Trivia: Born in 1959, Washington native Kyle MacLachlan, among other things, claims to be a descendent of the legendary composer Johann Sebastian Bach. However, unlike his very distant relative, MacLachlan made his mark not in music, but in television and film. After performing in a variety of local theater productions throughout his youth -- and acting out scenes from the popular Hardy Boys fiction series in his even younger years -- MacLachlan made his feature-film debut in director David Lynch's adaptation Dune in 1984. This would mark the first of many collaborations with Lynch; in 1986, Lynch cast MacLachlan as a young man shocked at what lies under a small town's picture-perfect facade in Blue Velvet. A year later, MacLachlan starred as an alien FBI agent in The Hidden, Jack Sholder's 1987 cult hit. MacLachlan, however, wouldn't gain true mainstream notoriety until 1989, when David Lynch called upon the young actor to play another FBI agent; this time, he was Special Agent Dale Cooper, who was sent to a small Washington town to investigate the murder of a young girl in ABC's popular but ultimately short-lived prime-time drama, Twin Peaks. The role would earn him two Emmy nominations for Lead Actor in a Drama Series and pave the way for more silver-screen roles, some of which include Ray Manzarek in Oliver Stone's The Doors (1991), villain Cliff Vandercave in The Flintstones (1994), and a falsely accused bank clerk in The Trial (1993). MacLachlan offered several relatively well-received starring and supporting performances throughout the mid- to late '90s, and did what he could for his role in Paul Verhoeven's famous 1995 flop, Showgirls.Luckily, the late '90s to early 2000s were much kinder to MacLachlan. In addition to playing another smooth agent in David Koepp's The Trigger Effect (1996), which some critics claimed was his best performance since Blue Velvet, the actor also was cast as King Claudius in Michael Almereyda's adaptation of Shakespeare's Hamlet. However, it was television that once again made MacLachlan a household name, albeit temporarily. In 2000, he joined the cast of HBO's multiple-award-winning series Sex and the City as Charlotte's (Kristin Davis) mama's boy husband, Trey. In 2003, MacLachlan starred in the Bravo network's popular documentary series, The Reality of Reality. Over the coming years, McLachlan wouldenjoy successful arcs on popular TV shows, like How I Met Your Mother, Desperate Housewives, and Portlandia.

Trivia: The odyssey of Dennis Hopper was one of Hollywood's longest, strangest trips. A onetime teen performer, he went through a series of career metamorphoses -- studio pariah, rebel filmmaker, drug casualty, and comeback kid -- before finally settling comfortably into the role of character actor par excellence, with a rogues' gallery of killers and freaks unmatched in psychotic intensity and demented glee. Along the way, Hopper defined a generation, documenting the shining hopes and bitter disappointments of the hippie counterculture and bringing their message to movie screens everywhere. By extension, he spearheaded a revolt in the motion picture industry, forcing the studio establishment to acknowledge a youth market they'd long done their best to deny. Born May 17, 1936 in Dodge City, Kansas, Hopper began acting during his teen years, and made his professional debut on the TV series Medic. In 1955 he made a legendary collaboration with the director Nicholas Ray in the classic Rebel Without a Cause, appearing as a young tough opposite James Dean. Hopper and Dean became close friends during filming, and also worked together on 1956's Giant. After Dean's tragic death, it was often remarked that Hopper attempted to fill his friend's shoes by borrowing much of his persona, absorbing the late icon's famously defiant attitude and becoming so temperamental that his once-bright career quickly began to wane. Seeking roles far removed from the stereotypical 'troubled teens' which previously dotted his resume, Hopper began training with the Actors Studio. However, on the set of Henry Hathaway's From Hell to Texas he so incensed cast and crew with his insistence upon multiple takes for his improvisational techniques -- the reshoots sometimes numbering upwards of 100 -- that he