Trivia: If Harrison Ford had listened to the advice of studio heads early in his career, he would have remained a carpenter and never gone on to star in some of Hollywood's biggest films and become one of the industry's most bankable stars. Born July 13, 1942, in Chicago and raised in a middle-class suburb, he had an average childhood. An introverted loner, he was popular with girls but picked on by school bullies. Ford quietly endured their everyday tortures until he one day lost his cool and beat the tar out of the gang leader responsible for his being repeatedly thrown off an embankment. He had no special affinity for films and usually only went to see them on dates because they were inexpensive and dark. Following high school graduation, Ford studied English and Philosophy at Ripon College in Wisconsin. An admittedly lousy student, he began acting while in college and then worked briefly in summer stock. He was expelled from the school three days before graduation because he did not complete his required thesis. In the mid-'60s, Ford and his first wife, Mary Marquardt (his college sweetheart) moved to Hollywood, where he signed as a contract player with Columbia and, later, Universal. After debuting onscreen in a bit as a bellboy in Dead Heat on a Merry-Go-Round (1966), he played secondary roles, typically a cowboy, in several films of the late '60s and in such TV series as Gunsmoke, The Virginian, and Ironside. Discouraged with both the roles he was getting and his difficulty in providing for his young family, he abandoned acting and taught himself carpentry via books borrowed from the local library. Using his recently purchased run-down Hollywood home for practice, Ford proved himself a talented woodworker, and, after successfully completing his first contract to build an out-building for Sergio Mendez, found himself in demand with other Hollywood residents (it was also during this time that Ford acquired his famous scar, the result of a minor car accident). Meanwhile, Ford's luck as an actor began to change when a casting director friend for whom he was doing some construction helped him get a part in George Lucas' American Graffiti (1973). The film became an unexpected blockbuster and greatly increased Ford's familiarity. Many audience members, particularly women, responded to his turn as the gruffly macho Bob Falfa, the kind of subtly charismatic portrayal that would later become Ford's trademark. However, Ford's career remained stagnant until Lucas cast him as space pilot Han Solo in the megahit Star Wars (1977), after which he became a minor star. He spent the remainder of the 1970s trapped in mostly forgettable films (such as the comedy Western The Frisco Kid with Gene Wilder), although he did manage to land the small role of Colonel G. Lucas in Francis Ford Coppola's Apocalypse Now (1979). The early '80s elevated Ford to major stardom with the combined impact of The Empire Strikes Back (1980) and his portrayal of action-adventure hero Indiana Jones in Raiders of the Lost Ark (1981), which proved to be an enormous hit. He went on to play "Indy" twice more, in 1984's Indiana Jones and the Temple of Doom and Indiana Jones and the Last Crusade in 1989. Ford moved beyond popular acclaim with his role as a big-city police detective who finds himself masquerading as an Amish farmer to protect a young murder witness in Witness (1984), for which he received a Best Actor Oscar nomination for his work, as well as the praise of critics who had previously ignored his acting ability. Having appeared in several of the biggest money-makers of all time, Ford was able to pick and choose his roles in the '80s and '90s. Following the success of Witness, Ford re-teamed with the film's director, Peter Weir, to make a film adaptation of Paul Theroux's novel The Mosquito Coast. The film met with mixed critical results, and audiences largely stayed away, unused to the idea of their hero playing a markedly flawed and somewhat insane character. Undeterred, Ford went on to choose projects that brought him further departure from the action films responsible for his reputation. In 1988 he worked with two of the industry's most celebrated directors, Roman Polanski and Mike Nichols. With Polanski he made Frantic, a dark psychological thriller that fared poorly among critics and audiences alike. He had greater success with Nichols, his director in Working Girl, a saucy comedy in which he co-starred with Melanie Griffith and Sigourney Weaver. The film was a hit, and displayed Ford's largely unexploited comic talent. Ford began the 1990s with Alan J. Pakula's courtroom thriller Presumed Innocent, which he followed with another Mike Nichols outing, Regarding Henry (1991). The film was an unmitigated flop with both critics and audiences, but Ford allayed his disappointment the following year when he signed an unprecedented 50-million-dollar contract to play CIA agent Jack Ryan in a series of five movies based upon the novels of Tom Clancy. The first two films of the series, Patriot Games (1992) and Clear and Present Danger (1994), met with an overwhelming success mirrored by that of Ford's turn as Dr. Richard Kimball in The Fugitive (1993). Ford's next effort, Sydney Pollack's 1995 remake of Sabrina, did not meet similar success, and this bad luck continued with The Devil's Own (which reunited him with Pakula), despite Ford's seemingly fault-proof pairing with Brad Pitt. However, his other 1997 effort, Wolfgang Petersen's Air Force One, more than made up for the critical and commercial shortcomings of his previous two films, proving that Ford, even at 55, was still a bona fide, butt-kicking action hero. Stranded on an island with Anne Hesche for his next feature, the moderately successful romantic adventure Six Days, Seven Nights (1998), Ford subsequently appeared in the less successful romantic drama Random Hearts. Bouncing back a bit with Robert Zemeckis' horror-flavored thriller What Lies Beneath, the tension would remain at a fever pitch as Ford and crew raced to prevent a nuclear catastrophe in the fact based deep sea thriller K-19: The Widowmaker. As the 2000's unfolded, Ford would prove that he had a strong commitment to being active in film, continuing to work in projects like Hollywood Homicide, Firewall, Extraordinary Measures, Morning Glory, and Cowboys & Aliens. Ford would also reprise one of his most famous roles for the disappointing Indiana Jones and the Kingdom of the Crystal Skull.

