Trivia: Not unlike the character that would catapult his acting career, Brandon Routh was born in a rural state on October 9th, 1979, far from the bright lights of Hollywood. Raised in the Des Moines suburb of Norwalk, IA, Routh discovered his love of acting in high school when he began participating in community theater at the Norwalk Theater of the Performing Arts. After graduation, he enrolled at the University of Iowa intending to study English. His desire to begin his career was too much to resist, however, and he left after a year to see what opportunities might await him on the West Coast. Routh began paying his dues with appearances on Odd Man Out, Undressed, and Gilmore Girls. In 2002, he completed a year-long stint on the soap opera One Life to Live, continuing to make single-episode appearances over the next few years on popular shows like Cold Case, Will & Grace, and Oliver Beene. Then, around 2004, Routh auditioned for the one of the most sought-after roles of the decade: Superman. The upcoming relaunch of the Superman franchise had been through copious adjustments and would still see more, and Routh originally auditioned for director McG, who was signed to the film at the time. Numerous directors had, in fact, been tied to the film over a period of development that would take over ten years to come to fruition. By the time Superman Returns would go into production, the names Tim Burton, Wolfgang Petersen, Brett Ratner, Shekhar Kapur, and more had been officially or unofficially linked to the film. Just as many actors were considered for the leading role, both legitimately and in rumor, from Nicolas Cage in the early stages to actors like Jake Gyllenhaal, Ashton Kutcher, and Josh Hartnett more recently. When director Bryan Singer was secured as director, however, he wanted the Man of Steel to be a fresh face. Impressed by the performance Routh had given in his audition for McG, as well as the young actor's uncanny resemblance to both the classic depictions of Superman and the late Christopher Reeve, who'd immortalized the hero in earlier films, Routh was eventually offered the part. Routh took on a small supporting role in director Kevin Smiths racy 2008 comedy Zack and Miri Make a Porno, and appeared in the crime drama Life is Hot in Crackdown in 2009. The actor joined the cast of Scott Pilgrim vs. the World (2010) to portray one of Ramona Flowers' seven ex-boyfriends.

Trivia: A champion equestrian whose film debut came by chance after she auditioned for a role in Robert Redford's The Horse Whisperer (1998) out of simple curiosity about the film industry, actress Kate Bosworth's inherent natural beauty has perfectly suited her to roles in such earthy films as her aforementioned debut and Blue Crush (2002), which found Bosworth taking the lead as an adrenalized competitive surfer who finds her balance shifting as she falls for a promising quarterback. Born in 1983 in Los Angeles, Bosworth displayed both brains and athletic skill early on with her membership in the National Honor Society and involvement with varsity soccer and lacrosse. Though her previous acting experience consisted of little more than an appearance in a community theater production of Annie, Bosworth's film debut in The Horse Whisperer found the burgeoning actress carefully considering a full-time career in front of the cameras. After taking an 18-month sabbatical during which she weighed her options and finished her high school education, Bosworth returned to the sound stage for roles in the short-lived television series The Young Americans, and such features as Remember the Titans and The Newcomers (both 2000). Developing into an engaging screen presence, Bosworth would next hit the waves during production of the romantic surf drama Blue Crush.Her comfort before the cameras increasingly evident thanks to substantial roles in such subsequent features as The Rules of Attraction, Wonderland, and Win a Date with Tad Hamilton, Bosworth would next tackle her most demanding role to date when she portrayed screen icon Sandra Dee in the 2004 Bobby Darin biopic Beyond the Sea. Cast opposite Kevin Spacey, Bosworth proved that she could indeed hold her own onscreen with one of the most respected actors in Hollywood. Though Bosworth's role in Beyond the Sea may have been the most dramatically challenging of her still relatively new career, her highest profile role would follow soon thereafter when the maturing actress accepted the role of iconinc Daily Planet reporter Lois Lane in 2006's Superman Returns. Taking over right where Margot Kidder left off in 1980's Superman II, Bosworth's expansion of the character to both mother and wife added an extra dimension to Lane that fans would find especially compelling within the Superman universe. She would next appear in the card-counting thriller 21, followed by the fantasy Western Warrior's Way, and some low-key fare like Another Happy Day and L!fe Happens, before appearing in the hard hitting remake of the 70's thriller Straw Dogs. Soon, Bosworth joined the cast of Big Sur, based on the Kerouac novel.In addition to her film work, Bosworth gave back to her community by volunteering in a Los Angeles-based program that helps physically disabled children learn to ride horses.

