Trivia: Born Carlos Ray Norris, Chuck Norris served in Korea in the Army. While there, he studied karate and later became the World Middleweight Karate Champion. He was encouraged by one of his karate students, actor Steve McQueen, to go into acting. He debuted onscreen in the enormously popular Bruce Lee vehicle Enter the Dragon (1973); since the death of Lee he has been the screen's premier martial arts star. He has appeared primarily in militaristic movies in which he single-handedly kills many enemies. His breakthrough film was Missing in Action (1984), in which he played an ex-POW in search of American prisoners still held in Vietnam.

Trivia: Much like Humphrey Bogart before him, Lee Marvin rose through the ranks of movie stardom as a character actor, delivering expertly nasty and villainous turns in a series of B-movies before finally graduating to more heroic performances. Regardless of which side of the law he traveled, however, he projected a tough-as-nails intensity and a two-fisted integrity which elevated even the slightest material. Born February 19, 1924, in New York City, Marvin quit high school to enter the Marine Corps and while serving in the South Pacific was wounded in battle. He spent a year in recovery before returning to the U.S. to begin working as a plumber's apprentice. After filling in for an ailing summer-stock actor, his growing interest in performing inspired him to study at the New York-based American Theater Wing. Upon making his debut in summer stock, Marvin began working steadily in television and off-Broadway. He made his Broadway bow in a 1951 production of Billy Budd and also made his first film appearance in Henry Hathaway's You're in the Navy Now. The following year, Hathaway again hired him for The Diplomatic Courier, and was so impressed that he convinced a top agent to recruit him. Soon Marvin began appearing regularly onscreen, with credits including a lead role in Stanley Kramer's 1952 war drama Eight Iron Men. A riveting turn as a vicious criminal in Fritz Lang's 1953 film noir classic The Big Heat brought Marvin considerable notice and subsequent performances opposite Marlon Brando in the 1954 perennial The Wild One and in John Sturges' Bad Day at Black Rock cemented his reputation as a leading screen villain. He remained a heavy in B-movies like 1955's I Died a Thousand Times and Violent Saturday, but despite starring roles in the 1956 Western Seven Men From Now and the smash Raintree County, he grew unhappy with studio typecasting and moved to television in 1957 to star as a heroic police lieutenant in the series M Squad. As a result, Marvin was rarely seen in films during the late '50s, with only a performance in 1958's The Missouri Traveler squeezed into his busy TV schedule. He returned to cinema in 1961 opposite John Wayne in The Comancheros, and starred again with the Duke in the John Ford classic The Man Who Shot Liberty Valance a year later. Marvin, Wayne, and Ford reunited in 1963 for Donovan's Reef. A role in Don Siegel's 1964 crime drama The Killers followed and proved to be Marvin's final performance on the wrong side of the law.Under Stanley Kramer, Marvin delivered a warm, comic turn in 1965's Ship of Fools then appeared in a dual role as fraternal gunfighters in the charming Western spoof Cat Ballou, a performance which won him an Academy Award. His next performance, as the leader of The Dirty Dozen, made him a superstar as the film went on to become one of the year's biggest hits. Marvin's box-office stature had grown so significantly that his next picture, 1968's Sergeant Ryker, was originally a TV-movie re-released for theaters. His next regular feature, the John Boorman thriller Point Blank, was another major hit. In 1969, Marvin starred with Clint Eastwood in the musical comedy Paint Your Wagon, one of the most expensive films made to date. It too was a success, as was 1970's Monte Walsh. Considering retirement, he did not reappear onscreen for two years, but finally returned in 1972 with Paul Newman in the caper film Pocket Money. After turning down the lead in Deliverance, Marvin then starred in Prime Cut, followed in 1973 by Emperor of the North Pole and The Iceman Cometh.Poor reviews killed the majority of Marvin's films during the mid-'70s. When The Great Scout and Cathouse Thursday -- the last of three pictures he released during 1976 -- failed to connect with critics or audiences, he went into semi-retirement, and did not resurface prior to 1979's Avalanche Express. However, his return to films was overshadowed by a high-profile court case filed against him by Michelle Triola, his girlfriend for the last six years; when they separated, she sued him for "palimony" -- 1,800,000 dollars, one half of his earnings during the span of their relationship. The landmark trial, much watched and discussed by Marvin's fellow celebrities, ended with Triola awarded only 104,000 dollars. In its wake he starred in Samuel Fuller's 1980 war drama The Big Red One, which was drastically edited prior to its U.S. release. After 1981's Death Hunt, Marvin did not make another film before 1983's Gorky Park. The French thriller Canicule followed, and in 1985 he returned to television to reprise his role as Major Reisman in The Dirty Dozen: The Next Mission. The 1986 action tale The Delta Force was Marvin's final film; he died of a heart attack on August 29, 1987, in Tucson, AZ, and was buried in Arlington National Cemetery next to the remains of fellow veteran (and boxing legend) Joe Louis.