found himself a Hollywood exile. He spent much of the next decade mired in "B"-movies, if he was lucky enough to work at all. Producers considered him such a risk that upon completing 1960's Key Witness he did not reappear on-screen for another three years. With a noteworthy role in Hathaway's 1965 John Wayne western The Sons of Katie Elder, Hopper made tentative steps towards a comeback. He then appeared in a number of psychedelic films, including 1967's The Trip and the following year's Monkees feature Head, and earned a new audience among anti-establishment viewers.With friends Peter Fonda and Jack Nicholson in front of the camera, Hopper decided to direct his own movie, and secured over $400,000 in financing to begin filming a screenplay written by novelist Terry Southern. The result was 1969's Easy Rider, a sprawling, drug-fueled journey through an America torn apart by the conflict in Vietnam. Initially rejected by producer Roger Corman, the film became a countercultural touchstone, grossing millions at the box office and proving to Hollywood executives that the ever-expanding youth market and their considerable spending capital would indeed react to films targeted to their issues and concerns, spawning a cottage industry of like-minded films. Long a pariah, Hopper was suddenly hailed as a major new filmmaker, and his success became so great that in 1971 he appeared in an autobiographical documentary, American Dreamer, exploring his life and times.The true follow-up to Easy Rider, however, was 1971's The Last Movie, an excessive, self-indulgent mess that, while acclaimed by jurors at the Venice Film Festival, was otherwise savaged by critics and snubbed by audiences. Once again Hopper was left picking up the pieces of his career; he appeared only sporadically in films throughout the 1970s, most of them made well outside of Hollywood. His personal life a shambles -- his marriage to singer/actress Michelle Phillips lasted just eight days -- Hopper spent much of the decade in a haze, earning a notorious reputation as an unhinged wild man. An appearance as a disturbed photojournalist in Francis Ford Coppola's Apocalypse Now did little to repair most perceptions of his sanity. Then in 1980, Hopper traveled to Canada to appear in a small film titled Out of the Blue. At the outset of the production he was also asked to take over as director, and to the surprise of many, the picture appeared on schedule and to decent reviews. Slowly he began to restake his territory in American films, accepting roles in diverse fare ranging from 1983's teen drama Rumble Fish to the 1985 comedy My Science Project. In 1986 Hopper returned to prominence with a vengeance. His role as the feral, psychopathic Frank Booth in David Lynch's masterpiece Blue Velvet was among the most stunning supporting turns in recent memory, while his touching performance as an alcoholic assistant coach in the basketball drama Hoosiers earned an Academy Award nomination. While acclaimed turns in subsequent films like 1987's The River's Edge threatened to typecast Hopper, there was no doubting his return to Hollywood's hot list, and in 1988 he directed Colors, a charged police drama starring Sean Penn and Robert Duvall. While subsequent directorial efforts like 1989's Chattahoochee and 1990's film noir The Hot Spot failed to create the same kind of box office returns as Easy Rider over two decades earlier, his improbable comeback continued throughout the 1990s with roles in such acclaimed, quirky films as 1993's True Romance and 1996's Basquiat. Hopper was also the villain-du-jour in a number of Hollywood blockbusters, including 1994's Speed and the following year's Waterworld, and was even a pitchman for Nike athletic wear. He also did a number of largely forgettable films such asRon Howard's EdTV (1999). In addition, he also played writer and Beat extraordinaire William S. Burroughs in a 1999 documentary called The Source with Johnny Depp as Jack Kerouac and John Turturro as Allen Ginsberg. In 1997 Hopper was awarded the distinction of appearing 87th in Empire Magazine's list of "The Top 100 Movie Stars of All Time."Hopper contracted prostate cancer in the early 2000s, and died of related complications in Venice, CA, in late May 2010. He was 74 years old.