Trivia: An actor whose remarkable versatility has often been described as chameleon-like, Kevin Spacey has made an art of portraying a gallery of morally ambiguous characters ranging from the mildly shady to the all-out murderous. His reputation as one of the best-respected actors of his generation was bolstered by an Oscar, a Tony, and an award as Best Actor of the Decade from England's Empire magazine in 1999.The son of a technical procedure writer and a secretary, Spacey was born in South Orange, NJ, on July 26, 1959. His family moved a great deal thanks to his father's job, eventually settling for a time in Los Angeles. It was there that Spacey -- who had previously done a stint at military school -- attended Chatsworth High School, where he was very active in the theater. After an attempt at standup comedy, Spacey went to Juilliard, though his time was cut short after his second year, when he decided to quit school and begin his career.He made his theatrical debut in 1981 with Shakespeare in the Park, performing alongside the likes of Mandy Patinkin and John Goodman. The actor continued to be a fixture on the theater scene throughout the decade, performing both on Broadway and in regional productions. It was through the theater that he got his first big break: While auditioning for a Tom Stoppard play, Spacey was approached by director Mike Nichols, who cast him in his production of David Rabe's Hurlyburly. The actor's work in the play led Nichols to cast him as a subway mugger in his 1986 Heartburn. Two years later, the director and actor worked together again in Working Girl, in which Spacey had a small but memorable role as a sleazy businessman.By this time, Spacey was starting to work steadily in film, although he maintained his stage work, winning a 1990 Tony Award for his role in the Broadway production of Lost in Yonkers. He also did a substantial amount of television work, appearing on the series Wiseguy as deranged criminal Mel Proffitt. Criminal or morally questionable activities were to figure largely in Spacey's subsequent portrayals: His first starring role in a film was as the husband of a murdered woman in the 1992 Consenting Adults. The same year, he won acclaim for his portrayal of a foul-mouthed, leech-like real estate agent in James Foley's screen adaptation of the David Mamet play, Glengarry Glen Ross. Spacey landed his next memorable film role as yet another foul-mouthed jerk in the 1994 Swimming With Sharks, which he also co-produced. He was nominated for an Independent Spirit Award for his portrayal of an abusive studio executive, and he gained further recognition the same year for his entirely different role in The Ref, in which he played one half of a constantly arguing married couple. However, it was with his performance in the following year's The Usual Suspects that Spacey fully stepped into the spotlight. As the enigmatic, garrulous "Verbal" Kint, Spacey was one of the more celebrated aspects of the critically lauded sleeper hit, winning a Best Supporting Actor Oscar for his work. The actor won additional acclaim the same year for his role as a serial killer in the stylish and unrelentingly creepy thriller Seven. Spacey went on to make his directorial debut the following year with Albino Alligator. A New Orleans-based crime drama starring Matt Dillon, Faye Dunaway, and Gary Sinise, the film won some positive reviews, though it made little impact at the box office. In addition to directing, Spacey kept busy with acting, appearing the same year in A Time to Kill and Al Pacino's documentary Looking for Richard. The actor went on to star in Clint Eastwood's highly anticipated 1997 adaptation of John Berendt's Midnight in the Garden of Good and Evil and then had a sizable role in the big-budget The Negotiator in 1998. The same year, he also lent his voice to the computer-animated A Bug's Life and starred in the screen adaptation of Hurlyburly. While doing steady film work, Spacey also continued to appear on the stage, winning raves for his performance in an adaptation of Eugene O'Neill's The Iceman Cometh, first on the London stage in 1998, and then on Broadway the following year. Also in 1999, Spacey won an Academy Award as Best Actor for American Beauty, director Sam Mendes' dark comedy about a man experiencing a mid-life crisis. Following up Beauty with starring roles in The Big Kahuna and Ordinary Decent Criminal, Spacey would later appear as a mental patient who claims to be from a distant planet in K-PAX. K-Pax proved to be a minor flop, as did the actor's other major film in 2001, Lasse Hallstrom's adaptation of The Shipping News. Although Spacey drew positive notices for his portrayal of a man trying to start a new life in Newfoundland, the film, which also starred Julianne Moore, Cate Blanchett, and Judi Dench, quickly sank at the box office and received only a lukewarm reception from critics.Spacey maintained a busy schedule throughout 2003, appearing in three disparate projects that reflected his extraordinary versatility. Besides cropping up as himself in the third Austin Powers outing, Austin Powers: Goldmember, he played the title character of The Life of David Gale, the story of a University of Texas professor whose anti-capital punishment stance assumes very personal meaning when he is convicted of rape and murder and lands on death row; the picture received a critical drubbing and faded quickly from view. That year, Spacey also starred in The United States of Leland, playing the father of a fifteen-year-old (Ryan Gosling) who murders an autistic child.2004 marked a key year for Spacey. The actor -- who had dreamed of portraying crooner Bobby Darin since childhood, and spent years striving to produce a biopic of the late singer through his production house, Trigger Horse Productions, ultimately realized that goal in December '04. In addition to starring Spacey as Darin, the biopic, entitled Beyond the Sea, enlisted Kate Bosworth as Sandra Dee, John Goodman as Steve Blauner, and Brenda Blethyn as Polly Cassotto. Beyond earned a decidedly mixed critical reception.In 2005, Spacey cut back on his acting schedule and devoted more attention to his role as artistic director of the legendary Old Vic Theatre in London -- a position he had assumed in 2003, under ten-year contract. In a Charlie Rose appearance c. 2005, the actor openly discussed his desire to use his position to revive a series of theatrical classics and reestablish The Vic as one of the world's premier stage venues. Unfortunately, Spacey's work here also earned some derision; under his aegis, The Vic mounted Arthur Miller's Resurrection Blues in May 2006 - an effort helmed by Robert Altman - and it drew vicious critical pans, one from a reviewer who demanded that Spacey resign. Although Spacey listened to the complaints about the Altman effort, (shelving the production during the theater's busy summer tourist season), he vowed to continue his efforts at the Vic unabated.Summer 2006 also saw the actor appearing in the highly anticipated big-budget extravaganza Superman Returns, playing Lex Luthor to Brandon Routh's Superman/Clark Kent and Kate Bosworth's Lois Lane. With a powerhouse supporting cast that includes Frank Langella (Good Night, and Good Luck.), and Eva Marie Saint (North by Northwest), the picture predictably opened up to spectacular box office (becoming one of summer's top grossers) and enthusiastic critical notices. Those who did criticize the film singled out Spacey's interpretation of the Luthor role.About a month prior to the Superman debut, Spacey signed with Warner Brothers to co-star in Joe Claus (originally titled Fred Claus), a Christmas comedy that reteamed Wedding Crashers director David Dobkin with funnyman Vince Vaughn, and enlisted Paul Giamatti (American Splendor, Sideways) as a co-star. Additional roles in the years that followed further reflected Spacey's penchant for the offbeat, such as his portrayal of an envious military man caught up in psychic phenomena in the satire The Men Who Stare at Goats (2009), corrupt lobbyist Jack Abramoff in the acerbic comedy Casino Jack (2010) and a sadistic boss with a taste for humiliation in Horrible Bosses (2011). Meanwhile, at about the same time, Spacey took on the role of one of Shakespeare's most iconic villains in the Old Vic's production of Richard III - for which he earned considerable critical praise. In 2013, Spacey returned to television on Netflix's House of Cards, playing ruthless congressman Frank Underwood, earning Spacey nominations from the Emmys, SAGs and Golden Globes. In 2015, he earned both a Special Olivier Award for his work as the artistic director of the Bristol Old Vic, and was awarded an honorary knighthood from Queen Elizabeth II (though, as he's not a British or Commonwealth citizen, he's not entitled to be called "Sir.")

