Trivia: Emmy-winning comic actor Mike Myers seemed destined by fate to link up with Saturday Night Live; when he made his television debut as a commercial actor at age eight, his co-star (playing his mother) was pre-SNL Gilda Radner. Working steadily in his native Canada, Myers was a member of Toronto's Second City troupe, the star of his own TV series Mullarkey and Myers at age 20, and the vee-jay of an all-night Canadian music video show in 1987. In all of these career stepping stones, Myers continued testing out the comic characterizations which would win him fame in his SNL days. His most popular character (which he'd been doing at parties since high school) was spacey teenage couch potato Wayne Campbell, who, with equally airheaded best friend Garth Algar (Dana Carvey), hosted the Aurora, IL, cable-access series Wayne's World. This SNL skit begat a popular like-titled film in 1992, and a less popular 1993 sequel. Despite the tepid response to Wayne's World 2, Mike Myers as Wayne seemed to be more readily acceptable to film fans than Mike Myers as anyone else, as shown by the disappointing 1993 comedy So I Married an Axe Murderer.

Trivia: The son of a Brooklyn policeman who died when he was eight, African-American comedy superstar Eddie Murphy was raised in the comfortable middle-class community of Hempstead, NY, by his mother and stepfather. A natural-born class clown, he was voted the most popular student at Roosevelt Junior and Senior High. By the age of 15, he was doing standup gigs at 25 to 50 dollars a pop, and within a few years he was headlining on the comedy-club circuit.Murphy was 19 he was when hired as one of the backup performers on the NBC comedy weekly Saturday Night Live. His unique blend of youthful arrogance, sharkish good cheer, underlying rage, and street-smart versatility transformed the comedian into SNL's prime attraction, and soon the country was reverberating with imitations of such choice Murphy characterizations as sourball celebrity Gumby, inner-city kiddie host Mr. Robinson, prison poet Tyrone Green, and the Little Rascals' Buckwheat. Just when it seemed that he couldn't get any more popular, Murphy was hastily added to the cast of Walter Hill's 1982 comedy/melodrama feature film 48 Hours, and voila, an eight-million-dollars-per-picture movie star was born. The actor followed this cinematic triumph with John Landis' Trading Places, a Prince and the Pauper update released during the summer of 1983, the same year that the standup album Eddie Murphy, Comedian won a Grammy. In 1984, he finally had the chance to carry a picture himself: Beverly Hills Cop, one of the most successful pictures of the decade. Proving that at this juncture Murphy could do no wrong, his next starring vehicle, The Golden Child (1986), made a fortune at the box office, despite the fact that the picture itself was less than perfect. After Beverly Hills Cop 2 and his live standup video Eddie Murphy Raw (both 1987), Murphy's popularity and career seemed to be in decline, though his staunchest fans refused to desert him. His esteem rose in the eyes of many with his next project, Coming to America (1987), a reunion with John Landis that allowed him to play an abundance of characters -- some of which he essayed so well that he was utterly unrecognizable. Murphy bowed as a director, producer, and screenwriter with Harlem Nights (1989), a farce about 1930s black gangsters which had an incredible cast (including Murphy, Richard Pryor, Della Reese, Redd Foxx, Danny Aiello, Jasmine Guy, and Arsenio Hall), but was somewhat destroyed by Murphy's lazy, expletive-ridden script and clichéd plot that felt recycled from Damon Runyon stories. Churned out for Paramount, the picture did hefty box office (in the 60-million-dollar range) despite devastating reviews and reports of audience walkouts. Murphy's box-office triumphs continued into the '90s with a seemingly endless string of blockbusters, such as the Reginald Hudlin-directed political satire The Distinguished Gentleman (1992), that same year's "player" comedy Boomerang, and the Landis-directed Beverly Hills Cop III (1994). After an onscreen absence of two years following Cop, Murphy reemerged with a 1996 remake of Jerry Lewis' The Nutty Professor. As directed by Tom Shadyac and produced by the do-no-wrong Brian Grazer, the picture casts Murphy as Dr. Sherman Klump, an obese, klutzy scientist who transforms himself into Buddy Love, a self-obsessed narcissist and a hit with women. As an added surprise, Murphy doubles up his roles as Sherman and Buddy by playing each member of the Klump family (beneath piles and piles of latex). The Nutty Professor grossed dollar one and topped all of Murphy's prior efforts, earning well up into the hundreds of millions and pointing the actor in a more family-friendly direction. His next couple of features, Dr. Dolittle and the animated Mulan (both 1998), were children-oriented affairs, although in 1999 he returned to more mature material with the comedies Life (which he also produced) and Bowfinger; and The PJs, a fairly bawdy claymation sitcom about life in South Central