Trivia: Bronx-raised actor Martin Balsam was the oldest of three children of a ladies' sportswear salesman. "Actors are bums" was dad's reaction when Balsam announced his intention of going into show business; still, young Martin took full advantage of lunch breaks from his "real" jobs to rehearse for amateur theatricals. After World War II, Balsam joined New York's Actors Studio, supporting himself by waiting on tables and ushering at Radio City Music Hall. During his formative years he was briefly married to actress Joyce Van Patten; their daughter Talia Balsam would later become a successful film and TV performer. Working steadily if not profitably in nightclubs and TV, Balsam made his first film, the Actors Studio-dominated On the Waterfront, in 1954. Averaging a movie and/or a play a year starting in 1957 (among his best-known film roles were Juror #1 in Twelve Angry Men [1957] and the unfortunate detective Arbogast in Psycho [1960]), Balsam went on to win a Tony for the Broadway play I Know You Can't Hear Me When the Water's Running, an Obie for the off-Broadway production Cold Storage, and an Academy Award for his performance as Jason Robards' older brother in the 1965 film version of A Thousand Clowns. Unfortunately for Balsam, the Oscar was as much a curse as a blessing on his career, and soon he was playing little more than variations on his Thousand Clowns role. In 1979, he was engaged by Norman Lear to play "lovable bigot" Archie Bunker's acerbic Jewish business partner Murray Klein on the CBS sitcom Archie Bunker's Place; he remained with the series until 1981. In 1991, Balsam appeared in Martin Scorsese's Cape Fear, the remake of a film in which Balsam had co-starred (in an entirely different role) in 1962.

Trivia: Nightclub comedian Joey Bishop managed to get a lot of mileage out of a dour facial expression, an air of perpetual doom-and-gloom, and the mumbled catchphrase "Son of a gun!" Bishop climbed on the Philadelphia nightclub carousel as one of the Bishop Brothers, a singing group comprised of three friends who were neither Bishops nor brothers. As a solo comic in the early 1950s, Bishop caught the eye of Frank Sinatra, whose influence enabled Joey to secure bigger and better club engagements. Bishop was signed to a Warner Bros. movie contract in 1956; his best showing during this period was as the ill-fated Jewish army private in The Naked and the Dead (1957). He continued accepting occasional film roles into the 1990s in such productions as Texas Across the River (1966) and Betsy's Wedding (1990). In 1961, Bishop starred as put-upon press agent Joey Barnes on an episode of The Danny Thomas Show titled "Everything Happens to Me"; this served as the pilot for The Joey Bishop Show, which lasted from 1961 through 1965, weathering numerous cast, concept and network changes. Having proven himself a suitable substitute host for such late-night gurus as Jack Paar and Johnny Carson, Bishop emceed ABC's nightly The Joey Bishop Show, with Regis Philbin as Joey's "Ed McMahon" and an endless stream of borscht-belt comics and "Rat Pack" intimates as guest stars. After The Joey Bishop Show closed out its two-year run in 1969, Bishop returned to the guest-star treadmill; in later years, he popped up on everything from infomercials to home-shopping programs. Bishop died in October 2007 at the age of 89.

