958 Western The Big Country was his next major hit, and he quickly followed it with another, The Bravados. Few enjoyed Peck's portrayal of F. Scott Fitzgerald in 1959's Beloved Infidel, but the other two films he made that year, the Korean War drama Pork Chop Hill and Stanley Kramer's post-apocalyptic nightmare On the Beach, were both much more successful. Still, 1961's World War II adventure The Guns of Navarone topped them all -- indeed, it was among the highest-grossing pictures in film history. A vicious film noir, Cape Fear, followed in 1962, as did Robert Mulligan's classic adaptation of To Kill a Mockingbird; as Atticus Finch, an idealistic Southern attorney defending a black man charged with rape, Peck finally won an Academy Award. Also that year he co-starred in the Cinerama epic How the West Was Won, yet another massive success. However, it was to be Peck's last for many years. For Fred Zinneman, he starred in 1964's Behold a Pale Horse, miscast as a Spanish loyalist, followed by Captain Newman, M.D., a comedy with Tony Curtis which performed only moderately well. When 1966's Mirage and Arabesque disappeared from theaters almost unnoticed, Peck spent the next three years absent from the screen. When he returned in 1969, however, it was with no less than four new films -- The Stalking Moon, MacKenna's Gold, The Chairman, and Marooned -- all of them poorly received.The early '70s proved no better: First up was I Walk the Line, with Tuesday Weld, followed the next year by Henry Hathaway's Shootout. After the failure of the 1973 Western Billy Two Hats, he again vanished from cinemas for three years, producing (but not appearing in) The Dove. However, in 1976, Peck starred in the horror film The Omen, an unexpected smash. Studio interest was rekindled, and in 1977 he portrayed MacArthur. The Boys From Brazil followed, with Peck essaying a villainous role for the first time in his screen career. After 1981's The Sea Wolves, he turned for the first time to television, headlining the telefilm The Scarlet and the Black. Remaining on the small screen, he portrayed Abraham Lincoln in the 1985 miniseries The Blue and the Grey, returning to theater for 1987's little-seen anti-nuclear fable Amazing Grace and Chuck. Old Gringo followed two years later, and in 1991 he co-starred in a pair of high-profile projects, the Norman Jewison comedy Other People's Money and Martin Scorsese's remake of Cape Fear. Fairly active through the remainder of the decade, Peck appeared in The Portrait (1993) and the made-for-television Moby Dick (1998) while frequently narrating such documentaries as Wild Bill: Hollywood Maverick (1995) and American Prophet: The Story of Joseph Smith (2000).On June 12, 2003, just days after the AFI named him as the screen's greatest hero for his role as Atticus Finch in To Kill a Mockingbird, Gregory Peck died peacefully in his Los Angeles home with his wife Veronique by his side. He was 87.

Trivia: A former child actor, John Megna is perhaps best remembered for playing Dill, the neighbor of young Scout, in both the Broadway and film versions of To Kill a Mockingbird (1962). His second best-known film appearance is in the Bette Davis/Olivia de Havilland psycho-horror classic Hush...Hush, Sweet Charlotte (1964). Megna continued to have a sporadic film career through 1981.