L.A.Moving into the new millennium, Murphy resurrected Sherman Klump and his brood of misfits with the sequel Nutty Professor II: The Klumps (2000) before moving on to yet another sequel in 2001, the decidedly more family-oriented Dr. Dolittle 2. That same year, sharp-eared audiences were served up abundant laughs by Murphy's turn as a donkey in the animated fairy tale spoof Shrek. Nearly stealing the show from comic powerhouse co-star Mike Myers, children delighted at Murphy's portrayal of the put-upon sidekick of the kindhearted ogre and Murphy was subsequently signed for a sequel that would go into pre-production in early 2003. After bottoming out with the subsequent sci-fi comedy flop The Adventures of Pluto Nash, Murphy stepped into Bill Cosby's old shoes for the mediocre big-screen adaptation of I Spy. With the exception of a return to donkeydom in the 2004 mega-hit Shrek 2, Murphy stuck with hapless father roles during the first several years of the new millennium, Daddy Day Care being the most prominent example, with Disney's The Haunted Mansion following closely behind.In December 2006, however, he emerged with a substantial part in Dreamgirls, writer/director Bill Condon's star-studded adaptation of the hit 1981 Broadway musical about a Supremes-esque ensemble's ascent to the top. Murphy plays James Thunder Early, an R&B vocal sensation for whom the titular divas are hired to sing backup. Variety's David Rooney proclaimed, "Murphy...is a revelation. Mixing up James Brown, Marvin Gaye, Smokey Robinson, Jackie Wilson, and some of his own wiseass personae, his Jimmy leaps off the screen both in his scorching numbers (his proto-rap is a killer) and dialogue scenes. It's his best screen work." A variety of critics groups and peers agreed with that assessment, landing Murphy a number of accolades including a Best Supporting Actor Oscar nomination. Around the same time, Murphy wrapped production on director Brian Roberts' Norbit. In that picture, the actor/comedian retreads his Nutty Professor work with a dual turn as Norbit, an insecure, backward geek, and Norbit's monstrous wife, an oppressive, domineering loudmouth. The story has the unhappy couple faced with the possible end of their marriage when Norbit meets his dream-girl (Thandie Newton). Never one to stray too far from familiar territoryMurphy next reteamed with the vocal cast of Shrek yet again for the next installment in the series, Shrek the Third.Over the coming years, Murphy would appear in a handful of comedies like Meet Dave, Imagine That, and Tower Heist. In 2011, he was announced as the host of 2012 Academy Awards, with Brett Ratner (his Tower Heist director) producing the show, but Murphy dropped out after Ratner resigned. In 2013, a fourth Beverly Hills Cop was announced, but the film was pulled from Paramount's schedule after pre-production issues.

Trivia: Model-turned-actress Cameron Diaz seemed to come out of nowhere when she made her 1994 screen debut opposite Jim Carrey in The Mask. However, her unusual beauty -- the result of her Cuban-American and Anglo-German-Native-American parentage -- helped to ensure that she would not be soon forgotten.Born in San Diego, CA, on August 30, 1972, Diaz left school at 16 to become a model. For the next five years, she traveled the globe, working in Japan, Australia, Mexico, Morocco, and Paris. As a model for the Elite Agency, she did commercial work for such products as Coke, Nivea, and L.A. Gear. She returned to California at the age of 21 and was unknown in the film industry when cast in her breakthrough role as the target of Jim Carrey's hyper-animated lust in The Mask. Following the hoopla surrounding her performance -- or, more specifically, her physical appearance -- in the film, Diaz opted to take acting lessons and appear in a series of small, independent films, including The Last Supper (1995), She's the One (1996), and Feeling Minnesota (1996). After starring opposite Ewan McGregor in Danny Boyle's A Life Less Ordinary (1997), Diaz further endeared herself to audiences and critics with her performance in My Best Friend's Wedding (1997). Proving herself an acceptable foil for the film's star, Julia Roberts, she went on to greater success in the Farrelly brothers' There's Something About Mary in 1998. Starring as the film's titular heroine, Diaz turned in an audience-pleasing performance in the cheerfully bawdy film, which proved to be one of the year's biggest box-office successes. The same year, Diaz cameoed in Fear and Loathing in Las Vegas and starred as Jon Favreau's unhinged fiancée in the black comedy Very Bad Things. Now fully established as one of Hollywood's hottest properties, she accepted leads in 1999's Being John Malkovich, in which she played puppeteer John Cusack's wife, and Any Given Sunday, in which she played the president and co-owner of a football team in Oliver Stone's paean to American football.In 2000, Diaz joined Drew Barrymore and Lucy Liu in Charlie's Angels, the much-hyped big-screen remake of the television classic. A comically self-aware and fairly faithful adaptation of the original series, Charlie's