Trivia: Describing his career as a "five-years upwards first act and a 25-year sliding second act," actor Robert Forster finally got to settle into a satisfying third act when Quentin Tarantino worked his '70s resurrection magic by casting Forster in Jackie Brown (1997). Born and raised in Rochester, NY, Forster was a high school and college athlete, and occasional school thespian. After graduating from the University of Rochester (his third college) with a degree in psychology, Forster opted for acting over law school. Honing his craft in local theater, Forster subsequently moved to New York City where he landed his first Broadway role in 1965. After garnering attention in a 1967 production of A Streetcar Named Desire opposite Julie Harris, Forster made his movie debut in John Huston's Reflections in a Golden Eye (1967) as the au natural horseback-riding private who ignites military officer Marlon Brando's desire. Holding out for interesting offers after Reflections, Forster retreated to Rochester with his wife and worked as a substitute teacher and manual laborer.Enticed back into movies with a role opposite Gregory Peck in Robert Mulligan's Western The Stalking Moon (1968), Forster impressed cinephiles with his third film, Haskell Wexler's seminal counterculture work Medium Cool (1969). As a TV cameraman forced to confront the implications of the tumultuous events he so coolly records, Forster and his co-star, Verna Bloom, were thrust into the real-life turmoil surrounding the 1968 Chicago Democratic Convention, while Forster's nuanced performance illuminated his narcissist's metamorphosis. Despite its timely subject, however, Medium Cool made little impression at the box office. Though he continued to work in such varied films as George Cukor's widescreen spectacle Justine (1969) and the location-shot Indian reservation drama Journey Through Rosebud (1972), Forster attempted to move to potentially greener TV pastures as the eponymous '30s detective in the series Banyon (1972). Banyon, however, lasted only one season, as did Forster's subsequent TV stint as a Native American lawman in the series Nakia (1974).Forster's slide into B-movie oblivion was hardly stanched by his forays into TV. Though he managed to acquit himself well onscreen in different kinds of parts, Forster professed no illusions about the quality of such movies as The Don Is Dead (1973), Stunts (1977), Disney's sci-fi The Black Hole (1979), and the Rock Hudson disaster flick Avalanche (1978). The smartly comic, John Sayles-scripted creature feature Alligator (1980) failed to thrive beyond its schlock status; Vigilante (1983), starring Forster as a, well, vigilante, was described by one critic as "truly distasteful." Trying his hand behind the camera, Forster produced, wrote, directed, and starred in, alongside his daughter, Katherine Forster, the detective spoof Hollywood Harry (1986), but he got more mileage that same year out of his performance as an Arab terrorist embarking on jihad in Delta Force (1986). Playing a host of bad guys as well as the occasional not-so-bad-guy, Forster put his four children through college from the late '80s into the early '90s with such video fodder as The Banker (1989) and Peacemaker (1990), as well as the TV series Once a Hero (1987) and the well-received indie 29th Street (1991).His career languishing by the mid-'90s, Forster taught acting classes between occasional roles and maintained an optimistic hope that, "some kid who liked me when he was young was going to turn into a filmmaker and hire me." Two casting near-misses for Reservoir Dogs (1992) and True Romance (1993) later (Lawrence Tierney and Christopher Walken respectively got the parts), the by then agent-less Forster finally got his wish when Banyon and B-movie fan Quentin Tarantino cast him in Jackie Brown (1997). Beating out bigger names for the part, Forster proceeded to steal the film from flamboyant co-stars Robert De Niro and Samuel L. Jackson with his subtle performance as weathered, rueful bail bondsman Max Cherry. Though stellar co-star Pam Grier got more attention as Tarantino's latest career rescue, Forster garnered Jackie Brown's sole Oscar nomination. After his Jackie Brown triumph, Forster's image of low-key, regular guy authority kept him steadily employed. Along with playing the de facto voice of sanity in the TV remake of Alfred Hitchcock's Rear Window (1998) and Gus Van Sant's retread of Psycho (1998), Forster faced down space (and production) chaos in Walter Hill's ill-fated Supernova (2000) and played the straight man as Jim Carrey's commanding officer in Me, Myself & Irene (2000). Though his brief appearance suggests David Lynch had more in mind for Forster's role in the aborted TV series, Forster's performance as a deadpan police detective still made it into the critically acclaimed film version of Mulholland Drive (2001).He continued to work in a variety of projects including the kids basketball movie Like Mike and the quirky biopic Grand Theft Parsons. He moved to the small screen to play the father of Karen Sisco in the short-lived TV series of the same name. He also appeared occasionally in the cable series Huff, and had a recurring role in the NBC series Heroes. He had his highest profile success in yeas in 2011 when he played the father of George Clooney's comatose wife in Alexander Payne's Oscar-winning The Descendants.