Trivia: A native of Stillwater, Oklahoma, where he was born on September 18, 1973, Marsden grew up with a sister and two brothers. Following a short stint at Oklahoma State University, he dropped out of school to move to Los Angeles and pursue his interest in acting. Marsden's move led to work as a Versace model and to a brief role as the original Griffin on Fox's Party of Five (the part would later be taken over by Jeremy London), as well as brief stints on a variety of other TV series. Marsden's growing fan base got another boost when he was cast alongside Katie Holmes and Nick Stahl in David Nutter's Disturbing Behavior; despite the film's lackluster performance, in part abetted by an overabundance of teen horror films, Marsden was able to nab the plum role of Cyclops in Singer's X-Men. One of the most highly anticipated films of 2000, it allowed the actor to work alongside the likes of Ian McKellen, Patrick Stewart, Anna Paquin, and Famke Janssen. Marsden's rising popularity was reflected in his busy schedule the following year; among his projects was Sugar and Spice, a black comedy that cast him opposite fellow up-and-comer Mena Suvari. In 2003 Marsden would once again appear as Cyclops in the big-budget X-Men sequel, X2. Marsden continued to work steadily insuch films as The Notebook and Heights before returning for trhe third installment of the X-Men franchise. Although he appeared again as Cyclops, he in fact scored more screen time in Bryan Singer's Superman Returns playing Lois Lane's husband who must contend with the fact that his wife is in love with the man of steel. He also played opposite Amy Adams in Enchanted a romantic fable that combined live-action with animation. Marsden would go on to enjoy a growing leading-man status, appearing in movies like The Box, Death at a Funeral, and a remake of Straw Dogs. Marsden would also appear in a memorable arc on 30 Rock.

Trivia: Displaying an off-kilter beauty and an ability to embrace the comically bizarre, Parker Posey has been repeatedly referred to as "The Queen of the Indies." Following her indie debut in Richard Linklater's 1993 Dazed and Confused, Posey went on to star in no less than 15 independent features over the next five years, proving time and again how worthy she was of her royal title.Born in Baltimore on November 8, 1968, Posey was named after '50s model and sometimes-actress Suzy Parker. At the age of 12, she moved with her parents and twin brother to Laurel, MS, where her father owned a Chevrolet dealership. After attending the North Carolina School of the Arts, Posey enrolled at S.U.N.Y. Purchase, where she studied acting and roomed with future ER doctor Sherry Stringfield. She dropped out just three weeks before graduation when opportunity came knocking in the form of a role on As the World Turns. As bad girl Tess Shelby, Posey stayed with the show from 1991 until 1992. The following year, Posey crossed over to celluloid with roles in three movies. Two of these, The Coneheads and Joey Breaker, featured the actress as little more than a glorified extra, but the third, Linklater's Dazed and Confused, allowed Posey to make a distinct impression. As cheerleader Darla, she used her relatively brief screen time to display the nastier side of teen popularity. She played a similar character the same year on the small screen, taking a memorable turn as ex-pep queen turned good-time girl Connie Bradshaw in PBS' Tales of the City (she would later reprise the role for More Tales of the City in 1998).Following secondary to miniscule parts in films like Sleep With Me, Amateur, and Mixed Nuts (all 1994), Posey had her breakthrough role as the titular heroine of Daisy von Scherler Mayer's Party Girl in 1995. She caused an art-house sensation with her portrayal of Mary, a downtown diva forced to take a day job as a librarian and began to ascend the ranks of indie royalty. Appearances in Hal Hartley's Flirt, Gregg Araki's The Doom Generation, and Noah Baumbach's Kicking and Screaming the same year further enhanced her reputation. Posey's work over the next two years reads like a Sundance Film Festival program: in 1996, she could be seen as a Dairy Queen waitress in the ensemble-driven Waiting for Guffman, famed gallery owner Mary Boone in Basquiat, and Hope Davis' sister in The Daytrippers. In 1997, Posey starred in no less than five independent films, including Henry Fool, her third Hartley outing; the temps-in-hell comedy drama Clockwatchers; Linklater's adaptation of Eric Bogosian's SubUrbia; and The House of Yes. For this last film, Posey garnered particular acclaim as the film's fabulously demented focal point. She shined as a young woman obsessed with both Jackie Onassis and her own twin brother (Josh Hamilton). Her performance, which perfectly displayed the hyperkinetic comic energy and sardonic wit that came to characterize many of the actress' portrayals, won her a "special recognition for acting" at Sundance that year.The year 1998 brought more independent work in the form of The Misadventures of Margaret, a romantic comedy in which Posey had the title role and a foray into mainstream features with a turn as Tom Hanks' book-editor girlfriend in Nora Ephron's You've Got Mail. The following year, she took another stab, so to speak, at mainstream fare with a part in Wes Craven's third installment of his Scream series, the aptly titled Scream 3. Though she wasn't necessarily known as a "method" actress to this point, Posey actually had real braces installed for her subsequent role in Waiting for Guffman and director Christopher Guest's popular dog show comedy Best in Show. Cast as the better half of a neurotic, hypertensive couple who will stop at nothing to see their pet win the number-one spot in the Mayflower Kennel Club Dog Show, Posey nearly stole the show with her hysterical, shrieking performance. Best in Show was immediately embraced by critics and audiences and went on to live a long and prosperous life on