Angels served up Matrix-style action with retro-sensibilities, propelling the franchise into the new millennium. The following year found Diaz endearing herself to younger audiences as the voice of Princess Fiona in the animated box-office smash Shrek, as well as using her wide-eyed innocence to horrific effect in the Tom Cruise mindbender Vanilla Sky. Headlining the ill-fated comedy The Next Best Thing in 2002, Diaz would take a historical trip to the birthplace of America in director Martin Scorsese's Gangs of New York before becoming the second (after Julia Roberts) actress to join the "20-Million-Dollar Club" with Charlie's Angels: Full Throttle. Like its predecessor, the film performed well at the box office, and Diaz further proved her box-office clout in 2004 when another sequel, Shrek 2, became the third-highest grossing film of all time.Diaz switched gears altogether in 2005 when she headed to the small screen, hosting and producing the MTV reality show Trippin'. With its focus on ecology and conservation, the program found the actress and her celebrity pals traipsing the globe to explore various natural environments. Diaz also remained a strong presence in Hollywood during the Christmas season of 2005 in the well-received Curtis Hanson film In Her Shoes. In this picture -- adapted from the Jennifer Weiner novel by Susannah Grant -- Diaz plays the beautiful yet thoroughly harebrained and irresponsible Maggie, sister of the prim, proper, and conservative attorney Rose (Australian import Toni Collette), with whom she comes to blows during their ill-advised stint as roommates. As Maggie discovers a grandmother that she never knew existed (Shirley MacLaine) and travels to Florida to bond with the woman, Rose experiences a significant romantic breakup and decides to change careers. A long-buried and dormant secret from the past then comes to light that reunites the women and forges a path to reconciliation. In Her Shoes struck box-office gold and won the hearts of many critics. And though it surprised just about everyone who foresaw a dopey, lame-brained romantic comedy, assiduous devotees of Hanson's career were perhaps less shocked given the director's keen intelligence and marvelous track record.Diaz maintained a relatively low profile throughout 2006, following up the Hanson film with yet another lightly comic dissection of contemporary relationships, Nancy Meyers' Holiday, followed by a voice-only turn in Dreamworks' tertiary installment of the Shrek franchise, Shrek the Third. Never shy about doing what her fans love, Diaz was soon signing on for more romantic comedies, starring alongside Ashton Kutcher in 2008's What Happens in Vegas and 2009's My Sister's Keeper. For her next project, however, Diaz tried something out of the ordinary, working with Donnie Darko director Richard Kelly for the supernatural thriller The Box. While not well received, the movie reminded critics and fans of Diaz's wide range. As the 2010's rolled onward, the actress proved that her charm was as strong with audiences as ever, most notably in action fare like Knight and Day, and comedies like the deliciously naughty Bad Teacher. In 2014, Diaz had a resurgent year, with the comedies The Other Woman and Sex Tape, before tackling the iconic role of Miss Hannigan in the remake of Annie.

Trivia: The British actress, comedienne, singer and dancer Julie Andrews stakes a claim to fame for having one of the single most astonishing voices (four octaves!) of any entertainer alive. Yet the breadth of this raw ability is often hugely obscured by Andrews's milquetoast image and onscreen persona. Thus, in the late '60s, Andrews - who began her film career rooted firmly in family-oriented material - traveled far out of her way to expand her dramatic repertoire, with decidedly mixed results. A music-hall favorite since childhood, Andrews spent the war years dodging Nazi bombs and bowing to the plaudits of her fans. Thanks to her own talents and the persistence of her vaudevillian parents, Andrews maintained her career momentum with appearances in such extravaganzas as 1947's Starlight Roof Revue. It was in the role of a 1920s flapper in Sandy Wilson's satire The Boy Friend (1953) that brought Andrews to Broadway; and few could resist the attractively angular young miss warbling such deliberately sappy lyrics as "I Could Be Happy With You/If You Could Be Happy With Me." Following a live-TV performance of High Tor, Andrews regaled American audiences in the star-making role of cockney flower girl Eliza Doolittle in the 1956 Broadway blockbuster My Fair Lady. The oft-told backstage story of this musical classic was enough to dissuade anyone from thinking that Andrews was an overnight success, as producer Moss Hart mercilessly drilled her for 48 hours to help her get her lines, songs and dialect in proper working order. In 1957, Andrews again enchanted TV audiences in the title role of Rodgers & Hammerstein's musical adaptation of Cinderella. Later, Alan Jay Lerner and Frederick Loewe -- also the composers of My Fair Lady -- developed the role of Guinevere in their 1960 musical