Trivia: Known for her vibrant, intelligent portrayals of women who run the gamut from cold-blooded killers to long-suffering wives, Miranda Richardson is one of the British cinema's foremost purveyors of elegant, energetic dysfunction. Born in Southport, Lancashire, on March 3, 1958, Richardson began acting in school plays and left school at the age of 17 to study drama at the Bristol Old Vic Theatres School. Following her graduation, she acted in repertory theatre, becoming affiliated with Manchester's Liberty Theatre in 1979. Obtaining her Equity card, Richardson performed in a number of regional productions before moving on to the London stage in 1981. While performing on the stage, she also began acting on television and then in film. Her first big break came when she was cast as the real-life Ruth Ellis, the last woman to be executed for murder in Britain, in Mike Newell's Dance with a Stranger (1985). Her astonishing performance as a woman destroyed by her dependence on her loutish lover (played by a sulky Rupert Everett) earned wide critical acclaim, but Richardson remained fairly unknown outside of Britain.In 1987, having turned down the opportunity to play the role that went to Glenn Close in Fatal Attraction, the actress appeared in her first American outing, Steven Spielberg's adaptation of J.G. Ballard's Empire of the Sun. Richardson's portrayal of a doctor's wife interned in a Japanese prison camp provided what little sensual heat there was to be found in the film, but it was not until five years later that American audiences finally took notice of her.In 1992, Richardson had substantial roles in both Damage and The Crying Game. Playing the long-suffering wife of a philandering MP (Jeremy Irons) in the former and a murderous IRA operative in the latter, she impressed both critics and audiences with the spellbinding range and depth of her performances. Her work in both films received a number of honors, including a Best Supporting Actress Oscar nomination for her work in Damage and a BAFTA award in the same category for her portrayal of The Crying Game's Jude. In addition, Richardson won a Golden Globe for her work in another film that year, Mike Newell's Enchanted April, in which she played one of a group of British women who find liberation in the hills of Tuscany.Richardson received her second Oscar nomination and third BAFTA nomination two years later, for her vivid, full-blooded performance in Tom and Viv, in which she played the aristocratic, unstable wife of T.S. Eliot. She subsequently did starring work in films of widely varying quality, turning in particularly memorable performances in Robert Altman's Kansas City (1996) and Robert Duvall's The Apostle (1997). In the first, she demonstrated great wit as a politician's drug-addicted wife, while in the second, she made her small role as a radio station secretary one of the film's most memorable features.Following a turn in David Hare's The Designated Mourner (which was filmed in 1997 as the actors were also performing in its original production on the London stage) and a delightfully nasty stint as the evil queen in Merlin (1998), Richardson could be seen in a number of projects in 1999. Two of these were particularly high-profile, the first being Tim Burton's Sleepy Hollow, in which Richardson did time in a bodice and fright wig to portray a mysterious woman of questionable intention. The second, George Hickenlooper's The Big Brass Ring, was a political drama that featured the actress as the wife of a gubernatorial candidate (William Hurt) whose campaign is severely threatened by his past indiscretions.Richardson ushered in the new millenium with a role in the remake of the classic British crime-thriller Get Carter and by lending her voice to the claymation family film Chicken Run. In 2002, she wowed critics both with her performance in The Hours as well as in David Cronenberg's Spider, a film that had Richardson playing three different characters opposite Ralph Fiennes. After a handful of small films in 2003, the actress returned to the megaplexes as the Queen of Denmark in 2004's The Prince & Me.