Trivia: Hofstra-educated singer/actress Lainie Kazan became a celebrity by indirection. In 1964, Kazan was engaged to understudy Barbra Streisand in the Broadway production of Funny Girl; the disappointed boos and catcalls that often greeted Kazan when she subbed for Streisand were generally dissipated by the standing ovations she'd receive at performance's end. In 1966, Kazan was hired for her first weekly-TV stint on The Dean Martin Summer Show, exhibiting a keen sense of comic timing in the presence of such funsters as Dom DeLuise and Rowan & Martin. A firmly established nightclub star by 1980, Kazan made her official screen bow in 1980's One From the Heart (her actual screen debut in an obscure 1968 film was passed over in the studio publicity). In 1982, she essayed her most memorable screen role, as the brash, blunt Brooklynite Bella Carroca in My Favorite Year; she would repeat this role many years later in the Broadway musical version of that film. She had a memorable turn in the weepie Beaches, and appeared in a variety of projects including Honeymoon in Vegas and Love Is All There Is. Kazan had the biggest movie success of her career at the beginning of the 21st century when she was one of the leads in the indie smash My Big Fat Greek Wedding, setting in motion a career resurgence that included the short-lived TV spinoff of that movie as well as Gigli, Red Riding Hood, and the Adam Sandler movie You Don't Mess With the Zohan. Kazan's series-TV assignments included the role of Rita in the 1986 Robby Benson detective series Tough Cookies, the "best friend" part of Claire Steiner in the Fox Network Patty Duke sitcom Karen's Song, and recurring appearances in the hospital drama St. Elsewhere. Few of these appearances, however were of the zany calibre of Kazan's outrageous portrayal of an Italian-accented fairy godmother in Shelley Duvall's Faerie Tale Theatre's version of "Pinocchio." Still a top attraction on the supper-club circuit, Lainie Kazan has opened two cabarets bearing her name in New York and Los Angeles.

Trivia: Born into a show business family, George Kennedy made his stage debut at the age of two in a touring company of Bringing up Father. By the time he was seven, he was spinning records on a New York radio station. Kennedy' showbusiness inclinations were put aside when he developed a taste for the rigors of military life during World War II, and he wound up spending 16 years in the army. His military career ended and his acting career began when a back injury in the late 1950s inspired him to seek out another line of work.Appropriately enough, given his background, Kennedy first made his name with a role as a military advisor on the Sergeant Bilko TV series. In films from 1961, the burly, 6'4" actor usually played heavies, both figuratively and literally; quite often, as in Charade (1963) and Straitjacket (1964), his unsavory screen characters were bumped off sometime during the fourth reel. One of his friendlier roles was as a compassionate Union officer in Shenandoah (1965), an assignment he was to treasure because it gave him a chance to work with the one of his idols, Jimmy Stewart.Kennedy moved up to the big leagues with his Academy Award win for his portrayal of Dragline in Cool Hand Luke (1967). An above-the-title star from then on, Kennedy has been associated with many a box-office hit, notably all four Airport films. Unlike many major actors, he has displayed a willingness to spoof his established screen image, as demonstrated by his portrayal of Ed Hocken in the popular Naked Gun series. On TV, Kennedy has starred in the weekly series Sarge (1971) and The Blue Knight (1978), and was seen as President Warren G. Harding in the 1979 miniseries Backstairs at the White House. During the mid '90s, he became known as a persuasive commercial spokesman in a series of breath-freshener advertisements. In 1997, he provided the voice for L.B. Mammoth in the animated musical Cats Don't Dance, and the following year again displayed his vocal talents as one of the titular toys-gone-bad in Small Soldiers. Kennedy continued to steadily work through the next two decades; his final role was in The Gambler in 2014. He died in 2016, at age 91.

Trivia: Born in German-occupied Poland, Hanna Schygulla was raised in Munich, studying languages and literature at that city's university. Turning to acting in her early 20s, Ms. Schygulla worked extensively at the experimental Munich Action Theater, where she met the prolific and highly volatile actor/director/writer Rainer Werner Fassbinder. From 1968, Hannah starred in 20 Fassbinder film productions, retaining her professional ties to the director despite frequent and increasingly violent personal and professional disagreements. The Berlin Film Fest honored Schygulla with their best actress prize for her stunning work in the title role of Fassbinder's The Marriage of Maria Braun (1979). Hardly glamour-girl material, she can best be described as a character star, whose versatility transcends her peasant-stock appearance. During her years with Fassbinder, Schygulla was also well-served in films directed by Schlondorff, Godard, Wajda and Scola. Since Fassbinder's sudden death in 1982, Schygulla has more often than not settled for bread-and-butter roles in conformist projects. In the 1980s, she appeared with frequency on American television; she played Jennie Lynd in the TV biopic Barnum (1986), Catherine Skewonskaya in the multinational miniseries Peter the Great (1986), and the mother of the title character in the made-for-TV feature Casanova (1987) In recent films like Dead Again (1991) and 101 Nights (1995) Hanna Schygulla has chosen to hide her distinctive features in bizarre makeup and elaborate costumes, though her voice remains inimitably hers.