Camelot with Andrews in mind, and the result was another Broadway triumph, albeit not as profitable as Fair Lady. Although a proven favorite with American audiences thanks to her frequent TV variety show appearances (notably a memorable 1962 teaming with Carol Burnett), Andrews did not make a motion picture until 1964. As Mary Poppins, Andrews not only headlined one of Walt Disney's all-time biggest moneymakers, but also won an Oscar -- sweet compensation for having lost the Eliza role to Audrey Hepburn for the adaptation of My Fair Lady. Andrews hoped that Mary Poppins would not type her in "goody-goody" parts, and, to that end, accepted a decidedly mature role as James Garner's love interest in The Americanization of Emily (1964). However, Andrews' next film, The Sound of Music (1965) effectively locked her into sweetness and light parts in the minds of moviegoers. On the strength of the success of Music, Andrews was signed to numerous Hollywood projects, but her stardom had peaked.Perhaps recognizing this, Andrews started to branch out fairly aggressively by the late '60s, with such "adult-oriented" pictures as Alfred Hitchcock's espionage thriller Torn Curtain. That film, and others (Hawaii, Star!) all flopped. In the late '60s, Andrews fell in love with and married the then white-hot American director Blake Edwards; her decision to collaborate with Edwards on a professional level, to boot, waxed incredibly strategic. Today, many view Edwards in a negative light for cranking out moronic studio fodder such as A Fine Mess and Sunset). In 1969, however, he sat among Hollywood's creme-de-la-creme, notorious for crafting mature genre pictures for adult audiences (The Days of Wine and Roses, Breakfast at Tiffany's, Experiment in Fear and sophisticated slapstick comedies unafraid to take chances (the Pink Panther series, The Party). By marrying Edwards and aligning herself with him creatively, then, Andrews was also consciously or unconsciously bucking to change her image. Unfortunately, the two began at a low ebb to end all low ebbs. The WWI musical farce Darling Lili (1970) featured Rock Hudson, electric musical numbers, stunning dogfight sequences, and - significantly - a semi-erotic striptease number by Andrews. Apparently audiences didn't buy this sort of behavior coming from Mary Poppins: the film tanked at the box office, as did the spy thriller The Tamarind Seed, also starring Andrews.Aside from a couple of televised musical specials, Andrews stuck with her husband for each successive film - for better or worse, as they say. Their next collaborations arrived in the late '70s and early '80s, first with the smash Dudley Moore sex farce '10' (1979) and then with the Hollywood satire S.O.B. (1981). In the former, Andrews took a backseat to sexy bombshell Bo Derek, who catches the infatuation of Moore but delivered a finely-modulated comic performance nonetheless; the latter - an unapologetically 'R' rated comedy about a nutty director who attempts to turn a family-friendly stinker into a porno musical -- exposed a topless Andrews to the world for the first time. This rank, cynical and angry "satire" represented the couple's creative nadir; one critic rightly pointed out that Andrews could have used it as grounds for divorce. The 1982 transvestite musical Victor/Victoria (with Andrews in the lead) fared better; it was followed by Edwards's 1983 Truffaut remake, The Man Who Loved Women (with Andrews as the lover of sculptor Burt Reynolds). Andrews's attempts at image-extending here are obvious in each case; the individual films have various strengths and weaknesses, but - love 'em or hate 'em -- they broadened the appeal of Andrews only slightly - with many perceiving her as either an onscreen accessory to her husband or as an okay straight man in mediocre romantic comedies. The couple fared a thousand times better with the excellent mid-life crisis comedy-drama That's Life! (1986), starring Andrews and Jack Lemmon. Two esteemed dramatic roles sans Edwards - that of a frustrated multiple sclerosis victim in Duet for One (1986), and that of a grieving mother of an AIDS victim in Our Sons (1991) - did what the prior films were supposed to have done: they secured Andrews's reputation as an actress of astonishing versatility. Yet, as Andrews aged, she ironically began to segue back into the types of roles that originally brought her infamy, with a series of sugar-coated, grandmotherly parts in family-friendly pictures. Notably, she co-starred in the first two installments of The Princess Diaries as Queen Clarisse Rinaldi, a European monarch of a tiny duchy, who tutors her "hip" teen granddaughter (Anne Hathaway) in the ways of regality. Andrews also used her polished and cultured British diction to great advantage by voicing Queen Lillian in the second and third and fourth installments of Dreamworks's popular, CG-animated Shrek series: Shrek 2, Shrek the Third, and Shrek Forever After. She also maintained her status as a family-film icon by narrating Enchanted, voicing Gru's mother in the animated Despicable Me, and playing opposite The Rock in Tooth Fairy.

