Trivia: Like so many others before him, Kris Kristofferson pursued Hollywood success after first finding fame in the pop music arena. Unlike the vast majority of his contemporaries, however, he could truly act as well as make music, delivering superb, natural performances in films for directors like Martin Scorsese, Sam Peckinpah, and John Sayles. Born June 22, 1936, in Brownsville, TX, Kristofferson was a Phi Beta Kappa at Pomona College, earning a degree in creative writing. At Oxford, he was a Rhodes Scholar, and while in Britain he first performed his music professionally (under the name Kris Carson). A five-year tour in the army followed, as did a stint teaching at West Point. Upon exiting the military, he drifted around the country before settling in Nashville, where he began earning a reputation as a gifted singer and songwriter. After a number of his compositions were covered by Roger Miller, Kristofferson eventually emerged as one of the most sought-after writers in music. In 1970, Johnny Cash scored a Number One hit with Kristofferson's "Sunday Mornin' Comin' Down," and that same year he released his debut LP, Kristofferson. Upon composing two more hits, Janis Joplin's "Me and Bobby McGee" and Sammi Smith's "Help Me Make It Through the Night," Kristofferson was a star in both pop and country music. In 1971, his friend, Dennis Hopper, asked him to write the soundtrack for The Last Movie, and soon Kristofferson was even appearing onscreen as himself. He next starred -- as a pop singer, appropriately enough -- opposite Gene Hackman later that year in Cisco Pike, again composing the film's music as well. Another role as a musician in 1973's Blume in Love threatened to typecast him, but then Kristofferson starred as the titular outlaw in Sam Peckinpah's superb Western Pat Garrett and Billy the Kid. For Peckinpah, Kristofferson also appeared in 1974's Bring Me the Head of Alfredo Garcia, followed by a breakthrough performance opposite Oscar-winner Ellen Burstyn in Martin Scorsese's acclaimed Alice Doesn't Live Here Anymore. After a two-year hiatus to re-focus his attentions on music, he followed with a villainous turn in the little-seen Vigilante Force and the much-hyped The Sailor Who Fell From Grace With the Sea. Amid reports of a serious drinking problem, Kristofferson next starred as an aging, alcoholic rocker opposite Barbra Streisand in the 1976 remake of A Star Is Born, an experience so grueling, and which hit so close to home, that he later claimed the picture forced him to go on the wagon. In 1977, Kristofferson teamed with Burt Reynolds to star in the football comedy Semi-Tough, another hit. He next reunited with Peckinpah for 1978's Convoy. Hanover Street was scheduled to follow, but at the last minute Kristofferson dropped out to mount a concert tour. Instead, he next appeared with Muhammad Ali in the 1979 television miniseries Freedom Road. He then starred in Michael Cimino's legendary 1981 disaster Heaven's Gate, and when the follow-up -- Alan J. Pakula's Rollover -- also failed, Kristofferson's film career was seriously crippled; he received no more offers for three years, appearing only in a TV feature, 1983's The Lost Honor of Kathryn Beck, and performing his music. His comeback vehicle, the 1984 thriller Flashpoint, earned little attention, but Alan Rudolph's Songwriter -- also starring Willie Nelson -- was well received. In 1986, Kristofferson reunited with Rudolph for Trouble in Mind, and starred in three TV movies: The Last Days of Frank and Jesse James, Blood and Orchids, and a remake of John Ford's Stagecoach.Remaining on television, Kristofferson co-starred in the epic 1987 miniseries Amerika. The year following, he appeared in a pair of Westerns, The Tracker and Dead or Alive, and unexpectedly co-starred in the comedy Big-Top Pee-Wee. The 1989 sci-fi disappointment Millennium was his last major theatrical appearance for some years. In the early '90s, the majority of his work was either in television (the Pair of Aces films, Christmas in Connecticut) or direct-to-video fare (Night of the Cyclone, Original Intent). In many quarters, Kristofferson was largely a memory by the middle of the decade, but in 1995 he enjoyed a major renaissance; first, he released A Moment of Forever, his first album of new material in many years, then co-starred in Pharoah's Army, an acclaimed art-house offering set during the Civil War. The following year, Kristofferson delivered his most impressive performance as a murderous Texas sheriff in John Sayles' Lone Star. He turned in another stellar performance two years later in James Ivory's A Soldier's Daughter Never Cries. After a turn in the Mel Gibson vehicle Payback and Father Damien, Kristofferson again collaborated with Sayles, playing a pilot of dubious reputation in 1999's Limbo. In the decades to come, Kristofferson would remain active on screen, appearing in movies like He's Just Not That Into You, Fastfood Nation, and Dolphin Tale.