cable and DVD. By this point, Posey had gained quite a reputation for her effortless transitions between indies and blockbusters, and a role as a malicious recording industry boss in Josie and the Pussycats (2001) added much flavor to the energetic, pop-flavored comedy. If Posey was somewhat lost in the cast of the 2001 miniseries Further Tales of the City, she would certainly go on to impress in the popular indies The Anniversary Party (2001) and Personal Velocity: Three Portraits (2002). Her role as a philandering housewife in Personal Velocity in particular gave Posey an opportunity to truly shine.Her profile would fade a bit in the following few years despite a role in the widely released (but ill fated) comedy The Sweetest Thing (2002), and after performing at her bitchy best in the made-for-television Hell on Heels: The Battle of Mary Kay (2003) she was included in Reuters 2003 "What Ever Happened to" list. Ironically, it was that same year that Posey essayed her first lead role in quite some time with the independent drama The Event. Cast as a district attorney who is investigating a mysterious suicide, Posey was backed by a stellar cast that included Sarah Polley and Olympia Dukakis. Though she would once again join Guest for the 2003 mockumentary A Mighty Wind, she was pretty much lost in the shuffle in the divisive effort. With the approach of 2004, audiences were no doubt set to find out "What Ever Happened to" Posey with her roles in the high-profile efforts The Laws of Attraction and Blade: Trinity. Posey continued her work in independent films with large parts in The Oh in Ohio, The Sisters of Mercy, and Adam & Steve, but once again appeared in a Hollywood blockbuster as Lex Luthor's significant other in Bryan Singer's Superman Returns. At the end of 2006 she once again collaborated with Christopher Guest on his Hollywood satire For Your Consideration.Posey continued to build on her affinity for independent films by reteaming with Hal Hartley for 2006's Fay Grim, in which she reprised the self titled role from 1997's Henry Fool. Critical response to the film was mixed, but Posey was balancing her career with other projects, some of which had a broader audience, like the recurring role of Marlene Stanger on the hit show Boston Legal. She balanced her indie side with her Hollywood side once again the next year, appearing both in the Jessica Alba thriller The Eye, and in the indie dramedy Broken English. Posey spent much of 2011 working in television, appearing on the popular NBC series Parks and Recreation, Showtime's The Big C, and CBS' The Good Wife.

Trivia: An imposing and highly memorable presence on the Broadway stage, actor Frank Langella has won only a fraction of the acclaim he's received in the theater for his film career; still, his brooding good looks and his ability to play both villains and comic foils with a touch of menace has made him a welcome (and increasingly familiar) fare to film buffs. Frank Langella was born in Bayonne, NJ, on New Year's Day, 1940. Langella caught the acting bug when he was 11, after playing an elderly man in a school play on the life of Abraham Lincoln, and he went on to earn a degree in Theater from Syracuse University. After studying acting with Elia Kazan, Langella began working with regional theater companies in the East Coast and the Midwest, and in 1963, made his New York stage debut when he landed the leading role in an off-Broadway revival of The Immoralist. Between 1964 and 1966, Langella would win three Obie awards for his work in off-Broadway theater, and in 1969, he received a Drama Desk award for his work in the drama A Cry of Players. In 1974, he made his Broadway debut in Edward Albee's Seascape, and, the following year, won another Drama Desk award as well as a Tony for his performance. Langella made his film debut in 1970 with a supporting role in Diary of a Mad Housewife, and later that same year, scored a larger part in The Twelve Chairs, written and directed by Mel Brooks. While Langella landed occasional television and film roles through much of the 1970s, he was still busiest as a stage actor. In 1977, Langella was cast in the leading role of a Broadway revival of Dracula, and his con brio performance as the bloodthirsty count earned rave reviews, turning the production into an unexpected hit. Langella was tapped to reprise his performance for a film version of Dracula released in 1979, but he was forced to tone down his unique take on the role for the screen, and what would have seemingly been the perfect screen vehicle for his talents became a critical and box-office disappointment. However, Langella maintained a busy schedule of stage work, and in the 1990s, finally scored a breakthrough screen role in the comedy Dave as the deceitful political puppet master Bob Alexander. A busy schedule of character roles in such films as Junior, Lolita, and The Ninth Gate followed, though Langella still remained a frequent and distinguished presence in the New York theatrical community. He worked steadily at the beginning of the twenty-first century in films as diverse as the romantic drama Sweet November, and David Duchovny's directorial debut House of D. He scored an artistic and critical success in 2005 playing William Paley in George Clooney's historical docudrama about Edward R. Murrow Good Night, and Good Luck. He was then tapped by Bryan Singer to embody Daily Planet editor Perry White in the 2006 summer blockbuster Superman Returns. In 2007, Langella earned strong reviews and some awards buzz for his starring role in Starting Out in the Evening, but it was actually the next year, 2008 when he captured a Best Actor Academy Award nomination, a well as a SAG nomination, for his portrayal of disgraced former president Richard Nixon in Ron Howard's big-screen adaptation of Frost/Nixon. Over the next several years, Langella would appear in many more films, includign The Box, All Good Things, Unknown, and Robot and Frank.