Trivia: Internationally known for his charisma and smoldering good looks, Antonio Banderas is the ultimate manifestation of the Latin heartthrob. Born in Málaga, Spain on August 10, 1960, Banderas wanted to become a professional soccer player until a broken foot sidelined his dreams at the age of fourteen. He went on to enroll in some drama classes, eventually joining a theatre troupe that toured all over Spain. His work in the theatre, and his performances on the streets, eventually landed him a spot with the National Theatre of Spain. While performing with the theatre, Banderas caught the attention of director Pedro Almodóvar, who cast the young actor in his film debut, Laberinto de Pasione (Labyrinth of Passion) (1982). He went on to appear in the director's La Ley del Deseo (Law of Desire) (1984), making headlines with his performance as a gay man, which required him to engage in his first male-to-male onscreen kiss. After Banderas appeared in Almodóvar's Matador (1986), the director cast him in his internationally acclaimed Mujeres al Borde de un Ataque de Nervios (Women on the Verge of a Nervous Breakdown) (1988). The recognition Banderas gained for his role increased two years later when he starred in Almodóvar's controversial Atame! (Tie Me Up! Tie Me Down!) as a mental patient who kidnaps a porn star (Victoria Abril) and keeps her tied up until she returns his love.Banderas made his first stateside appearance as an unwitting object of Madonna's affections in Truth or Dare (1991). The following year, still speaking next to no English, he starred in his first American film, The Mambo Kings. It was a testament to his acting abilities that, despite having to learn all of his lines phonetically, Banderas still managed to turn in a critically praised performance as a struggling musician. He broke through to mainstream American audiences as the gay lover of AIDS-afflicted lawyer Andrew Beckett (Tom Hanks) in Philadelphia (1993). The film's success earned Banderas wide recognition, and the following year he was given a substantial role in Neil Jordan's high-profile adaptation of Anne Rice's Interview with the Vampire, which allowed him to share the screen with the likes of Tom Cruise and Brad Pitt. Banderas subsequently appeared in a number of films of widely varying quality, doing particularly strong work in Desperado (1995), Evita (1998), and The Mask of Zorro (1998). In 1999, he made his first foray into directing with Crazy in Alabama, a black comedy starring Melanie Griffith, to whom he had been married since 1996. The following year he starred as an aspiring boxer opposite Woody Harrelson in Play It to the Bone, portrayed a Cuban tycoon with a bad seed bride (Angelina Jolie) in Original Sin, and starred alongside Bob Hoskins and Wes Bentley in The White River Kid. Well established as a hearthrob and a talented dramatic actor by the end of the 1990s, the fact that Desperato director Robert Rodriguez was the only director to have expolored Banderas' comic potential (Banderas provided one of the few memorable performances in Rodriguez's segment of the otherwise abysmal Four Rooms (1995)) hinted at a heretofore unexplored but potentially lucrative territory for the actor. Later approached by Rodriguez to portray the super-spy patriarch in the family oriented adventure comedy Spy Kids (2001), Banderas charmed children and adults alike with his role as a kidnapped agent whose children must discover their inner stregnth in order to rescue their mother and father. After reprising his role in the following year's Spy Kids 2: Island of Lost Dreams, Banderas would next return to more adult oriented roles in both Brian DePalma's Femme Fatale and the ill-fated Ballistic: Ecks vs. Sever (both 2002). After essaying a more historic role in the dramatic biopic Frida (also 2002), the remarkably diverse actor would one again team with Rodriguez for the sprawling Once Upon a Time in Mexico (2003). In 2004 he joined the highly successful Shrek franchise voicing Puss In Boots, and the character became so popular that he appeared in each of the following sequels, and was the subject of his own feature in 2011. In 2005 he played Zorro again, and he had a major part in the dance film Take the Lead. In 2011 he reteamed for the first time in two decades with Pedro Almodovar in the Hitchcock-inspired The Skin I Live In, and the next year he appeared as a mysterious international espionage figure in the action film Haywire. He appeared in a small role in Rodriguez's Machete Kills (2013) and later appeared in The Expendables 3 (2014).