Trivia: After attending Franklin and Marshall College, Treat Williams acted with the prestigious Fulton Repertory troupe. Williams made his Broadway debut in Grease (1976) eventually taking over the leading role of Danny Zuko. His later Broadway credits included the musicals Over Here and Pirates of Penzance and the reader's-theatre exercise Love Letters. In films from 1976, he scored his first significant success as the draft-resistant protagonist of Milos Forman's Hair (1979). He went on to play the title role in The Pursuit of D. B. Cooper (1981), then gained positive critical notice for his work as reluctant interdepartmental police informant Daniel Ciello in Prince of the City (1981). His later film roles included mob-connected labor organizer Jimmy O'Donnell in Once Upon a Time in America (1984) and the seductive James Dean clone in Smooth Talk (1985). Famed for his willingness to tackle any sort of role, Williams' artistic ambitions are backed up by his versatility and astonishing vocal flexibility. On TV, Williams played Stanley Kowalski opposite Ann-Margret's Blanche Dubois in Streetcar Named Desire (1984) and was appropriately sharkish as superagent Mike Ovitz in The Late Shift (1996). He also starred in the weekly series Eddie Dodd (1991) and Good Advice (1995). Many of Treat Williams' recent film roles have exhibited a fondness for expansive, scenery-chewing villainy, notably megalomanic Xander Drax in The Phantom (1995).