Trivia: One of England's most esteemed actresses, Joan Plowright was trained at the Old Vic. She made her regional stage debut in 1951 and her London stage bow in 1954. Two years later, she joined the English Stage Company, where she essayed her most popular role up to that time, Margery Pincher in Wycherly's The Country Wife. That same year, she appeared in her first film, Moby Dick. In the original 1958 stage production of John Osborne's The Entertainer, Plowright co-starred with Sir Laurence Olivier, whom she would marry in 1961, a union that lasted until Olivier's death in 1989. She appeared on screen with her husband in the film versions of The Entertainer (1960) and The Three Sisters (1970), the latter of which was also directed by Olivier. During the same period, Plowright and Olivier were mainstays of London's National Theatre. In 1961, Plowright won a Tony award for her Broadway appearance in A Taste of Honey. Her stage work was briefly curtailed in the mid-to-late '60s, allowing her time to raise her family. From 1982 on, Plowright began appearing in films with increasing regularity, demonstrating at least two traits she'd evidently picked up from Olivier: a propensity for elaborate foreign accents (the hero's Jewish mother in Avalon (1990) and the heroine's Yugoslavian mom in I Love You to Death (1990)) and a willingness to take assignments possibly only for the money (Mrs. Wilson in Dennis the Menace (1993)). While an Oscar win is long overdue (although she was awarded a CBE from the Queen in 1970), Plowright was nominated for her work in 1992's Enchanted April. Perhaps one of her most endearing portrayals in recent years was as the high school teacher in The Last Action Hero who runs a clip from Laurence Olivier's Hamlet (1948) for her class, introducing Olivier as "the fellow who did all those Polaroid commercials." In 1999, Plowright additionally endeared herself to moviegoers with her role as one of a group of high society women living in fascist Italy in Franco Zeffirelli's Tea with Mussolini.She continued to work steadily at the beginning of the 21st century appearing in a variety of projects including Rock My World, Callas Forever, and the Steve Martin/Queen Latifah comedy Bringing Down the House. In 2006 she voiced a part in the big-screen adaptation of Curious George, and two years later could be seen in the family fantasy film The Spiderwick Chronicles.

Trivia: With her moony eyes, broad forehead, and chiseled facial features, British actress Polly Walker embodies a direct throwback to an earlier era -- a reincarnation of late '60s glamour goddesses such as Twiggy and Veruschka. Unsurprisingly, she continues to earn frequent comparisons to these mod cover girls in the press. Walker's depth and breadth as an actress, however, arguably far exceed that of her predecessors.Born in 1966, Walker received classical training as an actor with that crème de la crème of acting ensembles, the Royal Shakespeare Company (or RSC). She demonstrated extraordinary versatility in her early Hollywood roles, which included everything from an assassin (in the Harrison Ford-headlined 1992 political thriller Patriot Games) to the coke-snorting, gossip-mad denizen of a Manhattan apartment complex in the Joe Eszterhas-scripted erotic thriller Sliver (1993) -- both for Aussie import director Phillip Noyce. Additional features in which Walker appeared through the end of the 1990s include Restoration (1994), Talk of Angels (1998), and Peter Greenaway's 8 1/2 Women (1999), opposite Amanda Plummer and Toni Collette. Walker earned a whole new generation of fans with her impassioned portrayal of Atia of the Julii in the HBO series Rome (2005-2007), about the evolution of the titular city from Republic to Empire.Walker's resumé also includes a few guest appearances on the series Waking the Dead and a key role in the short-lived thriller series State of Play (both in the U.K.). She was particularly memorable and impressive -- and had an opportunity to draw on her classical roots -- with her portrayal of Lucetta, the epileptic and expectant mistress of Michael Henchard, in the made-for-television Thomas Hardy adaptation The Mayor of Casterbridge (2001). In the years to come, Smith would remain active on screen, appearing on series like Caprica and Prisoners Wives.

Trivia: The son of a Spanish waiter and an Italian housekeeper, Molina was born in London on May 24, 1953. Educated at London's Guildhall School of Music and Drama, he began his career as one half of a street-corner comedy team but then turned to acting. While most thesps start at the bottom and ascend the ladder, Molina is an anomaly: he began at the top of the heap, first earning professional credibility (and his pedigree) as a member of the Royal Shakespeare Company, and debuting cinematically in no less than Steven Spielberg's Raiders of the Lost Ark (1981), as the devious South American guide who leaves Harrison Ford for dead in an ancient temple before meeting his own end, courtesy of a particularly nasty booby trap. His subsequent resume for the rest of that decade reads like a "best of 1980s International Film": supporting roles in Mike Leigh's Meantime (1981), Peter Yates's Eleni (1985) , Richard Donner's Ladyhawke (1985),Chris Bernard's Letter to Brezhnev and Dusan Makavejev's Manifesto (1989), to name only a few. His contribution to Chris Bernard's gently underplayed, low-budget comedy Brezhnev (1985) (which, like Raiders, takes advantage of his slightly dark, Mediterranean complexion) is particularly a standout. He plays a Russian sailor who picks up Margi Clarke's Liverpool blue-collar worker Teresa King during leave, and whose only comprehensible line gives the film its biggest laugh: "Leeverpool. Bittles... Ahhhhh." Molina would spend the next several years appearing in a number of films, like An Education, as well as a number of TV projects like Harry's Law, Law & Order: L.A., and Roger & Val Have Just Got In.But Molina's most impressive contribution to cinema came in 1986, when he joined two fellow Brits, director Stephen Frears and actor Gary Oldman - and turned everyone's head in the process - in Prick Up Your Ears. That film, adapted from eccentric playwright Joe Orton's autobiography, casts Molina as Kenneth Halliwell, Orton's homosexual lover and eventual murderer, opposite Oldman. Practically unrecognizable as the bald, severely unhinged Halliwell, Molina is at once terrifying and pathetic, and gleaned a number of positive notices for his performance, though, for some odd reason, it was criminally overlooked at awards ceremonies and failed to earn Molina any acting laurels. A few years later, Molina joined the cast of Not Without My Daughter (1990). In this true-life account (adapted from Betty Mahmoody's memoir), he plays Moody, a Persian husband who takes his American wife (Sally Field) and daughter to Iran under the guise of "vacation," and virtually imprisons them, forcing her to plot escape. The role (and film) gleaned some controversy for its portrayal of Islam, but (the bearded) Molina glistened with dark, brooding intensity characteristic of the actor's finest work. Molina offered more sympathetic portrayals in such films as Mike Newell's Enchanted April (1992), Species (1995), and Mira Nair's The Perez Family (1995), as a Cuban immigrant struggling to make a new life for himself in Miami. In Paul Thomas Anderson's Boogie Nights, Molina evoked a deranged playboy precariously teetering on the edge of insanity - a role that further evinced boundless courage. 1999's ridiculous Dudley-do-Right, however (in which Molina) played the villain), didn't serve him as well; neither he, nor Brendan Fraser, nor Sarah Jessica Parker managed to rise above the silly script. Far more impressive (albeit smaller in scope) was the actor's sophomore collaboration with Anderson, that year's Magnolia, in a fleeting role as Solomon Solomon, the owner of the electronics shop where William H. Macy's Donnie Smith works. During 1999 and thereafter, Molina attempted to break into television sitcoms (1999's Ladies Man, 2002's Bram and Alice), but none of these efforts panned out. He continued to garner positive notices during this period, however, for his roles in such films as 2000's Chocolat and 2002's Frida. Molina earned a Screen Actors Guild Award nomination (finally!) in the latter, for his portrayal of chronically unfaithful painter Diego Rivera. In 2004, the actor traveled to megaplexes again, as the infamous Doc Oc in the critically-acclaimed box-office smash Spider-Man 2, and although ostensibly a defiantly commercial piece of Hollywood fluff, the film performed well on all fronts - critically and commercially. Considered by some to be the greatest example of the superhero genre ever produced, no small amount of the rave reviews given to the film were directed at Molina for his spot-on portrayal of the maniacal comic-book villain; The Los Angeles Times's Kenneth Turan rhapsodized, "As played by Alfred Molina with both computer-generated and puppeteer assistance, Doc Ock grabs this film with his quartet of sinisterly serpentine mechanical arms and refuses to let go."That same year (albeit in a much different cinematic arena and catering to a much different audience --- such is the magic of Molina's versatility), the actor played opposite John Leguizamo as Victor Hugo Puente, a sensationalism-hungry news anchor willing to do almost anything for ratings, in Sebastian Cordero's well-received psychological thriller Crónicas. Molina highlighted the cast of no less than six features throughout 2005 and 2006, but his highest-profile film from this period was Ron Howard's The Da Vinci Code, in which he plays the obese Bishop Aringarosa This May '06 release (adapted from Dan Brown's bestseller) sharply divided critics (most found it average). That same year, Molina contributed to two films by major directors: Kenneth Branagh drew on his background as a trained RSC member by casting Molina as Touchstone in his screen adaptation of Shakespeare's comedy of errors As You Like It, and he receives second billing (after Richard Gere) in Lasse Hallstrom's docudrama The Hoax. The picture tells the early-1970s story of Clifford Irving's (Gere) attempt to write and market a phony autobiography of Howard Hughes, with the assistance of right-hand man Richard Susskind (Molina). Molina married British actress Jill Gascoine (Northern Exposure, BASEketball) in 1985, who is sixteen years his senior. They have two sons.