Trivia: Trained at the Washington Theatre Laboratory and Lee Strasberg Theatre Institute, Karen Allen was primarily a stage actress when she began to accept small film roles in such productions as National Lampoon's Animal House (1978) and Manhattan (1979), although her most celebrated film assignment was as the plucky Marion Ravenwood in Steven Spielberg's Raiders of the Lost Ark (1981). Spielberg reportedly acknowledged his appreciation of Allen's performance by gallantly kissing her hand after each take, also preferring roles for Allen that allowed her to appear without makeup, with her generously freckled face in full view. Among her more notable post-Raiders films were Starman (1984), The Glass Menagerie (1987), Malcolm X (1992), and In the Bedroom (2001). Temporarily blinded by conjunctivitis shortly before launching her film career, Allen was able to draw from life while portraying the adult Helen Keller in the mid-'80s Broadway play Helen and Teacher. Allen's TV roles included a portrayal of the ill-fated civilian astronaut Christa McAuliffe in Challenger (1990). The actress reunited with Harrison Ford in a reprisal of her role as Marion in 2008's Indiana Jones and the Kingdom of the Crystal Skull. Allen continues to be active in film and television.

Trivia: A noted character actor in England, Paul Freeman spent his early performing years on the stage, moving into film with the abysmal Whose Child Am I?, which still turns up on cable once in a while. TV appearances (including The Life of Shakespeare in which he played Burbage) followed. In 1979 he was drafted to play Colin, the best friend of fictional British crime boss Harold Shand (played by Bob Hoskins) in the controversial and troubled The Long Good Friday. Equally as controversial was Death of a Princess, a docudrama about the 1977 execution of a Saudi Arabian princess for adultery, in which Freeman portrayed journalist Anthony Thomas.The Dogs of War took Freeman to Africa, co-starring with Christopher Walken and Tom Berenger, and it was during this shoot that he met his wife, Maggie Scott, who was cast in the key role of Gabrielle. Tunisia was one of the next stops for Freeman, who stepped into one of the defining roles of his career at this point -- that of crooked archaeologist Rene Belloq, chief rival to Harrison Ford's Indiana Jones in Raiders of the Lost Ark.Freeman returned briefly to television, as the villainous Gustav Riebman in Falcon Crest, then returned to feature work with The Sender,The Final Option, and others, salting these with Sakharov for HBO and the miniseries A.D., which led to him being cast in the title role of the aborted Pontius Pilate project, based on the Paul Maier novel.Over the years, he has essayed a remarkable number of roles, from parts in the universally panned Shanghai Surprise (which sank George Harrison's Handmade Films company) to the role of Moriarty in Without a Clue and even, buried under pounds of makeup, the evil Ivan Ooze in Mighty Morphin Power Rangers: The Movie. On occasion he has even managed to turn up in controversial projects, such as 1990's barely-seen Prisoner of Rio, in which he played Ronald Biggs, a fugitive British train robber living handsomely in Brazil. By late 1997, early 1998, he was working with the Royal Shakespeare Company. Paul Freeman is not to be confused with a producer by the same name.

