Trivia: In the first ten years of his life, Raymond Burr moved from town to town with his mother, a single parent who supported her little family by playing the organ in movie houses and churches. An unusually large child, he was able to land odd jobs that would normally go to adults. He worked as a ranch hand, a traveling tinted-photograph salesman, a Forest service fire guard, and a property agent in China, where his mother had briefly resettled. At 19, he made the acquaintance of film director Anatole Litvak, who arranged for Burr to get a job at a Toronto summer-stock theater. This led to a stint with a touring English rep company; one of his co-workers, Annette Sutherland, became his first wife. After a brief stint as a nightclub singer in Paris, Burr studied at the Pasadena Playhouse and took adult education courses at Stanford, Columbia, and the University of Chunking. His first New York theatrical break was in the 1943 play Duke in Darkness. That same year, his wife Sutherland was killed in the same plane crash that took the life of actor Leslie Howard. Distraught after the death of his wife, Burr joined the Navy, served two years, then returned to America in the company of his four-year-old son, Michael Evan Burr (Michael would die of leukemia in 1953). Told by Hollywood agents that he was overweight for movies, the 340-pound Burr spent a torturous six months living on 750 calories per day. Emerging at a trim 210 pounds, he landed his first film role, an unbilled bit as Claudette Colbert's dancing partner in Without Reservations (1946). It was in San Quentin (1946), his next film, that Burr found his true metier, as a brooding villain. He spent the next ten years specializing in heavies, menacing everyone from the Marx Brothers (1949's Love Happy) to Clark Gable (1950's Key to the City) to Montgomery Clift (1951's A Place in the Sun) to Natalie Wood (1954's A Cry in the Night). His most celebrated assignments during this period included the role of melancholy wife murderer Lars Thorwald in Hitchcock's Rear Window (1954) and reporter Steve Martin in the English-language scenes of the Japanese monster rally Godzilla (1956), a characterization he'd repeat three decades later in Godzilla 1985. While he worked steadily on radio and television, Burr seemed a poor prospect for series stardom, especially after being rejected for the role of Matt Dillon on Gunsmoke on the grounds that his voice was too big. In 1957, he was tested for the role of district attorney Hamilton Burger in the upcoming TV series Perry Mason. Tired of playing unpleasant secondary roles, Burr agreed to read for Burger only if he was also given a shot at the leading character. Producer Gail Patrick Jackson, who'd been courting such big names as William Holden, Fred MacMurray, and Efrem Zimbalist Jr., agreed to humor Burr by permitting him to test for both Burger and Perry Mason. Upon viewing Burr's test for the latter role, Perry Mason creator Erle Stanley Gardner jumped up, pointed at the screen, and cried "That's him!" Burr was cast as Mason on the spot, remaining with the role until the series' cancellation in 1966 and winning three Emmies along the way. Though famous for his intense powers of concentration during working hours -- he didn't simply play Perry Mason, he immersed himself in the role -- Burr nonetheless found time to indulge in endless on-set practical jokes, many of these directed at his co-star and beloved friend, actress Barbara Hale. Less than a year after Mason's demise, Burr was back at work as the wheelchair-bound protagonist of the weekly detective series Ironside, which ran from 1967 to 1975. His later projects included the short-lived TVer Kingston Confidential (1976), a sparkling cameo in Airplane 2: The Sequel (1982), and 26 two-hour Perry Mason specials, lensed between 1986 and 1993. Burr was one of the most liked and highly respected men in Hollywood. Fiercely devoted to his friends and co-workers, Burr would threaten to walk off the set whenever one of his associates was treated in a less than chivalrous manner by the producers or the network. Burr also devoted innumerable hours to charitable and humanitarian works, including his personally financed one-man tours of Korean and Vietnamese army bases, his support of two dozen foster children, and his generous financial contributions to the population of the 4,000-acre Fiji island of Naitauba, which he partly owned. Despite his unbounded generosity and genuine love of people, Burr was an intensely private person. After his divorce from his second wife and the death from cancer of his third, Burr remained a bachelor from 1955 until his death. Stricken by kidney cancer late in 1992, he insisted upon maintaining his usual hectic pace, filming one last Mason TV movie and taking an extended trip to Europe. In his last weeks, Burr refused to see anyone but his closest friends, throwing "farewell" parties to keep their spirits up. Forty-eight hours after telling his longtime friend and business partner Robert Benevides, "If I lie down, I'll die," 76-year-old Raymond Burr did just that -- dying as he'd lived, on his own terms.