Trivia: The red-haired and slightly ruddy-faced American character actor Sam Huntington first established his reputation with supporting roles in a series of goofy, off-the-wall comedies such as Jungle 2 Jungle (1997), Detroit Rock City (1999), and actor-cum-director Thomas Haden Church's stoner farce Rolling Kansas (2002). Huntington shifted genres and delivered a respectable (if unremarkable) lead performance under the aegis of another actor-turned-helmer, William Katt, in the family-oriented coming-of-age drama River's End (2005). Unfortunately, it received mostly negative reviews and severely limited distribution that kept it out of most mainstream theaters. In 2006, however, Huntington earned greater recognition with a memorable turn as newspaper photographer Jimmy Olsen in the blockbuster Superman Returns. In fall 2007, he took on a regular role as a Neanderthal on the bizarre ad campaign-turned-sitcom Cavemen. The actor joined the cast of Syfy's Being Human (the American version of the BBC's series of the same name) in 2011 to play a werewolf.

Trivia: After studying briefly at Bowling Green State University, New Jersey-born actress Eva Marie Saint entered the hectic world of live television. With a coolness and maturity that belied her youthfulness, Saint made an excellent impression in her first important stage appearance, 1953's A Trip to Bountiful. The euphoria attending her winning the Drama Critics Award was doubled by her 1954 Oscar win for her co-starring stint with Marlon Brando in On the Waterfront. The following year, the blonde, graceful actress appeared with Paul Newman in a TV musical version of Our Town (wherein "stage manager" Frank Sinatra introduced the hit song "Love and Marriage"). Saint continued starring in films with everyone from Bob Hope (That Certain Feeling, 1956) to Cary Grant (in the Hitchcock classic North by Northwest, 1959). A string of mediocre films in the 1970s prompted Saint to seek out more satisfying roles on television before returning to the stage in 1983. More recently, Saint won an Emmy for her performance in the 1989 dramatic special People Like Us. A staple of television throughout the 1990s and well into the new millennium, Saint essayed a supporting role in director Wayne Wang's 2005 family comedy Because of Winn Dixie before stepping into the role of the Man of Steel's mother in director Bryan Singer's Superman Returns the following year.

Trivia: Marlon Brando was quite simply one of the most celebrated and influential screen and stage actors of the postwar era; he rewrote the rules of performing, and nothing was ever the same again. Brooding, lusty, and intense, his greatest contribution was popularizing Method acting, a highly interpretive performance style which brought unforeseen dimensions of power and depth to the craft; in comparison, most other screen icons appeared shallow, even a little silly. A combative and often contradictory man, Brando refused to play by the rules of the Hollywood game, openly expressing his loathing for the film industry and for the very nature of celebrity, yet often exploiting his fame to bring attention to political causes and later accepting any role offered him as long as the price was right. He is one of the screen's greatest enigmas, and there will never be another quite like him. Born April 3, 1924, in Omaha, NE, Brando's rebellious streak manifested itself early, resulting in his expulsion from military school. His first career was as a ditch digger, but his father ultimately grew so frustrated with his son's seeming lack of ambition that he offered to finance whatever more meaningful path the young man chose to pursue. Brando opted to become an actor -- his mother operated a local theatrical group -- and he soon relocated to New York City to study the Stanislavsky method under Stella Adler. He later worked at the Actors' Studio under the tutelage of Lee Strasberg, and his dedication to the principles of Method acting was to become absolute. After making his professional debut in 1943's Bobino, Brando bowed on Broadway a year later in I Remember Mama; for 1946's Truckline Cafe, the critics voted him Broadway's Most Promising Actor.Brando's groundbreaking star turn in the 1947 production of Tennessee Williams' A Streetcar Named Desire delivered on all of that promise and much, much more; as the inarticulate brute Stanley Kowalski, Brando stunned audiences with a performance of remarkable honesty, sexuality, and intensity, and overnight he became the rage of Broadway. Hollywood quickly came calling, but he resisted the studios' overtures with characteristic contempt -- he was a new breed of star, an anti-star, really, and he refused to play ball, dismissing influential critics and making no concessions toward glamour or decorum. It all only served to make Hollywood want him more, of course, and in 1950 Brando agreed to star in the independent Stanley Kramer production The Men as a paraplegic war victim; in typical Method fashion, he spent a month in an actual veteran's hospital in preparation for the role.While The Men was not a commercial hit, critics tripped over themselves in their attempts to praise Brando's performance, and in 1951 it was announced that he and director Elia Kazan were set to reprise their earlier work for a screen adaptation of Streetcar. The results were hugely successful, the picture winning an Academy Award for Best Film; Brando earned his first Best Actor nomination, but lost despite Oscars for his co-stars, Vivien Leigh, Karl Malden, and Kim Hunter. Again with Kazan, he next starred in the title role of 1952's Viva Zapata! After walking out of the French production Le Rouge et le Noir over a dispute with director Claude Autant-Lara, Brando portrayed Mark Antony in the 1953 MGM production of Julius Caesar, sparking considerable controversy over his idiosyncratic approach to the Bard and earning a third consecutive Oscar bid. In 1954, The Wild One was another curve ball, casting Brando as the rebellious leader of a motorcycle gang and forever establishing him as a poster boy for attitude, angst, and anomie. That same year, he delivered perhaps his definitive screen performance as a washed-up boxer in Kazan's visceral On the Waterfront. On his fourth attempt, Brando finally won an Academy Award, and the film itself also garnered Best Picture honors. However, his next picture, Desiree, was his first disappointment. Despite gaining much publicity for his portrayal of Napoleon, the project made a subpar showing both artistically and financially. Brando continued to prove his versatility