Trivia: The daughter of renowned acting coaches Lee and Paula Strasberg, Susan Strasberg did not, as has often been assumed, attend her father's celebrated Actors Studio. She was, however, a close friend of several of her parents' most famous students--notably Marilyn Monroe, the subject of Strawsberg's affectionate 1992 memoir Marilyn and Me. While growing up, Strasberg harbored dreams of becoming a scientist like her idol Marie Curie, but many of her parents' friends urged the girl to give acting a try. Mildly curious, she made her off-Broadway debut in the 1952 production Maya. Two years later, she made her first television appearance as Shakespeare's Juliet, and shortly thereafter was cast as a regular on the Hume Cronyn-Jessica Tandy TV situation comedy The Marriage. At 17, Susan blossomed into full-fledged stardom when she played the leading role in the Pulitzer Prize-winning Broadway play The Diary of Anne Frank. By 1957, she was being tagged as "Helen Hayes' successor" by several influential critics. Her first film appearances in The Cobweb and Picnic (both 1955) also bode well for a long and lasting stardom. Unfortunately, Susan's ardent supporters began turning on her when she starred in Stage Struck, the 1957 remake of Morning Glory (1933). Her over-the-top rendition of the role that had won Katharine Hepburn an Oscar back in 1933 was almost universally drubbed by the critics, prompting Strasberg to flee the U.S. and resettle in Europe. In the early 1960s, director Franco Zeffirelli persuaded her to return to Broadway in his production of Dumas' Lady of the Camelias. Alas, this effort also proved disastrous, forcing her to grasp at straws to revive her reputation. Her best effort during this awkward phase of her career was the Yugoslav-Italian film Kapo (1960), in which she played a concentration camp survivor. Such excellent opportunities were rare indeed; for the most part, Strasberg was mired in such tripe as Psych-Out (1967) and The Name of the Game is Kill (1968). In 1973, Susan returned to television as co-star of the detective series Toma. Shesubsequently continued to accept character roles of fluctuating quality in both U.S. and Canadian productions. In 1980, Susan penned her autobiography Bittersweet, which detailed her brief marriage to actor Christopher Jones, the heart defect that long imperiled the life of her daughter Jennifer, and the debilitating burden of being too famous too soon. Reflecting on her career in 1974, Susan Strasberg compared her teen-aged stardom to "trying to play a violin before it's finished." In 1999, Strasberg died of cancer at the age of 60.

Trivia: Born in Sweden, Bo Svenson moved to the U.S. at the age of 17. Before settling upon an acting career, the husky Svenson attended UCLA, served in the Marines for six years, then worked as a hockey player, race-car driver and 3rd Degree Black Belt judo champ. His first regular TV work was on the 1968 western series Here Come the Brides, in which he was cast to type as Big Swede (though by this time, he had lost all vestiges of his Scandinavian accent). After an impressive movie debut in the little-seen Maury (1974), Svenson was second-billed as Alex Olsson, competitor-cum-partner of barnstorming aviator Robert Redford, in The Great Waldo Pepper (1973). When Joe Don Baker, star of the 1973 sleeper Walking Tall, passed on the opportunity to play Sheriff Buford Pusser in the 1975 sequel, Svenson inherited the role; he would portray Pusser in both Part 2: Walking Tall (1975) and The Final Chapter: Walking Tall (1977), then repeated the assignment in the 1981 Walking Tall TV series. Perhaps someday, Bo Svenson will escape the sleazoid actioners in which he is usually starred, and receive a screen role worthy of his talents.

Trivia: He got a degree in drama and then broke into films in 1957; he appeared in a film per year through the early '60s, meanwhile returning to school to get his master's degree in acting and a Ph.D. in political science. For his work in The Young Philadelphians (1959) he received a Best Supporting Actor Oscar nomination. In the mid '60s he starred in the popular TV spy series The Man From U.N.C.L.E. Although never a movie star, he has sustained a busy screen career through the '90s. He is the author of Only Victims (1972), a study of Hollywood blacklisting during the McCarthy Era.