Trivia: Frank Overton was a New York theater actor who enjoyed a limited but productive career in feature films and a much busier one on the small screen. Although he often played thoughtful, compassionate, introspective characters, he could also exude an earthy side, or portray rule-bound authority figures, though one of his most memorable portrayals -- as General Bogan, the head of the Strategic Air Command, in Fail-Safe -- combined two of those sides. Born Frank Emmons Overton in Babylon, NY, in 1918, he gravitated to theater in the 1930s and participated in some experimental stage work -- including designing the sets for A Democratic Body, a production of Geoff and Mary Lamb at The New School in New York City -- at the outset of the 1940s. Overton's earliest screen work came not on camera, but as one of the voice actors (alongside Harry Bellaver and future producer Ilya Lopert) in the dubbing of the 1943 Soviet-made propaganda film Ona Zashchishchayet Rodinu (aka, No Greater Love). His on-camera screen career started in 1947 with an uncredited bit part in Elia Kazan's fact-based drama Boomerang! He appeared in two more feature films, John Sturges' Mystery Street and Joseph L. Mankiewicz's No Way Out (both 1950), but as an East Coast-based actor, he ended up a lot busier on television over the next few years, in between appearing in theater pieces such as the original stage version of The Desperate Hours, replacing James Gregory in the role of the deputy. Overton also worked with Lillian Gish in the original television presentation of Horton Foote's The Trip to Bountiful in 1953, and in the Broadway production that followed that same year. He also did a great deal of work in anthology drama series, such as The Elgin Hour, Armstrong Circle Theatre, The Alcoa Hour, and The Philco-Goodyear Television Playhouse. In the latter, he portrayed Sheriff Pat Garrett to Paul Newman's Billy The Kid in The Death of Billy The Kid, scripted by Gore Vidal and directed by Arthur Penn, which was later remade in Hollywood as The Left-Handed Gun (with John Dehner replacing Overton in the role of Garrett).By the end of the 1950s, however, more television was being done on film from the West Coast and Overton made the move to California. Most baby-boom viewers will remember him best for his performance in one of the finest installments of The Twilight Zone ever produced, "Walking Distance," as the father of the character portrayed by Gig Young. He returned to feature films around this same time in Desire Under the Elms (1958), The Last Mile (1959), and The Dark at the Top of the Stairs (1960), in between appearances on episodes of Peter Gunn, Riverboat, The Rebel, The Asphalt Jungle, Lawman, Checkmate, Perry Mason, Route 66, The Fugitive, Wagon Train, The Defenders, and others. He also periodically returned to New York to work on series such as Naked City. His biggest movie roles came in the early '60s, in Robert Mulligan's To Kill a Mockingbird (1962) as Sheriff Tate, and Sidney Lumet's Fail-Safe (1964) as General Bogan.In 1964, he also took his first and only regular series costarring role, on the Quinn Martin-produced 12 O'Clock High, portraying Major Harvey Stovall, the adjutant for the 918th Heavy Bombardment Group commanded by Brig. Gen. Frank Savage (Robert Lansing). It was not an enviable assignment, as Dean Jagger had won the Oscar in the same role in the original 1949 feature film, which was still relatively fresh in people's minds as one of the best World War II aerial dramas; but Overton, with his rich, quietly expressive voice, succeeded in putting his own stamp on the part and got several episodes written around his character. He was also with the series for its entire three seasons, amid several major casting changes and was one of the key points of continuity on the show. When 12 O'Clock High went out of production in late 1966, Overton showed up in episodes of Bonanza and The Virginian in 1967. But his most widely rerun appearance, other than his Twilight Zone episode, was one of his last, as colonist leader Elias Sandoval in the first-season Star Trek episode "This Side of Paradise," which is regarded by many as one of the best shows in the run of the series. Overton died of a heart attack in April 1967, a month after the show first aired.

Trivia: Born in Germany to American parents, Rosemary Murphy was educated in Paris. When her family relocated to the U.S. in 1939, Murphy completed her schooling in Kansas City. After preparing for an acting career at Neighborhood Playhouse and the Actors Studio, she returned to Germany, where she made her film bow in Berlin Express (1948) and her stage debut in a 1949 production of Peer Gynt. The following year, she made her first Broadway appearance. Murphy's stage credits include Period of Adjustment (1961), Any Wednesday (1964) and A Delicate Balance (1966); she earned Tony nominations for all three, and was honored with the New York Critic's Poll award for her work in Balance. Her film and TV characterizations ranged from meek subservience to homicidal intensity. She spent several years as Loretta Fowler on the daytime soap opera Another World, and has played such "historical celebrity" roles as Sara Delano Roosevelet in Eleanor and Franklin (winning an Emmy for her work), Dorothy Parker in Julia (1977), Mary Ball Washington in the 1984 miniseries George Washington, and Rose Kennedy in the 1991 TV biopic A Woman Named Jackie. Rosemary Murphy has also been prominently featured in three recent Woody Allen productions: September (1987), Don't Drink the Water (1994), and Mighty Aphrodite. Her final film role was in the indie rom-com The Romantics. Murphy died in 2014, at age 89.

Trivia: American character actress Ruth White specialized in offbeat roles on-stage and in feature films. She started out in stock theater in the early '40s after studying acting under Maria Ouspenskaya. She made her Broadway debut in 1949 and went on to become a popular and oft-distinguished performer. White made her film debut in Edge of the City (1957). White died in 1969.