by co-starring with Frank Sinatra in a film adaptation of the hit Broadway musical Guys and Dolls. Another Broadway-to-screen adaptation, The Teahouse of the August Moon, followed in 1956 before he began work on the following year's Sayonara, for which he garnered yet another Oscar nomination.In 1958's The Young Lions, Brando co-starred for the first and only time with Montgomery Clift, another great actor of his generation; it was a hit, but his next project, 1960's The Fugitive Kind, was a financial disaster. He then announced plans to mount his own independent production. After both Stanley Kubrick and Sam Peckinpah both walked off the project, Brando himself grabbed the directorial reins. The result, the idiosyncratic 1961 Western One-Eyed Jacks, performed respectably at the box office, but was such a costly proposition that it could hardly be expected ever to earn a profit. In 1962, Mutiny on the Bounty underwent a similarly troubled birthing process; Brando rejected numerous screenplay revisions, and MGM spent a record 19 million dollars to bring the picture to the screen. When it too failed, his diminishing box-office stature, combined with his increasingly temperamental behavior, made him a target of scorn for the first time in his career. The downward spiral continued: Brando himself remained compulsively watchable, but suddenly the material itself, like 1963's The Ugly American, 1966's The Chase, and 1967's A Countess From Hong Kong, was self-indulgent and far beneath his abilities. His mysterious career choices, as well as his often inscrutable personal and professional behavior -- he was quoted as declaring acting a "neurotic, unimportant job" -- became the topic of much discussion throughout the industry. He continued to push himself in risky projects like 1967's Reflections in a Golden Eye, an adaptation of a Carson McCullers novel in which he portrayed a closeted homosexual, but the end result lacked the old magic. While Brando still commanded respect from the media and his fellow performers, much of Hollywood began to perceive him as a bad and unnecessary risk, a perception which features like 1968's Candy, 1969's Queimada!, and 1971's The Nightcomers did little to alter. The Brando renaissance began with 1972's The Godfather; against the objections of Paramount, director Francis Ford Coppola cast him to play the aging head of a Mafia crime family, and according to most reports, his on-set behavior was impeccable. Onscreen, Brando was brilliant, delivering his best performance in well over a decade. He won his second Academy Award, but became the subject of much controversy when he refused the honor, instead sending one Sacheen Littlefeather -- supposedly a Native American spokeswoman, but later revealed to be a Hispanic actress -- to the Oscar telecast podium to deliver a speech attacking the U.S. government's history of crimes against the native population. Controversy continued to dog Brando upon the release of 1973's Last Tango in Paris, Bernardo Bertolucci's masterful examination of a sexual liaison between an American widower and a young Frenchwoman; though critically acclaimed, the picture was denounced as obscene in many quarters.Despite his resurrection, Brando did not reappear onscreen for three years, finally resurfacing in The Missouri Breaks opposite Jack Nicholson. Although he had by now long maintained that he continued to act only for the money, the eccentricity of his career choices allowed many fans to shrug off such assertions; however, never before had Brando appeared in so blatantly commercial a project as 1978's Superman, earning an unprecedented 3.7 million dollars for what essentially amounted to a cameo performance. His next appearance, in Coppola's 1979 Vietnam epic Apocalypse Now, was largely incoherent, while for 1980's The Formula, he appeared in only three scenes. And for a decade, that was it: Brando vanished, living in self-imposed exile on his island in the Pacific, growing obese, and refusing the few overtures producers made for him to come back to Hollywood. Only in 1989 did a project appeal to Brando's deep political convictions, and he co-starred in the anti-Apartheid drama A Dry White Season, earning an Academy Award nomination for his supporting role as an attorney. A year later, he headlined The Freshman, gracefully parodying his Godfather performance. Tragedy struck in 1990 when his son, Christian, killed the lover of Brando's pregnant daughter, Cheyenne; a long legal battle ensued, and Christian was found guilty of murder and imprisoned. Even more tragically, Cheyenne later committed suicide. The trial placed a severe strain on Brando's finances, and he reluctantly returned to performing, appearing in the atrocious Christopher Columbus: The Discovery in 1992. He also wrote an autobiography, Songs My Mother Taught Me. Don Juan DeMarco, co-starring Johnny Depp, followed in 1995, and after 1996's The Island of Dr. Moreau, Brando starred in Depp's directorial debut The Brave. In 1998, he appeared in Yves Simoneau's Free Money, headlining a cast that included Donald Sutherland, Mira Sorvino, Martin Sheen, and Charlie Sheen.Again absent from the public eye for a spell, Brando made news again in 2001 as health problems forced him out of a cameo role in director Keenan Ivory Wayans' horror spoof sequel Scary Movie 2 (he was replaced on short notice by actor James Woods). Brando made his first film appearance in three years with a considerably more prestigous role in director Frank Oz's one-last-heist thriller The Score (2001). Though the film's production was plagued with the by-then de rigeur rumors of Brando's curious on-set tirades and bizarre behavior, filmgoers remained eager to see the actor re-teamed with former Godfather cohort Robert DeNiro, with Edward Norton and Angela Bassett rounding out the cast. Later that year, director Francis Ford Coppola added to Brando's legend by lengthening his infamously slurred speeches for the director's recut Apocalypse Now Redux.Absent from the screen for the next three years, Brando passed away suddenly in 2004 of pulmonary fibrosis. While The Score was his last onscreen performance, shortly before his death he recorded voice parts for an animated film called Big Bug Man and a Godfather videogame. Marking an increasingly popular trend, the visage of Brando was even resurrected for a "new" performance in director Bryan Singer's big-budget Superman Returns in the summer of 2006. Culled from old outtakes from the first two films, the digitally manipulated clips added to the film's passing-of-the-torch feel.