Trivia: British character actor Ronald Lacey had a distinguished career in British cinema and television. Lacey's unique face -- some called his looks diabolical -- was his ticket to a number of roles as the wicked, comedic, or the weird. His appearances in American film were few but memorable, since a medical condition kept him from traveling much overseas. Health problems plagued his entire life, and he died of liver failure in 1991, but not before achieving film immortality in his role as the nefarious Nazi Toht, in Steven Spielberg's Raiders of the Lost Ark.Born in London, Lacey served in the military, and then studied drama at the London Academy of Music and Dramatic Arts. He landed his first part in the British film The Boys in 1962. Hollywood called, and he was cast in the 1964 film adaptation of W. Somerset Maugham's Of Human Bondage. Thereafter, Lacey was called upon to play a variety of challenging roles, such as the village idiot in Roman Polanski's 1967 film The Fearless Vampire Killers, and a demented soldier in How I Won the War (1967). He also appeared in many BBC productions, including the starring role in the story of Dylan Thomas in 1978.His unusual persona brought him roles in fantasy productions, on both television and the big screen. Notable among these was his characterization of the crazed President of the United States in the 1984 cult film The Adventures of Buckaroo Banzai, and as the Bishop of Bath in British television's satire Blackadder II. He also excelled at two turns as transvestites in Trenchcoat (1982) and Invitation to the Wedding (1985).While Lacey will always be remembered for his inimitable performance in Raiders of the Lost Ark, his legacy is being carried on by daughters Rebecca Lacey and Ingrid Lacey, who have both followed their father into the acting profession.