Trivia: Intending to become a dentist like his father, American actor Edgar Buchanan wound up with grades so bad in college that he was compelled to take an "easy" course to improve his average. Buchanan chose a course in play interpretation, and after listening to a few recitations of Shakespeare he was stagestruck. After completing dental school, Buchanan plied his oral surgery skills in the summertime, devoting the fall, winter and spring months to acting in stock companies and at the Pasadena Playhouse in California. He was given a screen test by Warner Bros. studios in 1940, received several bit roles, then worked himself up to supporting parts upon transferring to Columbia Pictures. Though still comparatively youthful, Buchanan specialized in grizzled old westerners, with a propensity towards villainy or at least larceny. The actor worked at every major studio (and not a few minor ones) over the next few years, still holding onto his dentist's license just in case he needed something to fall back on. Though he preferred movie work to the hurried pace of TV filming, Buchanan was quite busy in television's first decade, costarring with William Boyd on the immensely popular Hopalong Cassidy series, then receiving a starring series of his own, Judge Roy Bean, in 1954. Buchanan became an international success in 1963 thanks to his regular role as the lovably lazy Uncle Joe Carson on the classic sitcom Petticoat Junction, which ran until 1970. After that, the actor experienced a considerably shorter run on the adventure series Cade's County, which starred Buchanan's close friend Glenn Ford. Buchanan's last movie role was in Benji (1974), which reunited him with the titular doggie star, who had first appeared as the family mutt on Petticoat Junction.

Trivia: Busy character actor Frank Ferguson was able to parlay his pinched facial features, his fussy little moustache, and his bellows-like voice for a vast array of characterizations. Ferguson was equally effective as a hen-pecked husband, stern military leader, irascible neighbor, merciless employer, crooked sheriff, and barbershop hanger-on. He made his inaugural film appearance in Father is a Prince (1940) and was last seen on the big screen in The Great Sioux Massacre (1965). Ferguson proved himself an above-average actor by successfully pulling off the treacly scene in The Babe Ruth Story (1948) in which Babe (William Bendix) says "Hi, kid" to Ferguson's crippled son--whereupon the boy suddenly stands up and walks! Among Franklin Ferguson's hundreds of TV appearances were regular stints on the children's series My Friend Flicka (1956) and the nighttime soap opera Peyton Place (1964-68).

Trivia: American entertainer Mel Blanc, who would make his name and fortune by way of his muscular vocal chords, started out in the comparatively non-verbal world of band music. He entered radio in 1927, and within six years was costarring with his wife on a largely adlibbed weekly program emanating from Portland, Oregon, titled Cobwebs and Nuts. Denied a huge budget, Blanc was compelled to provide most of the character voices himself, and in so doing cultivated the skills that would bring him fame. He made the Los Angeles radio rounds in the mid-1930s, then was hired to provide the voice for a drunken bull in the 1937 Warner Bros. "Looney Tune" Picador Porky. Taking over the voice of Porky ("Th-th-th-that's all, Folks") Pig from a genuine stammerer who knew nothing about comic timing, Blanc became a valuable member of the "Termite Terrace" cartoon staff. Before long, he created the voice of Daffy Duck, whose lisping cadence was inspired by Warner Bros. cartoon boss Leon Schlesinger. In 1940, Blanc introduced his most enduring Warners voice -- the insouciant, carrot-chopping Bugs Bunny (ironically, Blanc was allergic to carrots). He freelanced with the MGM and Walter Lantz animation firms (creating the laugh for Woody Woodpecker at the latter studio) before signing exclusively with Warners in the early 1940s. Reasoning that his limitless character repetoire -- including Sylvester, Foghorn Leghorn, Speedy Gonzales, Tweety Pie, Pepe Le Pew, Yosemite Sam and so many others -- had made him a valuable commodity to the studio, Blanc asked for a raise. Denied this, he demanded and got screen credit -- a rarity for a cartoon voice artist of the 1940s. Though his salary at Warners never went above $20,000 per year, Blanc was very well compensated for his prolific work on radio. He was a regular on such series as The Abbott and Costello Show and The Burns and Allen Show, and in 1946 headlined his own weekly radio sitcom. For nearly three decades, Blanc was closely associated with the radio and TV output of comedian Jack Benny, essaying such roles as the "Si-Sy-Si" Mexican, harried violin teacher Professor LeBlanc, Polly the parrot, and the sputtering Maxwell automobile. While his voice was heard in dozens of live-action films, Blanc appeared on screen in only two pictures: Neptune's Daughter (1949) and Kiss Me Stupid (1964). Extremely busy in the world of made-for-TV cartoons during the 1950s and 1960s, Blanc added such new characterizations to his resume as Barney Rubble on The Flintstones (1960-66) and Cosmo Spacely on The Jetsons (1962). In early 1961, Blanc was seriously injured in an auto accident. For weeks, the doctor was unable to communicate with the comatose Blanc until, in desperation, he addressed the actor with "How are you today, Bugs Bunny?" "Eh...just fine, Doc," Blanc replied weakly in his Bugs voice. At that miraculous moment, Blanc made the first step towards his eventual full recovery (this story sounds apocryphical, and even Blanc himself can't confirm that it took place, but those who witnessed the event swear that it really happened). In the 1970s, Blanc and his actor/producer son Noel -- whom Mel was grooming to take over the roles of Bugs, Daffy and the rest -- ran their own school for voice actors. Mel Blanc continued performing right up to his death in July of 1989; earlier that same year, he published his autobiography, That's Not All, Folks.