Trivia: Rip Torn may qualify as a "character actor" in the broadest sense of the term -- he typically fleshes out variations on the same role again and again, typecast as genially earthy, volatile, and loudmouthed good old boys. But, love him or hate him, Torn's roles over the course of more than half a century are distinct and pronounced enough to have elevated him above many of his contemporaries, into a veritable staple of American cinematic pop culture.Born Elmore Rual Torn, Jr. in Temple, TX, on February 6, 1931, and nicknamed "Rip" by his father, Torn attended Texas A&M as an undergraduate and studied animal husbandry. He intended to establish himself as a rancher after graduation, but first opted to pursue an acting career as a means to buy a ranch, mistakenly believing that he would hit Hollywood and achieve instant stardom. Instead, Torn scrounged around Los Angeles for several years as a dishwasher and short-order cook, but continued to pursue acting in his off time. Torn's persistence paid off, and he eventually landed several bit parts in movies and television series. He moved to Manhattan in the late '50s, where he formally studied acting under Lee Strasberg and danced under the aegis of Martha Graham; a wealth of movie roles followed over the next several decades, beginning with that of Brick in Actors Studio associate Elia Kazan's controversial classic Baby Doll (1956, with a script by Tennessee Williams) and, a few years later, the role of Finley in another Williams drama, the Richard Brooks-directed Sweet Bird of Youth (for which Torn received a great deal of notoriety). Additional supporting roles throughout the late '60s and early '70s included Slade in Norman Jewison's The Cincinnati Kid (1965), I.H. Chanticleer in Francis Ford Coppola's You're a Big Boy Now (1966), and Sgt. Honeywell in Cornel Wilde's Beach Red (1967).In the late '60s, two key (albeit temporary) shifts occurred in Torn's career. First, he went counterculture (and arthouse) with an unofficial trilogy of experimental roles. In the most pronounced -- Joe Glazer in Milton Moses Ginsberg's Coming Apart (1969, opposite Andy Warhol regular Sally Kirkland) -- Torn plays a nutty psychiatrist who specializes in female neuroses and decides to film all of his sessions, then his own mental breakdown. (Ginsberg films all of the action as reflected in a mirror.) The X-rated picture -- which features graphic sequences of Kirkland performing fellatio on Torn -- was (and is still) widely derided as spectacularly bad. Variety hit the proverbial nail on the head in 1969 when it concluded, "The problem with Coming Apart is that while it suggests some interesting ideas, it can't deliver any of them in cogent form....The results are not satisfactory." Neither are the second or third installments in Torn's "experimental" phase: roles in the first and third features directed by literary giant Norman Mailer, Beyond the Law (1967) and Maidstone (1970). Of Law -- an improvisational, comic piece set in a precinct house (with Torn as a character called Popcorn), The Motion Picture Guide sneered, "Barney Miller may have been inspired by this movie," and Roger Ebert declared it unintentionally funny, but those were the kindest reactions. Maidstone -- a fragmented, barely coherent drama -- stars only Mailer, as a politician-cum-film director, and Torn. This partially improvised picture became notorious for an on-camera sequence in which Torn (playing Mailer's half-brother) attacks Mailer with a hammer (allegedly for real), sans forewarning, bloodying up the author's face while the actress playing his wife screams in the background. Some wrote the scene off as a fake, but many others dissented. Variety observed in 1970: "[Torn] states he had to do it to make his character real and for the film. But he claims he pulled the hammer and had never drawn blood before while acting. The Mailer character is furious and vindictive. Mailer would not disclose whether it was real or not, but it did look ferociously authentic...."The second "shift" of Torn's career in the early '70s yielded infinitely greater success: a pair of rare leads in A-list features. He played Henry Miller opposite Ellen Burstyn in Joe Strick's marvelous, picaresque adaptation of that author's novel, Tropic of Cancer, and the abusive, booze and pill-addled country singer Maury Dann in Daryl Duke's harrowing drama Payday (1973). The pictures opened to generally spectacular reviews and raves over Torn's portrayals; Variety, for one, termed his performance in the Duke picture "excellent."While these lead roles showcased limitless dramatic ability, they unfortunately marked exceptions to the rule, and for the remainder of the '70s, '80s, and '90s, Torn contented himself with an endless (albeit impressive) array of colorful supporting turns -- dozens of them. High points include Nathan Bryce in The Man Who Fell to Earth (1976); Dr. George in Coma (1978); the boozing, hell-raising, and philandering Senator Kittner in Jerry Schatzberg's The Seduction of Joe Tynan (1979); longhaired record producer Walter Fox in Paul Simon's One Trick Pony (1980); the pirate-like Scully in Carl Reiner's Summer Rental (1985); Buford Pope in Robert Benton's sex farce Nadine (1987); the none-too-gifted afterlife attorney Bob Diamond in Albert Brooks' fantasy Defending Your Life (1991); Zed in Men in Black (1997); acid-mouthed coach Patches O'Houlihan in the Ben Stiller comedy Dodgeball: A True Underdog Story (2004); and King Louis XV in Sofia Coppola's much-ballyhooed tertiary directorial outing, Marie Antoinette (2006). His low point undoubtedly arrived in 2001, when he played Tom Green's father, Jim Brody, in the controversial comedian's yuck-fest Freddy Got Fingered (2001). (A very low point; the film's comic highlight has Torn being showered with fake elephant ejaculate.)In addition to his film work, Torn made a series of critically acclaimed contributions to the small screen throughout the '80s and '90s, most vividly as Artie on HBO's Larry Sanders Show, for which he gleaned two Cable Ace awards, three Emmy nominations, and an Emmy for Best Supporting Actor in a Comedy Series. Torn did direct one feature, the 1988 Whoopi Goldberg vehicle The Telephone, which opened and immediately closed to devastating critical reviews and dismal box office.Torn was married to actress Ann Wedgeworth from 1956 until their divorce in 1961 and Geraldine Page from 1961 until her death in 1987, and is currently married to actress Amy Wright. He is the cousin of actress Sissy Spacek.