Trivia: African American actor Brock Peters was a stage performer as early as 1943, long before he was old enough to attend CCNY. Peters made his film bow as Sgt. Brown in Otto Preminger's Carmen Jones (1954). Five years later, he appeared in another Preminger-directed musical film, playing the menacing Crown in Porgy and Bess (1959); coincidentally, he'd made his earliest stage appearance in that same Gershwin opera. Specializing in roles of unquestioned authority, Peters was at home with the villainous Rodriguez in The Pawnbroker (1965) as he was with the kindly Reverend Kumalko in Lost in the Stars (1974). Conversely, one of Peters' most impressive screen performances was as a victim; in 1962's To Kill a Mockingbird, he played accused rapist Tom Robinson. His more recent movie assignments have included Admiral Cartwright in two of the Star Trek theatrical features (numbers IV and VI), and a brace of roles previously associated with white actors: reclusive Mr. Pendergast in Polly, the 1988 musical adaptation of Pollyanna, and the fatuous Reverend Chasuble in the all-black 1992 remake of The Importance of Being Earnest. Peters also produced the 1973 film Five on the Black Hand Side, and has from time to time pursued a nightclub singing career. On television, Peters was briefly a regular on the daytime drama Young and the Restless, and supplied the voice of Lucius Fox on 1992's Batman: The Animated Series. The recipient of numerous industry awards and honors, Brock Peters was inducted into the Black Filmmakers Hall of Fame in 1976.

Trivia: Before becoming an actress, Estelle Evans, the sister of distinguished African American actress Esther Rolle, taught in New York City schools for 14 years. While studying acting, the Hunter College graduate, shared courses with such distinguished actors as Sidney Poitier and Harry Belafonte. Evans played supporting roles in films such as The Quiet One and To Kill a Mockingbird (1962). In 1969 Evans had a lead role in Learning Tree.

Trivia: The son of a brewery owner, steely-eyed American character actor Paul Fix went the vaudeville and stock-company route before settling in Hollywood in 1926. During the 1930s and 1940s he appeared prolifically in varied fleeting roles: a transvestite jewel thief in the Our Gang two-reeler Free Eats (1932), a lascivious zookeeper (appropriately named Heinie) in Zoo in Budapest (1933), a humorless gangster who puts Bob Hope "on the spot" in The Ghost Breakers (1940), and a bespectacled ex-convict who muscles his way into Berlin in Hitler: Dead or Alive (1943), among others. During this period, Fix was most closely associated with westerns, essaying many a villainous (or at least untrustworthy) role at various "B"-picture mills. In the mid-1930s, Fix befriended young John Wayne and helped coach the star-to-be in the whys and wherefores of effective screen acting. Fix ended up appearing in 27 films with "The Duke," among them Pittsburgh (1942), The Fighting Seabees (1943), Tall in the Saddle (1944), Back to Bataan (1945), Red River (1948) and The High and the Mighty (1954). Busy in TV during the 1950s, Fix often found himself softening his bad-guy image to portray crusty old gents with golden hearts-- characters not far removed from the real Fix, who by all reports was a 100% nice guy. His most familiar role was as the honest but often ineffectual sheriff Micah Torrance on the TV series The Rifleman. In the 1960s, Fix was frequently cast as sagacious backwoods judges and attorneys, as in To Kill a Mockingbird (1962).

Trivia: Cincinnati native Collin Wilcox Paxton honed her performing skills with the Chicago improve troupe the Compass Players in the 1950s before moving eastward to cultivate a successful career on Broadway. She appeared in productions like The Day Money Stopped and Look, We've Come Through and also worked in the realm of movies, most notably playing Mayella Violet Ewell in the 1962 film To Kill a Mockingbird. She continued to act throughout the coming decades, appearing in Catch-22, Jaws 2, Midnight in the Garden of Good and Evil, and many other projects. Paxton passed away in 2009 at the age of 74.

Trivia: Born in Missouri and educated at the University of Oklahoma, Alice Ghostley created a sensation in her first Broadway production, New Faces of 1952. In the company of such powerhouse co-stars as Paul Lynde, Robert Clary and Carol Lawrence, Ghostley stole the show with her plaintive renditions of the satirical ballads "The Boston Beguine" and "Time for Tea." Within a year of New Faces, she was headlined in the film version of that popular revue and was cast as a regular on the network-TV series Freedom Ring. Ghostley has been convulsing audiences ever since, playing a rich variety of man-chasing bachelorettes, overprotective mothers and dotty neighbors. While most of her film appearances have been in comedies (Viva Max!, The Graduate, Grease), Ghostley proved quite effective in the comparatively straight role of Stephanie Crawford in To Kill a Mockingbird (1962). In 1965, she won a Tony award for her performance in the Broadway seriocomedy The Sign in Sidney Brustein's Window. In addition, Ghostley has been a regular or semi-regular on a multitude of TV series: The Jackie Gleason Show, Car 54 Where Are You, Captain Nice, The Jonathan Winters Show, The Golddiggers, Designing Women and a host of others. She is most fondly remembered for her portrayal of bumbling witch Esmerelda on the long-running (1964-72) sitcom Bewitched. On both this series and 1972's Temperatures Rising, Alice Ghostley was reunited with her old New Faces cohort, Paul Lynde. Ghostley died of colon cancer at age 81 in September 2007.

