Trivia: The latest in an illustrious line of actors to convince American audiences that the British make the cinema's most sinister and cold-hearted villains, Jason Isaacs earned the vicarious enmity and disgust of filmgoers everywhere in his role as the vile Colonel Tavington in the 2000 summer blockbuster The Patriot. Actually an incredibly versatile performer whose previous characterizations included a priest, a brilliant scientist, and a drug dealer, the tall, blue-eyed actor won admiration and respect for his performance, and soon found himself being hailed in the American press as one of the most exciting British imports of the early 21st century.The third of four sons of a Liverpool merchant, Isaacs was born in his father's hometown on June 6, 1963. He initially planned to go into law -- a white-collar profession that would have fit nicely with those of his brothers, who became a doctor, lawyer, and accountant -- but was swayed by acting early in the course of his law studies at Bristol University. Although he first became interested in acting in part because "it was a great way to meet girls," Isaacs soon found deeper meaning in the theater (in one interview he was quoted as saying "I could release myself into acting in a way that I was not released socially") and duly dropped out of Bristol to hone his skills at London's Central School of Speech and Drama. Once in London, Isaacs began landing professional work almost immediately, appearing on the stage and on television. He made his big-screen debut in 1989 with a minor turn as a doctor in Mel Smith's The Tall Guy and that same year won a steady role on the TV series Capital City. Isaacs exhibited his versatility in several more TV series and on-stage in such productions as the Royal National Theatre's 1993 staging of Tony Kushner's Pulitzer Prize-winning Angels in America. He also began to find more work onscreen, receiving his first nod of Hollywood recognition in his casting in the Bruce Willis blockbuster Armageddon (1998). Initially called upon to take a fairly substantial role, Isaacs was eventually cast in a much smaller capacity as a planet-saving scientist so that he could accommodate his commitment to Divorcing Jack (1998), a comedy thriller he was making with David Thewlis. After portraying a priest opposite Julianne Moore and Ralph Fiennes in Neil Jordan's acclaimed adaptation of Graham Greene's The End of the Affair, Isaacs got his biggest international break to date when he was picked to portray Colonel Tavington, the resident villain of Roland Emmerich's Revolutionary War epic The Patriot. Starring opposite Mel Gibson, who (naturally) played the film's hero, Isaacs made an unnervingly memorable impression as a man whose pastimes included infanticide, rape, and church- burning, emerging as one of summer 2000s most indelible screen presences. Although his work in the film earned him comparisons to Ralph Fiennes' portrayal of evil Nazi Amon Goeth in Schindler's List and talks of a Best Supporting Actor Oscar nomination, the actor was not content to be typecast in the historical scum mold. Thus, he logically signed on to play none other than a drag queen for his next project, Sweet November (2001), a romantic comedy-drama starring Charlize Theron and Keanu Reeves. For his lead portrayal in the 2007 miniseries The State Within, Isaacs received a Golden Globe nomination for Best Performance in a Miniseries or Motion Picture Made for Television. Over the next several years, Isaacs appeared in films like Green Zone and Harry Potter and the Deathly Hollows, Part 2. He would also star in TV series like Case Histories and Awake.

Trivia: A member of director Mike Leigh's hardworking repertory cast, British actress Lesley Manville started acting in U.K. television dramas during the early '80s. After her debut feature in 1985 for the crime drama Dance With a Stranger, she found her place in comedy-dramas with Clare Peploe's High Season. The next year, she began her longtime collaboration with Mike Leigh for the comedy High Hopes, followed by Secrets and Lies and Topsy-Turvy. She married actor Gary Oldman and had a son, but the couple divorced soon after they both appeared in the made-for-TV movie The Firm in 1988. She continued to work in British miniseries, TV movies, and short films throughout the '90s, including an appearance as Mrs. Micawber in a TNT version of David Copperfield. Manville finally gained a lead role in Leigh's All or Nothing in 2002, as Penny, a grocery store clerk married to taxi cab driver Phil (frequent Leigh leading man Timothy Spall).

Trivia: Is distantly related to both Jane Austen and Lord Byron. Great-great grandfather was H.H. Asquith, former Prime Minister, making her a second cousin, once removed of Helena Bonham Carter. Left the London Academy of Music and Dramatic Arts when she became pregnant with her daughter Poppy. In 1988, shocked TV hosts Richard and Judy, the audience and ITV bosses when she said the 'f' word while being interviewed. Met cameraman ex-husband Nigel Willoughby while filming for a beer advert in 1993. Met husband Redha Debbah when he was working as a taxi driver and took her to the West End while she was performing in The Real Inspector Hound in 1998. While appearing in an off-Broadway production of Creditors in New York in 2010, became stricken with a case of viral meningitis and had to be rushed to the hospital by the play's director, Alan Rickman. In 2013, won a nomination for a Laurence Olivier Award for Best Actress for her performance in Private Lives. Patron of the London childen's charity, Scene and Heard.