Trivia: Born in Arkansas and schooled in Missouri, actress Tess Harper worked hard to shed her Southern accent. Nevertheless, some of her best movies have been set in the American South. Her film breakthrough came in 1983 opposite Robert Duvall in Bruce Beresford's Tender Mercies. As compassionate Rosa Lee, she earned a Golden Globe nomination for Best Supporting Actress. After a few TV movies, miniseries, and feature films, she earned an Oscar nomination for her role of cousin Chick in the comedy drama Crimes of the Heart. Also directed by Beresford, the film was based on the play by Beth Henley and starred Diane Keaton, Jessica Lange, and Sissy Spacek. In the late '80s, other comedy roles followed in Beresford's Her Alibi and Elaine May's Ishtar. Harper began the next decade with a return to her Southern-style roots. In 1990, she starred in the Southern Gothic black comedy Daddy's Dyin'...Who's Got the Will? as a greedy daughter fighting for her family fortune. In the drama My Heroes Have Always Been Cowboys, she was a sister of a rodeo rider. The actress appeared opposite Sam Waterston in Robert Mulligan's coming-of-age drama The Man in the Moon, also starring fellow Southerner Reese Witherspoon and set in small-town Louisiana. In 1992, Harper played an alcoholic mom in the drama Home Fires Burning, set in Pocohantas, VA. She switched to television for most of the '90s, including based-on-a-true-story dramas like Willing to Kill: The Texas Cheerleader Story. The TV movie Christy led to a regular role on the CBS dramatic series of the same name, starring Kellie Martin as a schoolteacher in rural Tennessee. In 2000, Harper narrated the CBS TV movie Beyond the Prairie: The True Story of Laura Ingalls Wilder, as the older Laura Ingalls Wilder herself.

Trivia: American actor Kevin Conway's first credited screen role was as Weary in the 1971 Kurt Vonnegut derivation Slaughterhouse Five. Subsequent film assignments included supporting roles in two 1978 Sylvester Stallone vehicles, Paradise Alley and F.I.S.T (1978), and the part of "The Kid" in the Burt Reynolds cop caper Shamus (1973). Conway had the second lead in 1980's Lathe of Heaven, the first TV movie produced for the PBS network; and, also for public television, he appeared as Roger Chillingworth in a 1979 adaptation of The Scarlet Letter. The actor was seen on a regular basis in the 1970 TV soap opera A World Apart. The actor's most celebrated stage role was as Dr. Frederick Treves in the original Broadway production of The Elephant Man, a role he re-created for television in 1982.

Trivia: Character actor Kurtwood Smith was educated at Stanford University, then worked briefly as a drama teacher before distinguished himself on the San Francisco theatrical circuit. Making his first fleeting film appearance in Roadie, Smith toiled away in quiet, mild-manner roles until finding his niche in oily villainy as the drug lord in Robocop (1987). The actor was at his all-time nastiest as Mr. Perry, the ultra-judgmental father who drives his sensitive son (Robert Sean Leonard) to suicide in Dead Poet's Society (1989). More character roles followed over the next decade until Smith found fame as Red, the comedically tough dad in the sitcom That '70s Show.He continued to work steadily into the next decade tackling parts in film as diverse as the comedy Teddy Bears' Picnic, the drama Girl, Interrupted, and Cedar Rapids, where he played an ethically compromised real estate salesman.

Trivia: Born February 7, 1955, intense character actor Miguel Ferrer specialized in playing villains, and brought to each role an unpredictable energy. Working steadily on television and in feature films, Southern California-born and raised, Ferrer was the eldest of five children and is the son of famed actor José Ferrer and jazz artist Rosemary Clooney. Inspired by watching Little Ricky banging away on drums during the I Love Lucy show and by Beatles percussionist Ringo Starr, Ferrer first aspired to become a professional drummer and for a few years worked as a studio musician. Acting credits came by way of small television and feature film roles. He debuted on television guest starring as a drummer on the NBC series Sunshine (1975). His first real break in movies came when he was cast in Paul Verhoeven's sci-fi actioner Robocop (1986). The tall, rangy actor subsequently appeared in films such as Revenge (1987) and Point of No Return (1991). Back on television, he gave a memorable performance as an emotionally volatile FBI pathologist in David Lynch's cult series Twin Peaks. Ferrer also starred as a Louisiana cop in Broken Badges. Other television credits include a guest-starring role on the NBC medical drama E.R., a supporting role in the telemovies Shannon's Deal and Brave New World, and a regular role on the comedy Lateline. In 2002, Ferrar appeared alongside Michael Douglas, Don Cheadle, and Benicio Del Toro in filmmaker Steven Soderbergh's Academy award-winning drama Traffic, and worked in John Sayles' Sunshine state during the same year. Ferrer took on the role of Colonel Garrett in the 2004 update of The Manchurian Candidate, and lent his voice to episodes of the Cartoon Network favorites Robot Chicken (2006) and American Dad! (2007). The actor continued to work in television over the next couple of years, making appearances in NBC's update of the Bionic Woman series, and took on the part of LAPD Lt. Felix Valdez for The Protector, a made-for-television police procedural drama. He also had a recurring role as NCIS assistant director Owen Granger in NCIS: Los Angeles. Ferrer was diagnosed with cancer during his run on NCIS, but chose to stay on the show and work through his illness. He died in 2017, at age 61.