Trivia: Kal Penn qualifies as one of the very few Indian-American actors of Gujarati heritage working in Hollywood. He was born Kalpen Suresh Modi on April 23, 1977, in Montclair, NJ, to an engineer father and a mother employed as a fragrance sampler for a perfume manufacturer. Modi bravely and intelligently cut against the grain of social expectations as a child, rejecting the prompting of his peers to join the soccer team, and instead joining the school drama team. Though allegedly mocked by classmates for his decision, Penn changed everyone's mind with his performance in a school production of The Wiz, and received a standing ovation for his work in that production -- no mean accomplishment for a beginner. During elementary school and junior high, Modi felt struck, again and again, by the crass Indian stereotypes perpetuated in Hollywood films, specifically in movies such as Indiana Jones and the Temple of Doom (1984) and 1986's Short Circuit, in which Caucasian actor Fisher Stevens plays the Indian-American Ben Jabituya for comic relief. Quietly vowing to work against this trend, Modi actually spent years attaining the box-office clout to make it happen. After his secondary school education (first at New Jersey's Howell High, then at Freehold Township High), Modi trained intensely as a dramatist on the Manhattan theatrical circuit, then attended UCLA as a drama major in the mid-'90s, and simultaneously started to land television parts right and left, in such series as Buffy the Vampire Slayer, Sabrina, the Teenage Witch, and Spin City. At about that time, he took the advice of friends and family, and -- though initially reluctant to do so -- anglicized his name, changing it to Kal Penn. As a result, he later reported, job offers escalated by 50 percent.Penn made his feature debut coming in the 1999 culture-clash drama Freshmen. A supporting role in the independent romantic comedy American Desi (2001) quickly followed -- ironically, an exploration of race and identity, about an Indian-American boy, Krishna (Deep Katdare), who moves away from home and changes his name to Kris to disguise his ethnicity, but finds himself saddled with several roommates of like heritage. Penn plays Ajay, an Indian student who has immersed himself in black ("Afrocentric") behavior. The film received extremely limited U.S. theatrical bookings in the spring of 2001 and fair reviews from the critics who saw it. Penn then jointed the cast of the Animal House-cloned gross-out farce National Lampoon's Van Wilder (2002), about a seventh-year senior (Ryan Reynolds) threatened by his father's (Tim Matheson) decision to cut off his seemingly unlimited allowance. Widely drubbed as unfunny, the picture did embarrassing box office and opened and closed in one month, but its A-list issue nonetheless gave Penn (who plays Van's Indian friend, Taj Mahal Badalandabad) with his highest-profile exposure to date. Penn's onscreen activity escalated meteorically from 2003 through 2006, with the young actor averaging around seven or eight first-run features per year, and ascending to higher and higher credit billings. Most notably, he co-starred as Kumar (alongside fellow Gen-Xer John Cho) in 2004's stoner comedy Harold and Kumar Go to White Castle, a surprise sleeper hit (and recipient of many enthusiastic notices) about two buddies, an Asian-American banker and an Indian-American medical student, whose unstoppable quest to find some White Castle hamburgers gives way to an epic road trip. Penn also delivered a brief supporting turn as Stanford, a henchman of Lex Luthor (Kevin Spacey) in 2006's Superman Returns. Meanwhile, Penn made an indelible impression on the small screen as well, as Harrison in the 2004 NBC 9/11 NBC drama Homeland Security. Penn was less effective in the ill-advised 2006 sequel National Lampoon's Van Wilder: The Rise of Taj, an installment that -- per its title -- finds Penn's Taj Mahal Badalandabad carrying Van's off-the-wall hijinks to Camden University in England. Penn subsequently signed on for an additional sequel, 2007's Harold & Kumar Escape from Guantanamo Bay, which finds the boys of the title mistaken for terrorists when they attempt to slip a bong aboard a flight to Amsterdam. That same year, Penn would headline Epic Movie, a massively scaled attempt to "send up" the Hollywood fantasy epic, Airplane! style,and join the cast of Fox's hit series thriller 24, during its sixth season. A Very Harold and Kumar Christmas followed in 2011, with concurrent roles in television's How I Met Your Mother and House guaranteeing continued small screen exposure between big screen outings.