Trivia: John Rhys-Davies is one of modern cinema's most recognizable character actors. While best known for his work as Indiana Jones' (Harrison Ford) comic sidekick, Sallah, in two of Paramount's Indiana Jones adventure films, the actor has appeared in over 100 television shows and films since the early '70s. He has built an impressive onscreen career, especially for a stage actor who once swore that he would never perform in front of a camera. Born in Wales on May 5, 1944, Rhys-Davies grew up in England, Wales, and East Africa. He studied English and History at the University of East Anglia at Norwich, where he became interested in theater while reading classical literature. Upon graduating, Rhys-Davies earned a scholarship to study acting at London's prestigious Academy of Dramatic Art. He then worked briefly as a schoolteacher before joining the Madder-Market Theatre in Norwich. The actor, who eventually advanced to the Royal Shakespeare Company, performed in over 100 plays. His theatrical credits include starring roles in Shakespeare's Othello, The Tempest, Hamlet, Macbeth, and Henry the Fourth, Ibsen's Hedda Gabler, and Moliere's The Misanthrope. Rhys-Davies was 28 when he made his television debut in 1972 as Laughing Spam Fritter in the BBC's Budgie, a comedy starring former British pop star Adam Faith as an amusing ne'er-do-well. In 1975, he joined John Hurt in the cast of the television show The Naked Civil Servant, which chronicled the rich life of Quentin Crisp. One year later, Rhys-Davies re-teamed with Hurt, as well as Derek Jacobi and Patrick Stewart, for the BBC's unforgettable three-part adaptation of Robert Graves' I, Claudius and Claudius the God. Titled I, Claudius, the television miniseries appeared on PBS's Masterpiece Theater and gave American audiences their first glimpse of the actor. He subsequently starred as Vasco Rodrigues in NBC's adaptation of James Clavell's Shogun, which told the adventures of an English sailor stranded in Japan during the early 17th century. Rhys-Davies' performance earned him both an Emmy nomination and the attention of director Steven Spielberg. In 1981, Spielberg cast Rhys-Davies as the comic, fez-wearing Sallah in Raiders of the Lost Ark, the first installment of the Indiana Jones movies. The film was an instant success and Rhys-Davies' comedic skill made Sallah an audience favorite. He went on to film Victor/Victoria (1982) with Julie Andrews, James Garner, Robert Preston, Leslie Ann Warren, and former pro-football player Alex Karras. For the next two decades, the actor worked on numerous films and television shows and made memorable guest appearances on ChiPs, The Scarecrow and Mrs. King, Murder, She Wrote, Perry Mason, Tales From the Crypt, Star Trek: Voyager, and The Secret Adventures of Jules Verne. In 1987, he portrayed Front de Boeuf in the television adaptation of Sir Walter Scott's Ivanhoe that starred James Mason and Sam Neill. That same year, he played the evil Russian General Koskov in the Timothy Dalton-helmed James Bond film The Living Daylights. 1989 saw Rhys-Davies playing Joe Gargery in the Disney Channel's adaptation of Dickens' Great Expectations, starring in the miniseries version of War and Remembrance with Robert Mitchum, David Dukes, and Jane Seymour, and returning as Sallah in Indiana Jones and the Last Crusade. In 1990, he wrote and starred in the safari adventure film Tusks. In 1991, he hosted the documentary Archaeology. In 1993, he signed onto the series The Untouchables, based on Brian De Palma's hit film. The show was short-lived and Rhys-Davies did not work on a successful television series until 1995's Sliders with Jerry O'Connell. The sci-fi venture accrued a rather large fan base: Audience members were openly upset when Rhys-Davies' character, the bombastic Professor Maximillian P. Arturo, left the series after only three seasons. After appearing with Damon Wayans in The Great White Hype (1996), Rhys-Davies recorded voice work for the animated films Aladdin and the King of Thieves (1996) and Cats Don't Dance (1997). The actor has done additional voice work for Animaniacs, Batman: the Animated Series, Gargoyles, Pinky and the Brain, The Fantastic Four, and The Incredible Hulk. He has also branched out to other medias, starring in video games such as Wing Commander III: Heart of the Tiger, Dune 2000, and Baldur's Gate: Dark Alliance, and the CD-ROM game Quest for Glory IV. In 1999, Rhys-Davies read for the minor character of Denethor in the second installment of Peter Jackson's highly anticipated three-film adaptation of J.R.R. Tolkien's The Lord of the Rings trilogy. Jackson offered him the role of the warrior dwarf Gimli, a major figure in all three pictures. As Gimli, Rhys-Davies is utterly unrecognizable: The part required that he wear heavy facial prosthetics and perform on his knees in order to portray the 4'2" dwarf (the actor, himself, is over six feet tall). The three films -- The Fellowship of the Ring (2001), The Two Towers (2002), and The Return of the King (2003) -- were shot simultaneously over an 18-month period in New Zealand, after which Rhys-Davies was asked to return to the set and record the voice of Treebeard, a computer-generated character in the second picture. In 2001, in the midst of attending press junkets for the release of The Fellowship of the Ring, Rhys-Davies began work on the Jackie Chan film Highbinders (2002) and the Eric Roberts B-picture Endangered Species (2002). Besides being an actor, Rhys-Davies is also a serious vintage car collector and a thriving investor. In the '80s, he invested heavily with his earnings and purchased a company that conducts genetic engineering feasibility studies. The actor resides in both Los Angeles and the Isle of Man.