Trivia: One of Hollywood's most distinguished, popular, and versatile actors, Robert Duvall possesses a rare gift for totally immersing himself in his roles. Born January 5, 1931 and raised by an admiral, Duvall fought in Korea for two years after graduating from Principia College. Upon his Army discharge, he moved to New York to study acting at the Neighborhood Playhouse, where he won much acclaim for his portrayal of a longshoreman in A View From the Bridge. He later acted in stock and off-Broadway, and had his onscreen debut as Gregory Peck's simple-minded neighbor Boo Radley in To Kill a Mockingbird (1962).With his intense expressions and chiseled features, Duvall frequently played troubled, lonely characters in such films as The Chase (1966) during his early film career. Whatever the role, however, he brought to it an almost tangible intensity tempered by an ability to make his characters real (in contrast to some contemporaries who never let viewers forget that they were watching a star playing a role). Though well-respected and popular, Duvall largely eschewed the traditionally glitzy life of a Hollywood star; at the same time, he worked with some of the greatest directors over the years. This included a long association with Francis Ford Coppola, for whom he worked in two Godfather movies (in 1972 and 1974) and Apocalypse Now (1979). The actor's several Oscar nominations included one for his performance as a dyed-in-the-wool military father who victimizes his family with his disciplinarian tirades in The Great Santini (1980). For his portrayal of a has-been country singer in Tender Mercies -- a role for which he composed and performed his own songs -- Duvall earned his first Academy Award for Best Actor. He also directed and co-produced 1983's Angelo My Love and earned praise for his memorable appearance in Rambling Rose in 1991. One of Duvall's greatest personal triumphs was the production of 1997's The Apostle, the powerful tale of a fallen Southern preacher who finds redemption. He had written the script 15 years earlier, but was unable to find a backer, so, in the mid-'90s, he financed the film himself. Directing and starring in the piece, Duvall earned considerable acclaim, including another Best Actor Oscar nomination.The 1990s were a good decade for Duvall. Though not always successful, his films brought him steady work and great variety. Not many other actors could boast of playing such a diversity of characters: from a retired Cuban barber in 1993's Wrestling Ernest Hemingway to an ailing editor in The Paper (1994) to the abusive father of a mentally impaired murderer in the harrowing Sling Blade (1996) to James Earl Jones's brother in the same year's A Family Thing (which he also produced). Duvall took on two very different father roles in 1998, first in the asteroid extravaganza Deep Impact and then in Robert Altman's The Gingerbread Man. Throughout his career, Duvall has also continued to work on the stage. In addition, he occasionally appeared in such TV miniseries as Lonesome Dove (1989) and Stalin (1992), and has even done voice-over work for Lexus commercials. In the early 2000s, he continued his balance between supporting roles in big-budget films and meatier parts in smaller efforts. He supported Nicolas Cage in Gone in 60 Seconds and Denzel Washington in John Q., but he also put out his second directorial effort, Assassination Tango (under the aegis of old friend Coppola, which allowed him to film one of his life's great passions -- the tango. In 2003, Kevin Costner gave Duvall an outstanding role in his old-fashioned Western Open Range, and Duvall responded with one of his most enjoyable performances.Duvall subsequently worked in a number of additional films, including playing opposite Will Ferrell in the soccer comedy Kicking & Screaming, as well as adding a hilarious cameo as a tobacco king in the first-rate satire Thank You For Smoking. In 2006 he scored a hit in another western. The made for television Broken Trail, co-starring Thomas Haden Church, garnered strong ratings when it debuted on the American Movie Classics channel. That same year he appeared opposite Drew Barrymore and Eric Bana in Curtis Hanson's Lucky You.In 2010, Duvall took on the role of recluse Felix "Bush" Breazeale for filmmaker Aaron Schneider's Get Low. The film, based on the true story of a hermit who famously planned his own funeral, would earn Duvall a nomination for Best Actor at the SAG Awards, and win Best First Feature for Schneider at the Independent Spirit awards. He picked up a Best Supporting Actor nod from the Academy for his work in 2014's The Judge, playing a beloved judge on trial for murder.