Trivia: Isabella Rossellini was one of the twin daughters born to actress Ingrid Bergman and director Roberto Rossellini in 1952. After growing up in Italy, she came to America when she was19 and studied at Finch College and the New School for Social Research. She then returned to Rome, where she worked as a translator and TV journalist (not unlike her New York-based half-sister Pia Lindström). Just for fun, Rossellini made her first movie appearance in 1976, playing a bit in her mother's film A Matter of Time. She found acting to her liking, appearing in several European TV dramas before her first big-screen starring role in 1979's The Meadow. In the early 1980s, Rossellini put her film activities on the back burner to concentrate on her modelling career on behalf of Lancome Cosmetics. After her first marriage (to Hollywood director Martin Scorsese) ended in 1983, she began a relationship with ballet star Mikhail Baryshnikov, with whom she co-starred in White Nights (1985). She was later involved was filmmaker David Lynch, who cast her in her breakthrough role as a much-abused small-town nightclub singer in Blue Velvet (1986). (Her other romantic partners have included her second husband John Wiedeman -- the father of her daughter Elettra -- and actor Gary Oldman). Rossellini continued seeking out offbeat, challenging film roles into the '90s, including Anna Maria Ermody in the controversial Beethoven biopic Immortal Beloved and no-nonsense frontierswoman Big Nose Kate in Wyatt Earp (both 1994). She also starred in Campbell Scott and Stanley Tucci's delicious drama Big Night in 1996.She was the matriarch of a gangster family in The Funeral, and reteamed with Campbell Scott and Stanley Tucci for The Imposters. She has a major part in Roger Dodger, and in 2003 she featured prominently in Guy Maddin's The Saddest Music in the World, a working relationship they would continue on other projects such as My Dad Is100 Years Old. She directed Green Porno in 2008, and that same year played mother to a troubled Joaquin Phoenix in the underrated drama Two Lovers. She would follow-up Green Porno with Scandalous Sea in 2009. She would team up with Maddin yet again for Keyhole in 2011, and that same year she would appear in Chicken With Plums.

Trivia: Playing characters ranging from wide-eyed virgins to willful sirens to drug-addicted losers, Laura Dern (born February 10, 1967) is among the screen's most interesting modern actresses. Her parents, Bruce Dern and Diane Ladd, are both successful actors but initially discouraged her from becoming involved in the profession. Still, acting was Dern's childhood goal, and after her parents divorced, she made her film debut at the age of six in White Lightning (1973).The following year, Dern played a bit part in Martin Scorsese's Alice Doesn't Live Here Anymore. She got her first major role in 1980, playing a teenager in Adrian Lyne's Foxes. By 1983, she had appeared in more films, and in defiance of her parents' wishes, decided to get some formal dramatic training at the Lee Strasberg Institute, where she studied Method acting. She went on to appear in films such as Teachers (1984) and Mask (1985) and gained a reputation for realistic portrayals of goodhearted innocents. Dern could have easily been typecast into such roles had Joyce Chopra not cast her as a rebellious teen anxious to experience a sexual awakening in Smooth Talk (1986). The young actress' portrayal earned her a New Generation Award from the Los Angeles Film Critics. That same year, Dern became an even more marketable actress when she played a fresh-faced young sleuth in David Lynch's disturbing, groundbreaking Blue Velvet. She again worked with Lynch in the flamboyantly bizarre Wild at Heart (1990), in which she played an oversexed 20-year-old on the run with her lover (Nicholas Cage). The film proved to be a family affair, as Ladd played her villainous mother. The two appeared together again the following year in the beautifully wrought Rambling Rose. Dern's naturalistic performance as a troubled 19-year-old who wants love, but has confused it with sex, won her considerable acclaim that culminated in an Oscar nomination for Best Actress. Ladd was also nominated, making it the first time a mother-daughter team had been so honored in the same year.In 1993, Dern became a bigger star portraying a courageous paleo-botanist in Steven Spielberg's blockbuster Jurassic Park. Three years later, she played one of her most offbeat roles as a paint-huffing, spiteful, pregnant, and dumb as a box-of-doorknobs homeless girl who finds herself caught in the middle of a battle royale between pro- and anti-abortion groups in the black comedy Citizen Ruth. In 1999, she took on two very diverse