Trivia: A much-loved character actor, British native Denholm Elliott performed in over 100 films during the course of his long career. Elliott, who was educated at Malvern College, went on stage just after World War II, and made his first film, Dear Mr. Prohack, in 1949. Often coming across as a sort of British Ralph Bellamy, Elliot specialized in playing pleasant but ineffectual types during the 1950s, switching to dignified and slightly stuffy characters as he grew grayer. In 1964, he made a major impression on international audiences by playing the tattered gentleman who teaches Alan Bates the tricks of social and financial climbing in Nothing but the Best -- only to be strangled by Bates with his old school tie. With tight lips and taciturn glances, Elliott was the official who closed down Elliott Gould's burlesque house in The Night They Raided Minsky's (1968). A gentler but no less authoritative role came in 1981 as Harrison Ford's immediate superior Brody in Raiders of the Lost Ark (reprising the part in 1989's Indiana Jones and the Last Crusade), while in 1984 Elliott was unforgettably waspish as the dying social lion who dictates his own death notice in The Razor's Edge (the role played by Clifton Webb in the 1946 version). In 1986, he played one of his most endearing roles, that of the free-thinking Mr. Emerson in A Room with a View. In between these engagements, Elliott portrayed Dan Aykroyd's -- and then Eddie Murphy's -- refined butler in Trading Places (1983). His portrayal won him his first British Academy Award; he also earned BAFTAs for his work in A Private Function (1984) and Defence of the Realm (1985). Sadly, Elliott's still-thriving career was cut off in 1992 -- shortly after he completed the comedy Noises Off -- when he died from complications brought about by AIDS.

Trivia: The son of a Spanish waiter and an Italian housekeeper, Molina was born in London on May 24, 1953. Educated at London's Guildhall School of Music and Drama, he began his career as one half of a street-corner comedy team but then turned to acting. While most thesps start at the bottom and ascend the ladder, Molina is an anomaly: he began at the top of the heap, first earning professional credibility (and his pedigree) as a member of the Royal Shakespeare Company, and debuting cinematically in no less than Steven Spielberg's Raiders of the Lost Ark (1981), as the devious South American guide who leaves Harrison Ford for dead in an ancient temple before meeting his own end, courtesy of a particularly nasty booby trap. His subsequent resume for the rest of that decade reads like a "best of 1980s International Film": supporting roles in Mike Leigh's Meantime (1981), Peter Yates's Eleni (1985) , Richard Donner's Ladyhawke (1985),Chris Bernard's Letter to Brezhnev and Dusan Makavejev's Manifesto (1989), to name only a few. His contribution to Chris Bernard's gently underplayed, low-budget comedy Brezhnev (1985) (which, like Raiders, takes advantage of his slightly dark, Mediterranean complexion) is particularly a standout. He plays a Russian sailor who picks up Margi Clarke's Liverpool blue-collar worker Teresa King during leave, and whose only comprehensible line gives the film its biggest laugh: "Leeverpool. Bittles... Ahhhhh." Molina would spend the next several years appearing in a number of films, like An Education, as well as a number of TV projects like Harry's Law, Law & Order: L.A., and Roger & Val Have Just Got In.But Molina's most impressive contribution to cinema came in 1986, when he joined two fellow Brits, director Stephen Frears and actor Gary Oldman - and turned everyone's head in the process - in Prick Up Your Ears. That film, adapted from eccentric playwright Joe Orton's autobiography, casts Molina as Kenneth Halliwell, Orton's homosexual lover and eventual murderer, opposite Oldman. Practically unrecognizable as the bald, severely unhinged Halliwell, Molina is at once terrifying and pathetic, and gleaned a number of positive notices for his performance, though, for some odd reason, it was criminally overlooked at awards ceremonies and failed to earn Molina any acting laurels. A few years later, Molina joined the cast of Not Without My Daughter (1990). In this true-life account (adapted from Betty Mahmoody's memoir), he plays Moody, a Persian husband who takes his American wife (Sally Field) and daughter to Iran under the guise of "vacation," and virtually imprisons them, forcing her to plot escape. The role (and film) gleaned some controversy for its portrayal of Islam, but (the bearded) Molina glistened with dark, brooding intensity characteristic of the actor's finest work. Molina offered more sympathetic portrayals in such films as Mike Newell's Enchanted April (1992), Species (1995), and Mira Nair's The Perez Family (1995), as a Cuban immigrant struggling to make a new life for himself in Miami. In Paul Thomas Anderson's Boogie Nights, Molina evoked a deranged playboy precariously teetering on the edge of insanity - a role that further evinced boundless courage. 1999's ridiculous Dudley-do-Right, however (in which Molina) played the villain), didn't serve him as well; neither he, nor Brendan Fraser, nor Sarah Jessica Parker managed to rise above the silly script. Far more impressive (albeit smaller in scope) was the actor's sophomore collaboration with Anderson, that year's Magnolia, in a fleeting role as Solomon Solomon, the owner of the electronics shop where William H. Macy's Donnie Smith works. During 1999 and thereafter, Molina attempted to break into television sitcoms (1999's Ladies Man, 2002's Bram and Alice), but none of these efforts panned out. He continued to garner positive notices during this period, however, for his roles in such films as 2000's Chocolat and 2002's Frida. Molina earned a Screen Actors Guild Award nomination (finally!) in the latter, for his portrayal of chronically unfaithful painter Diego Rivera. In 2004, the actor traveled to megaplexes again, as the infamous Doc Oc in the critically-acclaimed box-office smash Spider-Man 2, and although ostensibly a defiantly commercial piece of Hollywood fluff, the film performed well on all fronts - critically and commercially. Considered by some to be the greatest example of the superhero genre ever produced, no small amount of the rave reviews given to the film were directed at Molina for his spot-on portrayal of the maniacal comic-book villain; The Los Angeles Times's Kenneth Turan rhapsodized, "As played by Alfred Molina with both computer-generated and puppeteer assistance, Doc Ock grabs this film with his quartet of sinisterly serpentine mechanical arms and refuses to let go."That same year (albeit in a much different cinematic arena and catering to a much different audience --- such is the magic of Molina's versatility), the actor played opposite John Leguizamo as Victor Hugo Puente, a sensationalism-hungry news anchor willing to do almost anything for ratings, in Sebastian Cordero's well-received psychological thriller Crónicas. Molina highlighted the cast of no less than six features throughout 2005 and 2006, but his highest-profile film from this period was Ron Howard's The Da Vinci Code, in which he plays the obese Bishop Aringarosa This May '06 release (adapted from Dan Brown's bestseller) sharply divided critics (most found it average). That same year, Molina contributed to two films by major directors: Kenneth Branagh drew on his background as a trained RSC member by casting Molina as Touchstone in his screen adaptation of Shakespeare's comedy of errors As You Like It, and he receives second billing (after Richard Gere) in Lasse Hallstrom's docudrama The Hoax. The picture tells the early-1970s story of Clifford Irving's (Gere) attempt to write and market a phony autobiography of Howard Hughes, with the assistance of right-hand man Richard Susskind (Molina). Molina married British actress Jill Gascoine (Northern Exposure, BASEketball) in 1985, who is sixteen years his senior. They have two sons.