Trivia: An instigator of some of the more groundbreaking developments in twentieth-century comedy, John Cleese is one of Britain's best-known actors, writers, and comedians. Famous primarily for his comic efforts, such as the television series Fawlty Towers and the exploits of the Monty Python troupe, he has also become a well-respected actor in his own right.Born John Marwood Cleese (after his family changed their surname from "Cheese") on October 27, 1939, Cleese grew up in the middle-class seaside resort town of Weston-Super-Mare. He enrolled at Cambridge University with the intention of studying law, but soon discovered that his comic leanings held greater sway than his interest in the law. He joined the celebrated Cambridge Footlights Society--he was initially rejected because he could neither sing nor dance, but was accepted after collaborating with a friend on some comedy sketches--where he gained a reputation as a team player and met future writing partner and Python Graham Chapman.Cleese entered professional comedy with a writing stint on David Frost's The Frost Report in 1966. While working for that BBC show, he and Chapman (who was also writing for the show) met fellow Frost Report writers Eric Idle, Terry Jones, and Michael Palin. Continuing his writing collaboration with Chapman (with whom he wrote the 1969 Ringo Starr/Peter Sellers vehicle The Magic Christian), Cleese soon was working on what would become Monty Python's Flying Circus with Chapman, Idle, Jones, Palin, and Terry Gilliam. The show, which first aired in 1969, was an iconoclastic look at British society: its genius lay in its seemingly random, bizarre take on the mundane facets of everyday life, from Spam to pet shops to the simple act of walking. Cleese stayed with Monty Python for three series; after he left, he reunited with his fellow Pythons for three movies. The first, Monty Python and the Holy Grail (1974), was a revisionist take on the Arthurian legend that featured Cleese as (among other things) the Black Knight, who refuses to end his duel with King Arthur even after losing his arms and legs. Life of Brian followed in 1979; a look at one of history's lesser-known messiahs, it featured lepers, space aliens, and condemned martyrs singing a rousing version of "Always Look on the Bright Side of Life" while hanging from their crucifixes. The Pythons' third outing, the 1983 Monty Python's the Meaning of Life, was a series of increasingly outrageous vignettes, including one about the explosion of a stupendously obese man and another featuring a dinner party with Death.In addition to his work with the Pythons, Cleese, along with first wife Connie Booth, created the popular television series Fawlty Towers in 1975. It ran for a number of years, during which time Cleese also continued to make movies. Throughout the 1980s, he showed up in films ranging from The Great Muppet Caper (1981) to Privates on Parade (1982) to Silverado (1985), which cast him as an Old West villain. In 1988, Cleese struck gold with A Fish Called Wanda, which he wrote, produced, and starred in. An intoxicating farce, the film won both commercial and critical success, earning Cleese a British Academy Award and an Oscar nomination for his screenplay, and an Oscar for co-star Kevin Kline. Cleese continued to work steadily through the 1990s, appearing in Splitting Heirs (1993) with Idle, Mary Shelley's Frankenstein (1994), The Wind in the Willows (1997) and George of the Jungle (1997). Fierce Creatures, his 1997 sequel to A Fish Called Wanda, proved a disappointment, but Cleese maintained his visibility, reuniting with the surviving Pythons on occasion and starring in The Out-of-Towners and The World is Not Enough, the nineteenth Bond outing, in 1999.As the new century got underway, Cleese wrote and hosted a documentary series about the human face, and he took a small but recurring role in the Harry Potter film series. In 2002 he appeared in the infamous Eddie Murphy turkey The Adventures of Pluto Nash, and showed up in another Bond film. In 2007 he was cast to voice the role of Fiona's father in Shrek 2, leading to a series of appearances for him in other animated films such as Igor, Planet 51, and Winnie the Pooh. He also appeared opposite Steve Martin in 2009's The Pink Panther 2.