Trivia: Although a career as an actress may seem unusual for a girl who grew up in a house without a television or radio, what may seem to be a negative in inspiring a cinematic career was actually a blessing in disguise for Peta Wilson. Entertaining her family for hours on end by staging musical shows and lip-synching to Neil Diamond records gave the budding young actress a solid foundation for entertaining.Born in Sydney, Australia, Wilson spent a large portion of her childhood in the wilds of Papua New Guinea. Educated at an all-girls Catholic School in Brisbane, Queensland, Australia, Wilson turned to athletics as a means to stay out of trouble, though her mother enrolled her into deportment classes in attempts to discourage the more tomboyish traits that accompanied Wilson's fondness for sports. It was during these courses that Wilson was spotted by a modeling agent who encouraged her to consider a career on the catwalk. Traveling Europe in the following years as a successful model, Wilson soon began to nurture her affection for acting, prompting the aspiring actress' 1991 move to L.A.Studying at the Actors Circle Theater in L.A. under the tutelage of Arthur Mendoza, Wilson began to get small roles in such independent films as Loser (1996), and set her television career into motion with an appearance on the HBO series Strangers. Shortly before her departure for New York in 1996 to continue her studies in theater, Wilson's agent persuaded her to audition for the television series La Femme Nikita -- a happy coincidence that resulted in Wilson's casting as the title character in the USA series based on Luc Besson's Nikita (1990).Soon appearing in such films as One of Our Own (1998) and Mercy (2000), Wilson would eventually make it to New York for her role in A Girl Thing (2001).

Trivia: Born in L.A. and raised in Pasadena, Jack Larson's ingenuous, "golly gee" screen image served him well when in 1951 he was cast as cub reporter Jimmy Olsen on the TV series Superman. He remained with the program until 1957, by which time he had become so thoroughly identified with the role that he had considerable difficulty landing other film assignments. Eventually Larson gave up acting to concentrate on writing plays and musical librettos; one of his more prestigious assignments was a collaboration with noted composer Virgil Thompson. The longtime companion of filmmaker James Bridges, Jack Larson served as the co-producer of such Bridges films as The Paper Chase (1973), Urban Cowboy (1980), and Bright Lights, Big City (1988). He made a guest appearance in a 1996 episode of Lois & Clark: The New Adventures of Superman, playing an older version of Jimmy Olsen. Larson died in 2015, at age 87.

Trivia: Diminutive, baby-faced actress Noel Neill entered films as a Paramount starlet in 1942. Though she was showcased in one of the musical numbers in The Fleet's In (1944) and was starred in the Oscar-nominated Technicolor short College Queen (1945), most of her Paramount assignments were thankless bit parts. She fared better as one of the leads in Monogram's Teen Agers series of the mid- to late '40s. In 1948 she was cast as intrepid girl reporter Lois Lane in the Columbia serial The Adventures of Superman, repeating the role in the 1950 chapter play Atom Man vs. Superman. At the time, she regarded it as just another freelance job, perhaps a little better than her cameos in such features as An American in Paris (in 1951 as the American art student) and DeMille's The Greatest Show on Earth (1953). But someone was impressed by Neill's appealingly vulnerable interpretation of Lois Lane, and in 1953 she was hired to replace Phyllis Coates as Lois in the TV version of Superman. She remained with the series for 78 episodes, gaining an enormous fan following (consisting primarily of ten-year-old boys) if not a commensurately enormous bank account. Retiring to private life after the cancellation of Superman in 1958, she was brought back into the limelight during the nostalgia craze of the 1970s. She made countless lecture appearances on the college and film convention circuit, and in 1978 returned to films as Lois Lane's mother in the big-budget Superman: The Movie: alas, most of her part ended up on the cutting-room floor, and neither she nor fellow Adventures of Superman alumnus Kirk Alyn received billing. Noel Neill's last TV appearance to date was a guest spot in a 1991 episode of the syndicated The Adventures of Superboy; she made a cameo appearance in 2006's Superman Returns. Neill died in 2016, at age 95.

Trivia: Character actor Karen has had a 40-year career as an actor. He made his Broadway bow with Marlon Brando in A Streetcar Named Desire, directed by Elia Kazan. Since then, he has worked continuously in theater, television and film, with such greats as his idol Buster Keaton, and on up to director Oliver Stone. His best-known films include Return of the Living Dead (1985) and Return of the Living Dead II (1988). Karen has also appeared in All the President's Men (1976), China Syndrome (1979), Poltergeist (1982), and Wall Street (1987). He was a regular on Eight is Enough (1977-81), starred in the science fiction series The Powers of Matthew Star as Major Wymore (1983) and had a recurring role on the cable series The Larry Sanders Show. Karen took on a series of small roles in notable films throughout the early 2000s; among his credits include Any Given Sunday (1999), Thirteen Days (2000), and Mulholland Dr. (2001). He played a supporting role alongside Will Smith and Thandie Newton in the 2006 drama The Pursuit of Happyness, and appeared in Superman Returns the same year. He worked with Chevy Chase and Christopher Lloyd in director Gary J. Tunnicliffe's adaptation of Jack and the Beanstalk in 2009, and took a small part in 2010's psychological drama Sympathy for Delicious.