roles, first playing a supportive high school teacher in October Sky and then returning to the realm of eccentricity -- and to sharing the screen with her mother -- as part of an unconventional Alabama family in Billy Bob Thornton's Daddy and Them. Though audiences were no doubt eager to see what Slingblade director Thornton had up his sleeve for the eagerly anticipated feature, Daddy and Them did recieve stateside release into a full two-years after production wrapped - and when it finally did find it's way into theaters critical and popular response was lukewarm at best.The disappointment was more than counterbalanced that year however when Dern and boyfriend Ben Harper gave birth to their first baby boy Ellery, and in addition to also returning to the land of dinosaurs with Jurassic Park III in 2001. Dern essayed memorable supporting performances in a number of films including Novcaine, Focus and I Am Sam. Stepping back into the lead for her role as true life HMO whistle-blower Linda Peeno in the made-for-HBO film Damaged Goods, many found Dern's performance so moving that whispers of an Emmy nomination began to circulate. That wasn't in the cards however, and the following year Dern returned to feature work with the adulterous drama We Don't Live Here Anymore.In addition to her film career, Dern has appeared on stage and television. In 1992, she won an Emmy nomination and a Golden Globe award for performing in the HBO docudrama Afterburn. In 1997, she again proved her versatility by offering a convincing, Emmy-nominated portrayal of a lesbian who is comfortable with her sexuality in a landmark episode of the sitcom Ellen in which star Ellen DeGeneres "comes out of the closet.""In 2000, Dern teamed with Robert Altman for the Texas-based comedy Dr. T & The Women, and co-starred in the films Within These Walls, Focus, and Novocaine. After returning to the Jurrassic Park franchise for a minor role in Jurassic Park III, Dern took on a supporting role in I Am Sam, and starred in 2002's Damaged Care and 2004's We Don't Live Here Anymore. The 2000s would prove a busy period for the actress; in 2005 she joined the ensemble cast of the comedy-drama Happy Endings, appeared in The Prize WInnder of Defiance, Ohio in 2006, reunited with David Lynch for Inland Empire (also in 2006), and worked alongside Molly Shannon, John C. Reilly, and Peter Sarsgaard for Year of the Dog (2007). In 2008, Dern won a Golden Globe award for "Best Supporting Actress" in Recount, a made-for-TV political drama about the United States' controversial Presidential election of 2000. She played a self-destructive woman piecing her life back together for two seasons on the HBO series Enlightened, winning a Golden Globe for her work on the program. In 2014 she played moms in two very different movies. She cared for a teenage daughter living with cancer in the tearjerker The Fault In Our Stars, and she earned a Best Supporting Actress nomination from the Academy for her work in Wild as the mother of a self-destructive former drug addict who tries to get her head straight by going on a grueling hike across the Pacific Northwest.

Trivia: The daughter of show folk, Hope Lange was 12 when she appeared in her first Broadway play, Sidney Kingsley's The Patriots. Fourteen years later, with dozens of plays and TV programs to her credit, Lange made her screen debut in Bus Stop (1956), managing to garner critical and audience attention despite her omnipresent co-star Marilyn Monroe (Lange's first husband was Bus Stop leading man Don Murray). Signed to a 20th Century Fox contract, Lange was Oscar nominated for her performance in Peyton Place (1957) and was equally impressive in such films as The Young Lions (1957) and The Best of Everything (1959). In the early 1960s, Lange was briefly linked romantically with Glenn Ford, who insisted that she co-star with him in Pocketful of Miracles, a fact that inspired a stream of published invective from the film's director, Frank Capra, who'd wanted Shirley Jones for the part. Despite Capra's reservations in regards to her acting ability, Lange continued to prosper as a film actress until turning to TV in 1968 as star of the weekly The Ghost and Mrs. Muir, a project that would earn her two Emmys. She then spent three years in a thankless "supportive housewife" part in The New Dick Van Dyke Show. In 1974, Lange received some of her best reviews in years for her work in Death Wish -- in which she spent most of her time in a coma before expiring in Reel Two! Subsequent projects in which Lange was involved included the 1977 play Same Time Next Year and the first of the Nightmare on Elm Street films. Hope Lange was first married to Don Murray, then producer/director Alan J. Pakula.