Trivia: A wickedly debonair blend of Cary Grant and Joan Crawford, British actor Rupert Everett almost single-handedly conquered Hollywood with his turn as the man who dances off into the sunset with Julia Roberts in My Best Friend's Wedding. As the handsome, elegant, and gay George, Everett (who had been openly gay for some years) ushered in a different kind of gay sensibility in Hollywood, one that, rather than begging audiences for acceptance, flatly told them to get over it.Born in Norfolk, England, to a wealthy family on May 29, 1959, Everett was sent away for schooling at the age of seven. Taught by Benedictine monks at Amplesforth College, he was a good student and trained to be a classical pianist. After he discovered acting at the age of 15, he dropped out of school and ran off to London, where he supported himself as a prostitute for a couple of years (something he admitted in a 1997 interview with US magazine) and eventually enrolled at the Central School of Speech and Drama. Unfortunately, Everett clashed frequently with instructors and eventually dropped out, choosing to flee to Scotland. It was there that he got his first professional job as an apprentice with the Citizen's Theatre of Glasgow, and in the early '80s, his career began to bud. In 1982, he created the role of Guy Bennett for the West End production of Another Country, which also featured a very young Kenneth Branagh. Everett won raves for his portrayal of the younger version of real-life spy Guy Burgess, and in 1984 re-created the role for the play's film version. The following year, he starred with Miranda Richardson in Dance With a Stranger, turning in a strong performance in the critically acclaimed film. Although it seemed Everett's career was on the rise, the actor unfortunately opted for near-nonentity status with his 1987 U.S. film debut in Hearts of Fire, a rock & roll drama co-starring Bob Dylan. Following this flop, Everett disappeared for a while, taking up residence in Paris and writing a semi-autobiographical novel, Hello, Darling, Are You Working?.In 1991, Everett resurfaced with a lead role in The Comfort of Strangers opposite Natasha Richardson before appearing in 1993's Inside Monkey Zetterland, a film featuring a bizarre title, large ensemble cast (which included Patricia Arquette and Sandra Bernhard), and miserable reviews. Everett's subsequent feature, Prêt-à-Porter (1994), also featured an unconventional title, a large ensemble cast (including Julia Roberts, Sophia Loren, Stephen Rea, and Tim Robbins), and miserable reviews, but in its favor, it also featured a director named Robert Altman. Furthermore, Everett actually managed to make a favorable impression as a philandering fashion house scion, favor that was magnified, during the same year, with his hilarious turn as the fat and lazy Prince of Wales in Nicholas Hytner's The Madness of King George. However, for all of the positive attention he received, Everett incurred only bafflement with his next two films, the Italian schlock-fest Dellamorte, Dellamore (1994) and Dunston Checks In (1996), in which the actor starred with Faye Dunaway and an orangutan.1997 marked the turning point in Everett's career, as it brought with it his star-making role in My Best Friend's Wedding. The actor caused something of a sensation among male and female filmgoers alike, who wanted more of the handsome actor with the languorous wit. They got more of him the following year, in Shakespeare in Love, in which Everett had a supporting role as playwright Christopher Marlowe, and in B. Monkey, in which he played Jonathan Rhys Meyers' criminal lover. 1999 proved to be a very fruitful year for the actor -- who by this time was being hailed as Hollywood's Gay Prince -- as it featured the actor in leading roles in three films. He first played Oberon in Michael Hoffman's A Midsummer Night's Dream, in which he was part of an all-star cast including Michelle Pfeiffer, Kevin Kline, Christian Bale, and Calista Flockhart. Next came Oliver Parker's adaptation of Oscar Wilde's An Ideal Husband, for which Everett netted positive reviews in his central role as the delightfully idle Lord Goring. Finally, he camped and vamped it up as the resident villain of Inspector Gadget, once again demonstrating to audiences why it could feel so good to be so bad.In 2000 he appeared opposite Madonna in the comedy The Next Best Thing. Two years later he was cast in The Importance of Being Earnest, and followed that up with parts in Stage Beauty, Separate Lies, and People as well as lending his voice to effects heavy and animated projects like The Chronicles of Narnia and Shrek the Third. In 2011 he had a scene-stealing turn in the period sex comedy Hysteria.

Trivia: Though occasional appearances in American feature films (Muppet Treasure Island, Shrek 2) and sitcoms (Roseanne) highlight her resumé, the hyperkinetic and overmodulated British comedian Jennifer Saunders is indelibly associated with two English series programs: the sketch comedy/variety show French & Saunders and the wild sitcom Absolutely Fabulous, which skewers mercilessly the decadent pretension of British haute couture.Born July 6, 1958, in Sleaford, Lincolnshire, England, to a father stationed in the RAF, Saunders, like many children of military families, acquired and honed a sharp sense of humor at a tender age, perhaps as a way to cope psychologically with being constantly shuttled from town to town. In the late '70s, Saunders enrolled as a student in London's Central School of Speech and Drama, where she met and befriended lifelong collaborator Dawn French while studying to become a drama teacher. French suggested that they respond to an advertisement placed in Stage magazine for aspiring comedians, and the success of