Trivia: One of England's most versatile character actors, Jim Broadbent has been giving reliably excellent performances on the stage and screen for years. Particularly known for his numerous collaborations with director Mike Leigh, Broadbent was shown to superlative effect in Leigh's Topsy-Turvy, winning the Venice Film Festival's Volpi Cup for his portrayal of British lyricist and playwright W.S. Gilbert.Born in Lincolnshire, England, in 1949, Broadbent trained at the London Academy of Music and Dramatic Arts. Following his 1972 graduation, he began his professional career on the stage, performing with the Royal National Theatre, the Royal Shakespeare Company, and as part of the National Theatre of Brent, a two-man troupe he co-founded that performed reduced histories. In addition to his theatrical work, Broadbent did steady work on television, acting for such directors as Mike Newell and Stephen Frears. Broadbent made his film debut in 1978 with a small part in Jerzy Skolimowski's The Shout. He went on to work with such directors as Stephen Frears (The Hit, 1984) and Terry Gilliam (Time Bandits [1981], Brazil [1985]), but it was through his collaboration with Leigh that Broadbent first became known to an international film audience. In 1991, he starred in Leigh's Life Is Sweet, a domestic comedy that cast him as a good-natured cook who dreams of running his own business. Broadbent gained further visibility the following year with substantial roles in Neil Jordan's The Crying Game and Newell's Enchanted April, and he could subsequently be seen in such diverse fare as Woody Allen's Bullets Over Broadway (1994), Widows' Peak (1994), Richard Loncraine's highly acclaimed adaptation of Shakespeare's Richard III (1996), and Little Voice (1998), the last of which cast him as a seedy nightclub owner. Appearing primarily as a character actor in these films, Broadbent took center stage for Leigh's Topsy-Turvy (1999), imbuing the mercurial W.S. Gilbert with emotional complexity and comic poignancy. Roles in Bridget Jones's Diary, Moulin Rogue, and Iris made 2001 quite a marquee year for Broadbent; the actor earned both an Oscar and a Golden Globe for his affecting turn in Iris.He remained one of the most respected actors of his generation and continued to work steadily for directors all over the world. In 2002 he was cast in Martin Scorsese's epic historical drama Gangs of New York. In 2003 he took a cameo part in Bright Young Things. In 2004 he returned for the Bridget Jones sequel, and took a bit part in Mike Leigh's Vera Drake. He worked in a number o animated films including Doogal, Valiant, and Robots. In 2007 he had the title role in Longford, a historical drama about the infamous Moor Murders, and the next year he was part of Indiana Jones and the Kingdom of the Crystal Skulls.As the 2010's continued, Broadbent would remain a vital, respected, and beloved force on screen, appearing most memorably in projects like The Young Victoria and The Iron Lady.

Trivia: Since performing in a play at the City of Leicester Boys School, Michael Kitchen has done practically all there is for an actor to do: motion pictures, TV films, TV miniseries, stage plays, radio plays, and audio cassettes. International film audiences probably know him best as Chief of Staff Bill Tanner in the Pierce Brosnan James Bond productions, although he has played major roles in other high-profile movies, such as Out of Africa (1985) and Mrs. Dalloway (1997). He is also well known to worldwide TV audiences for major roles in popular miniseries, including The Brontes of Haworth (1973), A Fall of Eagles (1974), Freud (1984), and Oliver Twist (1999). 2000 was a remarkable year for Kitchen -- incredibly, he completed the following productions during that year: Proof of Life, a major film in which he shared the screen with Russell Crowe and Meg Ryan; Lorna Doone, a three-hour TV miniseries; Always and Everyone, an eight-hour TV series resembling America's ER; The Secret World of Michael Fry, a TV miniseries; The Railway Children, a TV film shown in the U.K. and in the U.S. on Masterpiece Theatre; New Year's Day, a major motion picture; and Second Sight: Parasomnia, another TV film. For an encore in 2001, he played the title role in Foyle's War, an eight-hour TV series about a World War II-era detective, then played Foyle again in another eight-hour series in 2002. He also signed on for another James Bond film, his third. Between 1971 -- when he appeared in the film Unman, Wittering and Zigo -- and the present, Kitchen has never wanted for work. The reason, quite simply, is that he is one of Britain's finest and most versatile actors. He has walked across the stages of the most prestigious playhouses in England, performing the works of Shakespeare, Oscar Wilde, and other important playwrights. In motion pictures, he has also acted parts in productions based on the works of Franz Kafka (The Trial, 1993), Robert Louis Stevenson (Kidnapped, 1995), John Le Carre (The Russia House, 1990), and Nevil Shute (Crossing to Freedom, 1990).