Trivia: Fans of the science fiction television series Quantum Leap will know supporting and character actor Dean Stockwell as the scene-stealing, cigar chomping, dry-witted, and cryptic hologram Al. But to view him only in that role is to see one part of a multi-faceted career that began when Stockwell was seven years old.Actually, his ties with show business stretch back to his birth for both of his parents were noted Broadway performers Harry Stockwell and Nina Olivette. His father also provided the singing voice of the prince in Disney's Snow White and the Seven Dwarfs (1931). Stockwell was born in North Hollywood and started out on Broadway in The Innocent Voyage (1943) at age seven. Curly haired and beautiful with a natural acting style that never descended into cloying cuteness, he made his screen debut after contracting with MGM at age nine in Anchors Aweigh (1945) and continued on to play sensitive boys in such memorable outings as The Mighty McGurk (1946), The Boy With Green Hair (1948), and The Secret Garden (1949). He would continue appearing in such films through 1951 when he went into the first of several "retirements" from films. When Stockwell resurfaced five years later it was as a brooding and very handsome 20-year-old who specialized in playing introverts and sensitive souls in roles ranging from a wild, young cowboy in Gun for a Coward (1957) to a murderous homosexual in Compulsion (1958) to an aspiring artist who cannot escape the influence of his domineering mother in Sons and Lovers (1960). Stockwell topped off this phase of his career portraying Eugene O'Neill in Long Day's Journey Into Night (1962). Stockwell would spend the next three years as a hippie and when he again renewed his career it was in such very '60s efforts as Psych-Out (1968) and the spooky and weird adaptation of a Lovecraft story, The Dunwich Horror. During this period, Stockwell also started appearing in television movies such as The Failing of Raymond (1971). In the mid-'70s, the former flower child became a real-estate broker and his acting career became sporadic until the mid-'80s when he began playing character roles. It was in this area, especially in regard to comic characters, that Stockwell has had his greatest success. Though he claims it was not intentional, Stockwell has come to be almost typecast as the king of quirk, playing a wide variety of eccentrics and outcasts. One of his most famous '80s roles was that of the effeminate and rutlhess sleaze, Ben, in David Lynch's Blue Velvet (1986). Stockwell had previously worked with Lynch in Dune and says that when the director gave him the script for Velvet, his character was not specifically mapped out, leaving Stockwell to portray Ben in any way he felt appropriate. The actor's intuition has proven to be one of his greatest tools and helped create one of modern Hollywood's most creepy-crawly villains. Whenever possible, Stockwell prefers working by instinct and actively avoids over-rehearsing his parts. His career really picked up after he landed the part of Al in Quantum Leap. Since the show's demise, Stockwell has continued to appear on screen, starring on series like Battlestar Galactica.

Trivia: American character actress Priscilla Pointer was the wife of famed theatrical director Jules Irving, and the mother of actress Amy Irving and writer/director David Irving. After extensive theatrical experience, Pointer attained her first major TV job in the daytime drama Where the Heart Is (1969-73). She went on to play Mrs. Austin in From Here to Eternity (1980). Rebecca Barnes Wentworth in Dallas (1981-83) and Lillie in Call to Glory (1984-85). One of her more memorable film assignments was the 1976 chiller Carrie, in which she played the mother of the character played by her daughter Amy. Perhaps as a by-product of Carrie, Priscilla Pointer was engaged to play important roles in Twilight Zone: The Movie (1983) and the made-for-TVTwilight Zone: The Lost Classics (1994).