that audition yielded a regular on-stage sketch-comedy gig at The Comic Strip Club -- alongside Peter Richardson, Rik Mayall, Nigel Planer, and many other established talents. As this list suggests, the preponderance of comedians at that time were male, which set French and Saunders apart from the pack and placed them in Britain's then-burgeoning "alternative comedy" niche. When the Comic Strip team graduated their skits to the eponymously titled BBC program The Comic Strip Presents... in 1982, French and Saunders moved with them; the original run of that program lasted until 1988, with four- and three-year revivals in 1990 and 1998, respectively.Over the next several years, Saunders co-starred in a number of BBC television series comedies, including Happy Families (1985), Girls on Top (which placed her alongside the legendary Tracey Ullman and Ruby Wax), and -- in occasional cameos -- The Young Ones (1982). Then, in 1987, the BBC granted Saunders and French their own sketch comedy program, aptly titled French & Saunders. That program debuted in 1987 and not only broke untold ground for up-and-coming British comediennes but became a massive hit and ran indefinitely. The pair scripted episodes and starred in them.A sketch in the third season of French & Saunders -- done by Saunders during French's brief sabbatical from the program -- inspired Saunders to create a character for a new series: that of the pill-popping, booze-swilling, outrageously vulgar '60s has-been-turned-PR mogul Edina Monsoon -- played by Saunders herself. Entitled Absolutely Fabulous (and done sans French), the program paired Monsoon with best friend Patsy Stone (Joanna Lumley), the inhabitant of a liquor store and a magazine editor. Episodes found Edina not only contending with the vicissitudes of a debauched lifestyle, but grappling her way through tumultuous relationships with her teenage daughter, Saffron (Julia Sawalha), and naïve mom, known only as Mother and Gran (June Whitfield). The program scored as a massive hit not only in Britain, but on American cable stations. Yet its run was surprisingly short given this popularity; it aired from 1992 to 1993, then resurfaced briefly in 1996, and came around for a third go between 2001 and 2003.As mentioned, Saunders provided one of the voices in 2004's CG-animated Shrek 2 (that of the Fairy Godmother); she also voiced Miss Spink in directors Henry Selick and Michael Cachuela's stop-motion animated fantasy Coraline (2009).Saunders is married to Adrian Edmondson, one of her former on-stage collaborators from the Comic Strip troupe. They have three daughters.

Trivia: Wrote a letter as a teenager to Walt Disney Studios, enquiring how he could become an artist on their staff, and went on more than a decade later to work as an artist on the Disney classic The Little Mermaid. Received his first screen credit as a Storyboard Artist on the 1984 TV series The Littles, and went on to work as a Storyboard Artist for many huge animated features, including Toy Story, Chicken Run and Frozen. Worked as the Assistant Art Director on Tim Burton's cult classic The Nightmare Before Christmas. Worked as a Storyboard Artist on the first Shrek film, before going on to direct its sequel, Shrek 2. Is an enthusiastic writer and illustrator of children's books, with titles published including Rusty's Red Vacation, Frankensquare, Candy Corn, Witch Dot and Thanksgiving Parade. Is fascinated with ventriloquism, though not a ventriloquist himself, and even published a book on the topic in 2003.

Trivia: Voice actor Christopher Knights is the man behind many of the zany characters that have populated some of the most popular animated films. In addition to his memorable role as the voice of one of the Blind Mice in the Shrek movies, Knights has also provided the voices for Private in Madagascar and Fat Barry in Flushed Away.

Trivia: Was billed early in her career as Pepper January, Comedy with Spice. Wrote for Candid Camera. In 1961, worked with Chicago's Second City improv group. In 1988, replaced Linda Lavin on Broadway in Neil Simon's Broadway Bound. Won a Daytime Emmy in 1990 for Outstanding Talk Show Host for The Joan Rivers Show. In the 1994 biopic Tears and Laughter: The Joan and Melissa Rivers Story, she and her daughter played themselves. Had a lucrative side job pushing her own line of jewelry on QVC. Played herself in the second-season finale of Nip/Tuck. Collected Fabergé eggs. Posthumously nominated for a Grammy award for Best Spoken Word Album for her album Diary of a Mad Diva, in 2014.

Trivia: A director born in New Zealand as the child of Methodist missionary parents, Andrew Adamson came to specialize almost exclusively in fantasy-themed material. He began his career as a special-effects technician on films including Toys (1992), A Time to Kill (1996), and Batman & Robin (1997), but moved into the ranks of Hollywood's elite with his work directing the breakthrough DreamWorks CG-animated comedy Shrek (2001). That film clocked in as a blockbuster hit (to say the least -- grossing a reported 484 million dollars worldwide) and paved the way for several sequels, with the first two also directed by Adamson. Then, beginning in 2004, Walden Media tapped Adamson to write, direct, and executive produce the first two adaptations of the Chronicles of Narnia books by British author C.S. Lewis: The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005) and The Chronicles of Narnia: Prince Caspian (2007). Audiences turned the franchise into a massive hit and a cash cow for Walden and Walt Disney Pictures, which laid the groundwork for many successive installments. Adamson remained on board as a producer for the third film in the series, The Chronicles of Narnia: The Voyage of the Dawn Treader (2010).