Trivia: Supporting actor, onscreen from the '70s.

Trivia: Norwegian dancer/choreographer Tutte Lemkow entered the British film industry as a bit player in the early 1950s. Lemkow went on to stage the dance sequences for such otherwise nonmusical efforts as The Captain's Paradise (1953) and Bonjour Tristesse (1958). Most of his screen appearances were confined to eccentric character roles in films like Ben-Hur (1959), The Wrong Box (1967), Theatre of Blood (1973) and Red Sonja (1985). Tutte Lemkow also essayed the non-speaking title role in the 1970 movie version of Fiddler on the Roof.

Trivia: The son of movie and TV composer Jack Marshall, producer Frank Marshall attended the film department at UCLA. Here he became a protégé of director Peter Bogdanovich; Marshall played a small role in Bogdanovich's Targets, then went on to work as an assistant on the never-finished Orson Welles project The Other Side of the Wind and Martin Scorsese's concert film The Last Waltz. After several years' work in the capacity of associate producer for Bogdanovich, Marshall was finally promoted to executive producer for 1979's The Warriors. The first of his many collaborations with Steven Spielberg was Raiders of the Lost Ark, for which Marshall received the first of two Oscar nominations (the second was for the Spielberg-directed The Color Purple [1984]). In 1982, Marshall, his future wife Kathleen Kennedy, and Spielberg formed Amblin' Productions, which in addition to its many theatrical features was responsible for the TV cartoon series Tiny Toon Adventures and Animaniacs. Since turning director in 1990, Marshall has been handed many a sow's ear that he's managed to convert into a silk purse at the box office.