Trivia: Brad Dourif is a slightly-built co-starring actor whose performances have an unpredictable edginess. After attending college he had a three-year apprenticeship with New York's Circle Repertory. He studied with the celebrated drama coach Sanford Meisner. Dourif debuted onscreen as Billy, the vulnerable, stuttering mental patient in One Flew Over the Cuckoo's Nest (1975), for which he received a "Best Supporting Actor" nomination. His first lead role came in his fourth movie, John Huston's Wise Blood (1979), in which he portrayed the obsessed preacher of the Church Without Christ. After appearing in several more films which, like Wise Blood, failed to succeed at the box office, he took three years off from the screen and taught directing at Columbia University. After 1984 he began working in films fairly often, but most of them have been forgettable "B"-movies; one exception has been Alan Parker's Mississippi Burning (1988), in which he played a bigoted, wife-beating deputy sheriff of a small town in the '60s.

Trivia: A favorite actor of director David Lynch, Jack Nance has appeared in all of Lynch's films but Elephant Man (1980). Nance's affiliation with the iconoclastic filmmaker began in 1977 when Lynch cast him as the unpleasant, stressed-out father/husband with the crazy stand-up hair, Henry Spencer, in Eraserhead. The film was wildly popular among certain audiences and earned Lynch and Nance, a cult following. Interestingly Nance, who had much stage experience and had been in feature films since Fools (1970), was not impressed with Lynch after their first meeting and found the young director's script too strange. To help him decide to take the part, Lynch showed Nance his short film, "The Grandmother." Nance was deeply impressed and accepted the role. Afterwards, he specialized in playing weird, often disturbing characters, not only for Lynch but for others too, including Dennis Hopper's Colors (1988) and The Blob (1988). Nance appeared for the final time in a Lynch film, The Lost Highway (1997) On December 30, 1996, Nance was found dead in his home, the result of head injuries. An investigation revealed that the trauma had been incurred a day or so before at a Los Angeles donut shop where the famously temperamental Nance had gotten into a fight with two young men.

Trivia: Supporting and character actor of television, screen and stage, Peter Carew started out performing and singing in nightclubs and in theater. On television, he guest-starred on numerous television shows, Carew specialized in police and crime shows ranging from dramas like Naked City, Kojack and Cannon to comedies like Car 54 Where Are You? and Barney Miller. Carew made his feature-film debut playing a storekeeper in Nothing But a Man (1964). He retired from acting in the late '80s. In addition to performing, Carew had also been a teacher and an athletics coach.

Trivia: Listed in many sources as a Canadian actress, Kate Reid was actually born in England and raised in Toronto, later attending that city's university. Reid launched her stage career in Canada in the late 1940s; she first came to Broadway in 1962, replacing Uta Hagen as Martha in Who's Afraid of Virginia Woolf?. Her later American stage credits include Dylan opposite Richard Burton, and Arthur Miller's The Price. She was Emmy-nominated for her work in two Hallmark Hall of Fame presentations: 1963's The Invincible Mr. Disraeli, and the following year's Abe Lincoln in Illinois. Her film credits include the U.S.-Canadian sci-fier The Andromeda Strain (1971), the British Equus (1977; against opposite Richard Burton) and Louis Malle's Atlantic City (1980), in which she had one of her showiest screen roles as the faded vis-a-vis of onetime racketeer Burt Lancaster. In 1984, Kate played Linda opposite Dustin Hoffman's Willy Loman in the Broadway revival of Death of a Salesman, repeating her role for the superb 1985 TV-movie adaptation. Kate Reid's TV-series appearances include the roles of Aunt Lil Trotter on the long-running Dallas (1982-83 season), oceanographer Marion Jaworski on Gavillan (1982), and senior citizen's home resident Martha Cameron on Morningstar: Eveningstar (1986).