Trivia: Originally aspired to follow in the footsteps of her mother, who worked at the BBC in the costume department.Previously worked at a clothing store in Dover Street Market prior to her acting career, when she was 17. Started in television as a costume trainee on the science fiction comedy-drama Misfits in 2009.First major TV role was Claude de Valois on the historical romantic drama series Reign.Is also a dancer with training in hip-hop, contemporary and 1800's ballroom dances.

Trivia: One of the most enduring and respected actresses in French cinema, Isabelle Huppert is known for her versatile portrayals of characters ranging from the innocent to the sultry to the comic. Born March 16, 1953, in Paris, Huppert graduated from the Paris Conservatoire d'Art Dramatique and made her first film, Faustine et le Bel Été, when she was 16. Her career accelerated rapidly, and she soon found work with such acclaimed directors as Bertrand Blier, with whom she made Les Valseuses (1974), a film also notable for making a star out of Gérard Depardieu; Otto Preminger, for whom she appeared in Rosebud (1975); and Claude Chabrol, with whom she would make a series of films, starting with 1978's Violette Nozière, for which she won a Best Female Performance award at the 1978 Cannes Film Festival. Also in 1978, she won a British Academy Award for Best Newcomer for her role in La Dentellière (The Lacemaker).Huppert's career in the 1980s commenced fairly inauspiciously, with a part in the legendary flop Heaven's Gate (1981), but it soon picked up with starring roles in Bertrand Tavernier's Coup de Torchon (1981), Jean-Luc Godard's Passion (1982), and Diane Kurys' celebrated Entre Nous (1983). Throughout the 1980s and '90s, Huppert made an impressive number of films in her native country, collaborating with Claude Chabrol on 1988's Une Affaire de Femmes (Story of Women), the widely acclaimed Madame Bovary (1991), and La Cérémonie (1995), for which she won a 1996 Best Actress César. Since the Heaven's Gate fiasco, Huppert's work in American film has been minimal, a worthwhile exception being her role as a nun-turned-nymphomaniac writer of pornographic fiction in Hal Hartley's Amateur (1994). In her native France, Huppert has become something of an institution, continuing to work prolifically on such films as Benoît Jacquot's L'École de la Chair (1998) and serving as the 24th president of the César Awards in March 1999.Despite the fact that American audiences remained sadly unaware of Huppert's success overseas, her performances in Jacquot's False Servant and the historical drama Saint-Cyr (both 2000) found her meeting challenging roles head on to captivating effect. The sometimes disturbing films she appeared in may not have been the easiest for audiences to digest, but they certainly cemented her belief that the art of acting is a means of "living out one's insanity," and no matter what the subject matter or quality of the actual film, Huppert remained a consistently compelling screen presence. Huppert's success in Chabrol's Merci Pour le Chocolat (2000) came as no surprise to many given her successful track record with the enduring director, and the following year she would once again come under the international spotlight for her remarkable performance as a sexually repressed and self-destructive piano teacher in director Michael Haneke's confrontational drama The Piano Teacher (2001). Her fearless powerhouse performance shocked audiences worldwide and earned Huppert a Best Actress award at the Cannes Film Festival. The film was soon counterbalanced by director François Ozon's popular international black comedy 8 Women the following year. A campy, freewheeling musical mystery starring some of the biggest female stars in French cinema, the film came as an unexpected but infectious jolt of originality to audiences whose skin had been worn thin by a recent spat of heavy dramas. Huppert's performance as an opinionated hooker who forms an unexpected bond with her illegitimate daughter in 2002's Ghost River benefited the touching drama well, and the following year, she was back with Haneke for the disturbing The Time of the Wolf. As with many of Haneke's films, The Time of the Wolf sharply divided audiences -- some of whom saw the film as celluloid perfection and others who viewed it as unrelentingly downbeat garbage. In 2003, Huppert would appear under the direction of an American director for the first time since 1994's Amateur with a role in Three Kings director David O. Russell's comedy I Heart Huckabees.

Trivia: English actor Christian McKay was a Hollywood unknown when director Richard Linklater chose him to play the auspicious title role in his 2008 film Me & Orson Welles, but it was McKay's uncanny impersonation of the legendary filmmaker that eventually won him the part. A 2001 graduate of Britain's prestigious Royal Academy of Dramatic Arts and a veteran of the Royal Shakespeare Company, McKay had often been compared to Welles in likeness and was noted for having a similar air of intelligence. After graduating from the Academy, McKay continued to grow a list of impressive stage credits that he'd already begun in school, soon becoming a popular name in British theater. He even tried his hand at some minor work in U.K. television and also became an accomplished concert pianist, but it was the eventual collaboration with Linklater that would serve as his fore into film.