Trivia: Appeared in Harold Pinter's The Room at the Almeida Theatre in London in 2000. Played Dr. Frankenstein's father in Frankenstein at the National Theatre in 2011, playing opposite Jonny Lee Miller and Benedict Cumberbatch. Voiced the Abbott of the Black Friars in the 2013 BBC radio adaptation of Neil Gaiman's Neverwhere.

Trivia: One of the cinema's most accomplished and prolific stunt men, Vic Armstrong has been working for over 30 years on both sides of the Atlantic, in a breathtaking variety of films. A native of Glasgow, Scotland, Armstrong made his stunt debut as a double for Gregory Peck in Stanley Donen's Arabesque (1966). He went on to do stunt work in countless films and television shows throughout the latter half of the 1960s, contributing to such diverse productions as The Peter Cook and Dudley Moore Show, Chitty Chitty Bang Bang (1968), and You Only Live Twice (1969). Thanks to his prowess in executing the most complicated of stunts with unerring accuracy, Armstrong quickly segued into the role of stunt coordinator, first working in this capacity on Joseph Losey's 1970 Figures in a Landscape. His role as a stunt coordinator for such films as the first two Superman installments was complemented by his work as a double for a number of leading men, including Sean Connery, Donald Sutherland, Malcolm McDowell, and Jon Voight. Perhaps most famously, Armstrong served as Harrison Ford's double for all three Indiana Jones films, work that was made all the more successful by his resemblance to and friendship with Ford. The stunt man would also double Ford in a number of the actor's other films, including Witness (1985), The Mosquito Coast (1986), and Working Girl (1988). Along with George Lucas, Armstrong was the only creative member of the crew to serve on all three Indy films, something that led him to make his directorial debut as the helmer of the second season premiere of The Young Indiana Jones Chronicles. Armstrong added to his directorial CV with the 1992 Joshua Tree, an action thriller starring Dolph Lundgren and George Segal (the latter of whom Armstrong had doubled in the 1973 A Touch of Class), and as the second unit director on such films as The Phantom (1996), Tomorrow Never Dies (1997), The World Is Not Enough (1999), and Entrapment (1999). Throughout the 1980s and 1990s he also continued to do incredibly prolific stunt work for films of every conceivable genre, from Empire of the Sun (1987) to Kenneth Branagh's Henry V (1989) to Rob Roy (1995), further cementing his already sterling reputation as one of the film industry's most indispensable members.

Trivia: Entering films as a bit player in the low-budget Count Dracula and His Vampire Bride (1973), Paul Weston has subsequently gone on to coordinate and perform stunts, as well as work as a second-unit director in a wide variety of movie productions including Raiders of the Lost Ark (1980), several James Bond thrillers (including Moonraker), The Beast (1989), and Kull the Conqueror (1997).

Trivia: It's not often that casting directors receive the kind of high-profile recognition that actors and other above-the-line personalities do -- but then again, there aren't too many people in that line of work who can boast of the accomplishments made by top British casting professional Mary Selway. Often cited as one of Britain's top talents for matching the right actor with the right role, Selway used her sharp eye to fill roles in such acclaimed features as Raiders of the Lost Ark, A Dry White Season, Gosford Park, and Master and Commander: The Far Side of the World. A native of Norwich, England, who enrolled at the Italia Conti stage school at the young age of 13, the aspiring talent defied her father's wishes of pursuing a more academic career to carve her own distinctive path in the entertainment industry. Though Selway was too much of a wallflower to command the boards, frequent modeling eventually led to work as a production assistant on television variety shows. Work in television and theater followed, with Selway eventually landing a job with top casting agent Miriam Brickman. In the decades that followed, Selway worked with such legendary filmmakers as Roman Polanski, Sydney Pollack, Steven Spielberg, and Robert Altman, among countless others -- contributing in no small part to the creation of some of the silver screen's most memorable characters. Plagued by recurring illness in her later years, Selway nevertheless continued working on such features as The Chronicles of Riddick and Harry Potter and the Goblet of Fire until she was physically able to work no more. In 2001, Selway was the recipient of the British Academy of Film and Television Arts' Michael Balcon Award for outstanding contribution to British film. On April 21, 2004, Mary Selway died of cancer in London. She was 68.