Trivia: Though his jazzy, sometimes nightmarish compositions have earned film composer Angelo Badalamenti a special place in the David Lynch canon, the tireless musician has also found success with such world-renowned filmmakers as Jane Campion (Holy Smoke, 1999) and Jean-Pierre Jeunet (The City of Lost Children, 1995). A native of Brooklyn, NY, who spent his childhood enjoying the lavish auditory pleasures of opera and classical music, later studies at the Eastman and Manhattan Schools of Music found the lifelong music lover coming into his own as a composer.Badalamenti made his cinematic debut with his score to Ossie Davis' 1973 adventure Gordon's War, and though he would quickly follow with music for the 1974 comedy drama Law and Disorder, it would be over a decade until his first collaboration with Lynch provided his breakout composition. Badalamenti's slinky, menacing contribution to Lynch's 1986 mystery Blue Velvet offered the perfect musical backdrop for a film in which little is what it seems and deadly secrets lurk closely beneath the idyllic surface of Smalltown, U.S.A. Though Badalamenti was initially brought on for the sole reason of coaching actress Isabella Rossellini for her singing scene, the fact that Lynch was unable to secure the rights to use "Song of the Siren" in the climactic scene left the gates open for the eager composer to supply his own, equally compelling piece. Subsequent contributions to A Nightmare on Elm Street 3: Dream Warriors (1987) and Christmas Vacation (1989) found Badalamenti slightly expanding his versatility, though his creepy contributions to the 1989 suburban cannibal comedy Parents would serve as a telling precursor to his most famous work to date.Approached by Lynch to score the pilot to his new television series Twin Peaks, Badalamenti enthusiastically agreed, and the unforgettable "Twin Peaks Theme" would forever engrain itself into the hearts of television lovers worldwide. Of course, Badalamenti would also make many other indispensable musical contributions to the series, and around this time the composer also teamed with singer Julee Cruise to assist in the recording of her album Floating into the Night. The same year Twin Peaks debuted, Badalamenti explored the distinctive New Orleans sound in Lynch's Wizard of Oz-themed road movie Wild at Heart. His contributions to the feature Twin Peaks: Fire Walk With Me (1992) found Badalamenti successfully expanding on his signature soundscape with such jazzy nightmares as "A Real Indication" (for which he also provided vocals). Again collaborating with Lynch for the short-lived television series On the Air (1992) and Hotel Room (1993), Badalamenti provided the opening theme to Bravo's Inside the Actor's Studio and scored the quirky The City of Lost Children before returning to work with Lynch on Lost Highway. Though this time he would appear among the likes of Marilyn Manson and Rammstein, his familiar score was the glue that held the rest of the music together and his screeching jazz nightmare "Red Bats With Teeth" provided the manic intensity which drove the film. His subsequent contribution to Lynch's sentimental 1999 effort The Straight Story found his usually ominous musical scheme considerably lightened and equally as effective as his darker work. The late '90s found numerous other directors discovering the effectiveness of a Badalamenti score, and around the turn of the millennium, he would score everything from the made-for-television mafia drama The Last Don (1997) to Danny Boyle's eagerly anticipated box-office failure The Beach (2000). Though he would once again re-team with Lynch for the critically acclaimed Mulholland Drive (2001), his scores to the following year's Secretary and Auto Focus proved equally as effective. In 2002, Badalamenti teamed with Lynch protégé Eli Roth to provide the musical backdrop to Roth's much-praised indie horror effort Cabin Fever.