Trivia: Don't let actress Jean Smart's filmography fool you, because though she seems to have a penchant for appearing in fairly light-hearted fare of the family-oriented variety, she possesses all the skill of the most talented dramatic stage and screen actresses around. Unafraid to take the sort of risks necessary to keep her career and her personal life in fair balance, fans balked when Smart left television's hugely popular Designing Women while the series was in its prime, though her subsequent performances have found her sound judgment well justified. A Seattle native who received her B.A. from the University of Washington, it wasn't long before Smart was taking the stage at the 1975 Oregon Shakespeare Festival. Relocating to New York City, Smart's performance in the off-Broadway play Last Summer at Bluefish Cove earned the emerging actress a Drama Desk nomination. Her performance in the Broadway production of Piaf found Smart heading to Hollywood to tape the play for PBS, and it wasn't long before she began appearing in such films as Protocol (1984) and Project X (1987). A pivotal moment came when Smart was cast in the television series Designing Women; following the show's premier in 1986 she would remain a member of the cast until the 1991 season. It was while on that series that friend and fellow castmate Delta Burke set Smart up on a date with actor Richard Gilliland, whom Smart would later wed. The birth of their son Conner prompted Smart to reassess her career; though she would soon depart from Designing Women, she would continue to act in such efforts as the television feature Locked Up: A Mother's Rage (1991) and Overkill: The Aileen Wuornos Story (1992), in which she essayed the role of America's most notorious female serial killer. As the 1990s progressed Smart became something of a television fixture, and performances in The Yearling (1994) and A Change of Heart (1998) found her career continuing to flourish. Roles in such features as Disney's The Kid and Snow Day (2000) found Smart ever more associated with family-friendly fare, an association which she would continue to embrace with a role in the 2002 Disney Channel animated series Kim Possible. Other series in which Smart appeared included Hercules, Frasier, and The Oblongs; and in 2003 Smart teamed with her husband for the Hallmark Hall of Fame presentation of Audrey's Rain.In 2004, Smart joined the cast of the bittersweet romantic comedy Garden State, and made a brief appearance in I Heart Huckabees during the same year. In 2006, Smart was earned nominations for two Emmy awards (Outstanding Supporting Actress in a Drama Series and Outstanding Guest Actress in a Drama Series) for her turn as the mentally fragile First Lady of the United States, whom she portrayed in the fifth season of 24. The actress wouldn't win an Emmy, however, until 2008, when she took home the coveted award for Best Supporting Actress in a Comedy Series for her role on the sitcom Samantha, Who?. Smart played another mother in the film adaptation of C.D. Payne's novel Youth in Revolt in 2009, and took on the role of Hawaii Governor Pat Jameson for Hawaii Five-0, the CBS remake of the popular 1970s police procedural of the same name.

Trivia: Supporting actor Boyd has appeared onscreen from the '70s.

Trivia: A character actor, Blossom has appeared onscreen from the early '70s.

Trivia: British actor Terence Alexander made his debut in provincial repertory at age 16. A film actor since 1950, Alexander has specialized in slightly dissipated aristocrats. He was, for example, ideally suited for the role of shabby but proud ex-military officer Rupert Rutland-Smith in The League of Gentlemen. Alexander has also proven to be an apt foil for the broad comedy antics of Norman Wisdom in On the Beat (1962) and the Carry on Gang. In the 1980s, Terence Alexander enjoyed a measure of TV popularity as one of the co-stars of the long-running Bergerac.