Trivia: American actress Shelley Winters was the daughter of a tailor's cutter; her mother was a former opera singer. Winters evinced her mom's influence at age four, when she made an impromptu singing appearance at a St. Louis amateur night. When her father moved to Long Island to be closer to the New York garment district, Winters took acting lessons at the New School for Social Research and the Actors Studio. Short stints as a model and a chorus girl led to her Broadway debut in the S.J. Perelman comedy The Night Before Christmas in 1940. Winters signed a Columbia Pictures contract in 1943, mostly playing bits, except when loaned to United Artists for an important role in Knickerbocker Holiday (1944). Realizing she was getting nowhere, she took additional acting instructions and performed in nightclubs.The breakthrough came with her role as a "good time girl" murdered by insane stage star Ronald Colman in A Double Life (1947). Her roles became increasingly more prominent during her years at Universal-International, as did her offstage abrasive attitude; the normally mild-mannered James Stewart, Winters' co-star in Winchester '73 (1950), said after filming that the actress should have been spanked. Winters' performance as the pathetic factory girl impregnated and then killed by Montgomery Clift in A Place in the Sun (1951) won her an Oscar nomination; unfortunately, for every Place in the Sun, her career was blighted by disasters like Behave Yourself (1951).Disheartened by bad films and a turbulent marriage, Winters returned to Broadway in A Hatful of Rain, in which she received excellent reviews and during which she fell for her future third husband, Anthony Franciosa. Always battling a weight problem, Winters was plump enough to be convincing as middle-aged Mrs. Van Daan in The Diary of Anne Frank (1959), for which Winters finally got her Oscar. In the 1960s, Winters portrayed a brothel madam in two films, The Balcony (1963) and A House Is Not a Home (1964), roles that would have killed her career ten years earlier, but which now established her in the press as an actress willing to take any professional risk for the sake of her art. Unfortunately, many of her performances in subsequent films like Wild in the Streets (1968) and Bloody Mama (1970) became more shrill than compelling, somewhat lessening her standing as a performer of stature.During this period, Winters made some fairly outrageous appearances on talk shows, where she came off as the censor's nightmare; she also made certain her point-of-view wouldn't be ignored, as in the moment when she poured her drink over Oliver Reed's head after Reed made a sexist remark on The Tonight Show. Appearances in popular films like The Poseidon Adventure (1972) and well-received theater appearances, like her 1974 tour in Effect of Gamma Rays on Man-in-the-Moon Marigolds, helped counteract such disappointments as the musical comedy Minnie's Boys (as the Marx Brothers' mother) and the movie loser Flap (1970). Treated generously by director Paul Mazursky in above-average films like Blume in Love (1974) and Next Stop Greenwich Village (1977), Winters managed some excellent performances, though she still leaned toward hamminess when the script was weak. Shelley Winters added writing to her many achievements, penning a pair of tell-all autobiographies which delineate a private life every bit as rambunctious as some of Winters' screen performances.The '90s found a resurgence in Winters' career, as she was embraced by indie filmmakers (for movies like Heavy and The Portrait of a Lady), although she found greater fame in a recurring role on the sitcom Roseanne. She died of heart failure at age 85 in Beverly Hills, CA, in early 2006.

Trivia: From her early days as a model to a memorable stint on the long-running soap opera All My Children and a successful film career, it seemed that Kim Delaney was destined for a life in the limelight -- never wandering far from the lens of the public eye. A Philadelphia native who began modeling in high school and soon set her eyes on the catwalks of New York, Delaney packed her bags to study acting in the Big Apple soon after graduation. A subsequent signing with Elite Modeling Agency resulted in cover shots for Glamour and Seventeen, and some acting coaching by Bill Esper proved essential in landing her a three-year stint on All My Children in 1981. Though she would later eschew the small screen in favor of feature work, a lack of desirable roles eventually found brought Delaney back to the small screen for an impressive run on the popular nighttime drama L.A. Law. Television success continued when Delaney received an Emmy for her work as alcoholic detective Diane Russell on the popular prime-time police drama NYPD Blue in 1997, and she would remain with the show until 2001. It seemed Delaney had finally hit her stride in the realm of television, and though she would make a momentary feature departure with a role in Brian De Palma's Mission to Mars (2000), subsequent television roles in the short-lived Philly (in which Delaney took the lead) and CSI: Miami served to prove that she had lost none of her dramatic intensity. In 2003, Delaney could be seen in the dramatic miniseries 10.5. Over the next several years, Delaney would continue to find success on the small screen, appearing on The O.C., Army Wives, and To Appomattox.

Trivia: Israeli leading man Assaf Dayan starred in films between 1967 and 1986. He has not only worked in Israeli films but in international productions and was typically cast in romantic films. He is the son of Israeli General Moshe Dayan.

Trivia: Black lead actor, onscreen from the late '70s.