Trivia: British rock artist/actor Sting came into the world as Gordon Sumner, earning his more famous soubriquet thanks to his predilection for wearing beelike striped shirts. At 17, Sting toured the world as a musical performer on the Princess Cruise luxury-vacation line. He attended Warwick University, then made ends meet as a teacher, income tax clerk, and construction worker before achieving fame as lead singer of the rock group The Police. Following the 1977 release of the Police's inaugural recording Fall Out, Sting was approached by the producers of the James Bond film For Your Eyes Only to costar as the megalomaniac villain. He refused, choosing instead to make his film bow in the more characteristic role of a teen punk in Quadrophrenia (1979). One of his more impressive film appearances was as the enigmatic antihero of the pitch-black comedy Brimstone and Treacle (1982). While filmmaking remains a lucrative sideline for Sting -- his feature films include Dune (1984), The Bride (1985), and Bring on the Night (1986) -- he continues to invest most of his energy into music, winning seven Grammies for his recording work. Though normal film roles grew increasingly sporadic into the 2000s, Sting did still occasionally find the time to indulge his passion for acting in films like Guy Ritchie's 1998 feature debut Lock, Stock, and Two Smoking Barrels while earning the occasional Oscar nod for musical work in films like Kate & Leopold and Cold Mountain.

Trivia: Although she garnered some attention at the outset of her Hollywood career, Virginia Madsen found her star eclipsed in the 1990s by her older brother Michael's jolting, thuggish performances for director Quentin Tarantino. After landing a plum role in the acclaimed 2004 indie Sideways, however, Madsen was showered with the kind of praise she'd been denied for nearly two decades in the business.A native of the Chicago suburbs and the daughter of a PBS documentarian, Madsen learned her trade in city theater productions and summer performance camps. She made her way to Hollywood in the early '80s with her then-fiancé/fellow performer Billy Campbell. Making an inauspicious debut at the age of 19 as Andrew McCarthy's would-be first-time conquest in the teen sex comedy Class, she would go on to more noteworthy roles in director David Lynch's sci-fi epic Dune and the slick but heartfelt romantic comedy Electric Dreams (both 1984). The rest of the decade wouldn't be quite as kind, as Madsen shuffled from part to part, appearing in a supporting capacity in both ambitious arthouse fare (1987's Slamdance) and forgettable Hollywood comedies (1988's Hot to Trot and Mr. North, the latter of which sparked a relationship with -- and three-year marriage to -- director Danny Huston). The beginning of the next decade fared somewhat better for Madsen. After a memorably brassy turn opposite Don Johnson in Dennis Hopper's steamy, seamy The Hot Spot (1990), she raked in some box-office cash in the minor horror hit Candyman (1992). Small performances in the high-profile, prestige pics Ghosts of Mississippi and The Rainmaker notwithstanding, Madsen all but disappeared from the late-'90s feature marketplace, as most of her films were either made for television or delivered directly to video-store rental shelves. Finding a more receptive outlet on weekly TV, Madsen snagged prominent recurring roles on NBC's Frasier and American Dreams around the turn of the century.But it was writer/director Alexander Payne's low-budget character study Sideways that had Madsen clamoring for the ever-elusive "role of a lifetime." Payne was mostly unfamiliar with the actress' work, but her audition for the part of Maya -- a weary, contemplative divorcée with a fine-tuned taste for wine -- convinced him that she was the perfect complement to lead performer Paul Giamatti's high-strung sad sack Miles. Toning down her Hollywood glamour for the film, Madsen turned the small part into something of a revelation, and as reviewers showered praise upon the film in late 2004, the actress hauled in a truckload of awards from critics' groups as well as Golden Globe and Oscar nominations for Best Supporting Actress.Although Madsen lost the Oscar bid to Cate Blanchett, high-profile offers rolled in after her Sideways coup. Early in 2006, she played Beth Stanfield, the wife of Harrison Ford's technology executive Jack Stanfield, in Richard Loncraine's disappointing hostage thriller Firewall; that summer, she also claimed an enigmatic part as a beguiling angel of death in Robert Altman's swan song, A Prairie Home Companion. Madsen began 2007 with two supporting turns in the same February weekend: in Michael Polish's The Astronaut Farmer, a quirky drama about a retired NASA astronaut turned farmer (Billy Bob Thornton) who builds a spacecraft in his barn; and in the higher-profile supernatural thriller The Number 23, playing wife to an unraveling Jim Carrey.