Trivia: The great-grandson of a famous and influential 19th century Minnesota senator, actor William Windom was born in New York, briefly raised in Virginia, and attended prep school in Connecticut. During World War II, Windom was drafted into the army, which acknowledged his above-the-norm intelligence by bankrolling his adult education at several colleges. It was during his military career that Windom developed a taste for the theater, acting in an all-serviceman production of Richard III directed by Richard Whorf. Windom went on to appear in 18 Broadway plays before making his film debut as the prosecuting attorney in To Kill a Mockingbird. He gained TV fame as the co-star of the popular 1960s sitcom The Farmer's Daughter and as the James Thurber-ish lead of the weekly 1969 series My World and Welcome to It. Though often cast in conservative, mild-mannered roles, Windom's offscreen persona was that of a much-married, Hemingway-esque adventurer. William Windom was seen in the recurring role of crusty Dr. Seth Haslett on the Angela Lansbury TV series Murder She Wrote.

Trivia: A onetime opera singer, wizened, glowering American character actor Richard Hale spent most of his screen time playing small-town sourpusses. Many of his movie appearances were small and unbilled: he enjoyed larger assignments as outlaw patriarch Basserman in Preston Sturges' The Beautiful Blonde of Bashful Bend (1949), the Soothsayer in Julius Caesar (1953), and the father of the retarded Boo Radley (Robert Duvall) in To Kill a Mockingbird (1962). He also showed up with regularity on television, often cast as a taciturn farmer or hard-hearted banker on the many western series of the 1950s and 1960s. One of Hale's showier parts was in the Oscar-winning All The King's Men, as the father of the girl killed in an auto accident caused by the drunken son (John Derek) of demagogic Willie Stark (Broderick Crawford), his character name: Richard Hale.

Trivia: Mary Badham's claim to fame was for her distinguished portrayal of the young girl, Scout, in To Kill a Mockingbird (1962). She was chosen over 2,000 other young actresses and afterwards won an Oscar nomination for Best Supporting Actress. Following that, Badham only appeared in two more movies and in episodes of two TV shows, Dr. Kildare and Twilight Zone. She is the sister of filmmaker John Badham.

Trivia: In films from 1939, character actor Dan White trafficked in small-town blowhards and rustic constables. Often unbilled in bit roles, White was occasionally afforded such larger roles as Deputy Elmer in Voodoo Man (1944), Millwheel in The Yearling (1946) and Abel Hatfield in Roseanna McCoy (1949). He remained active until the early 1960s. The "Dan White" who appeared in 1977's Alien Factor is a different person.

Trivia: "A very funny guy -- funnier than most gave him credit for," as one director described him, lanky, slow-moving Guy Wilkerson is fondly remembered for playing comedy sidekick Panhandle Perkins in the 1942-1945 PRC Texas Rangers film series, a low-rent competition for Republic Pictures' popular Three Mesquiteers Westerns. As Panhandle, Wilkerson's comedy was never intrusive and often used merely as a slow-witted counterpoint to the action. In Hollywood from at least 1937 (some sources claim he appeared onscreen as early as the 1920s), Wilkerson had honed his skills in minstrel shows, burlesque, and vaudeville, but away from his sidekick duties at PRC, he was usually seen playing less humorous characters, notably ministers or undertakers. Appearing in hundreds of feature films and television series over three decades, Guy Wilkerson was last seen in the crime thriller The Todd Killings in 1971, the year of his death from cancer.

Trivia: Character actor, onscreen from the '50s.

Trivia: In recalling his courtroom scene in To Kill a Mockingbird, Gregory Peck recalled the vital contribution of African American actor Bill Walker, who was cast as the Reverend Sikes. "All the black people in the balcony stood," Peck noted. "My two kids didn't. When Bill said to them 'Stand up, children, your father is passing,' he wrapped up the Academy Award for me." The son of a freed slave, Walker began his stage career at a time when black actors were largely confined to shuffling, eye-rolling "Yowzah boss" bit parts. While the harsh economic realities of show business dictated that Walker would occasionally have to take less than prestigious roles as butlers, cooks, valets, and African tribal chieftains, he lobbied long and hard to assure that other actors of his race would be permitted to portray characters with more than a modicum of dignity. He also was a tireless worker in the field of Civil Rights, frequently laying both his career and his life on the line. Walker's Broadway credits included Harlem, The Solid South and Golden Dawn; his film credits were legion. Bill Walker was married to actress Peggy Cartwright, who as a child was one of the stars of the Our Gang silent comedies.