Trivia: The stepdaughter of the fire chief of Salisbury, MD, Linda Hamilton began her acting career with local children's theater groups. After college training and dramatic lessons conducted by former director Nicholas Ray, Hamilton was cast in a handful of inexpensive film programs. She briefly costarred in the prime-time TV soap opera Secrets of Midland Heights (1980) which led to an equally short stint on the weekly series King's Crossing (1982). Hamilton's stock in the film industry rose substantially when she was cast as Sarah Connor, the target for the homicidal intentions of futuristic android Arnold Schwarzenegger in The Terminator (1984). No shivering ingenue, the agile and athletic Hamilton proved a formidable foe for the forces of evil in both The Terminator and its sequel, Terminator 2: Judgment Day, where at times she came off tougher than the "kinder, gentler" Arnold. From 1987-1989, Hamilton starred as Catherine Chandler on the cult TV fantasy series Beauty and the Beast, eventually leaving the show to have her first child. In 1995 Hamilton earned a Golden Globe nomination for her performance as a single mother who learns she has contracted AIDS in A Mother's Prayer, and though with the exception of Dante's Peak (1997) she stuck mainly to made-for-television movies in the following decade, notable guest spots on Showtime's Weeds and NBC's Chuck served as strong reminders of her onscreen charisma. Married to actor Bruce Abbot throughout much of the '80s, Hamilton later wed Terminator 2 director James Cameron, though their union ended after just two years.

Trivia: One of the most versatile American movie actors of the mid-20th century, Eddie Albert missed out on stardom but, instead, enjoyed a 50-year-plus screen career that encompassed everything from light comedy and zany satire to the most savage war dramas. Born Edward Albert Heimberger in Rock Island, IL, he attended the University of Minnesota. After working as everything from soda jerk to a circus acrobat (with a short stint as a nightclub and radio singer), Albert headed for New York City, where he scored a hit in the play Brother Rat, portraying military cadet Bing Edwards. He also starred in Room Service on-stage before heading to Hollywood, where he was signed by Warner Bros. to recreate his stage role in the 1938 film Brother Rat. Albert was known for his comedic work during the early years of his career -- his other early major credits included The Boys From Syracuse and Boy Meets Girl on-stage and On Your Toes (1939) onscreen. When he did appear in dramas, such as A Dispatch From Reuters (1940), it was usually as a light, secondary lead or male ingénue, similar to the kinds of parts that Dick Powell played during his callow, youthful days. Albert had an independent streak that made him unusual among actors of his era -- he actually quit Warner Bros. at one point, preferring to work as a circus performer for eight dollars per day. The outbreak of World War II sent Albert into the U.S. Navy as a junior officer, and he distinguished himself during 1943 in the fighting on Tarawa. Assigned as the salvage officer in the shore party of the second landing wave (which engaged in heavy fighting with the Japanese), his job was to examine military equipment abandoned on the battlefield to see if it should be retrieved; but what he found were wounded men who had been left behind under heavy fire. Albert took them off the beach in a small launch not designed for that task, earning commendations for his bravery. A bona fide hero, he was sent home to support a War Bond drive (though he never traded on his war experiences, and didn't discussing them in detail on-camera until the 1990s). When Albert resumed his acting career in 1945, he had changed; he displayed a much more serious, intense screen persona, even when he was doing comedy. He was also a much better actor, though it took ten years, and directors Robert Aldrich and David Miller, to show the movie-going public just how good he was. Ironically, when Albert did return to films, the roles weren't really there for him, so he turned to television and theatrical work during the early '50s. His best movie from this period was The Dude Goes West (1948), an offbeat comedy-Western directed by Kurt Neumann in a vein similar to Along Came Jones. The mid-'50s saw Albert finally achieve recognition as a serious actor, first with his Oscar-nominated supporting performance in William Wyler's hit Roman Holiday (1953) and then, three years later, in Robert Aldrich's brutal World War II drama Attack!, in which he gave the performance of a lifetime as a cowardly, psychopathic army officer. From that point on, Albert got some of the choicest supporting dramatic parts in Hollywood, in high-profile movies such as The Longest Day and small-scale gems like David Miller's Captain Newman, M.D. Indeed, the latter film, in which he played a more sympathetic disturbed military officer, might represent his single best performance onscreen. His ability at comedy wasn't forgotten, however, and, in 1965, he took on the starring role of Oliver Wendell Douglas (opposite Eva Gabor) in the TV series Green Acres, in which he got to play the straight man to an array of top comic performers for six seasons. The show developed a cult following among viewers, ranging from small children to college students, and became a pop-culture institution. The movie business had changed by the time Albert re-entered films in 1971, but he still snagged an Oscar nomination for his work (in a difficult anti-Semitic role) in Elaine May's The Heartbreak Kid (1972). He also remained one of Robert Aldrich's favorite actors, and, in 1974, the director gave him a choice role as the sadistic warden, in The Longest Yard. He had another hit series in the mid-'70s with Switch, in which he and Robert Wagner co-starred as a pair of private investigators whose specialty was scamming wrongdoers. Albert was still working steadily into the early '90s, when he was well into his eighties. From the mid-'40s, the actor had acquired a deep, personal interest in politics, and produced a series of educational films intended to introduce grade-school students to notions of democracy and tolerance. By the '60s, he was also deeply involved in the environmental movement. Albert was married for decades to the Mexican-American actress Margo (who died in 1985); their son is the actor Edward Albert.

Trivia: Ron Perlman grew up in the Washington Heights section of New York City, where his father was a radio/TV repairman and his mother an employee with the city's Department of Health. A profoundly unhandsome youth, Perlman was nonetheless very active in high school theater by virtue of his height (6-foot-2) and his deep, rolling voice. He continued studying drama at Lehman College and later at the University of Minnesota, where he graduated with a master's degree in theater arts. He went to work with New York's Classic Stage Company, an organization specializing in Elizabethan and Restoration plays. Perlman starred in several Manhattan and touring productions staged by Tom O'Horgan of Hair fame before accepting his first film role as a Neanderthal man in 1981's Quest for Fire. Emotionally drained, Perlman backed off from acting after finishing the movie, but was soon back in the groove, essaying such attention-getting roles as the hunchbacked Salvatore in The Name of the Rose (1986). Most often cast as brooding, inarticulate, villainous characters in films (such as Pap in 1993's The Adventures of Huck Finn), Perlman became best known for his performance as the beneficent, albeit hideously ugly, sewer-dwelling Vincent in the late-'80s TV series Beauty and the Beast. Though this remained the actor's defining role for years after the show's run had drawn to a close, he was busier than ever through the '90s. Appearing in everything from obscure arthouse hits (Cronos [1993] and The City of Lost Children [1995]) to voice-over work for television (Aladdin) and video games (Fallout, A Post Nuclear Role Playing Game) to overblown Hollywood blockbusters (Alien Resurrection), Perlman left few stones unturned in terms of flexibility and experimentation in new media. He continued this trend into the early 2000s, alternating between various arenas with remarkable ease and refusing to be pigeonholed, appearing in such high-profile releases as Titan A.E. (2000), Enemy at the Gates (2001), and Blade II (2002). Though his recognition factor seemed higher than ever, few could foresee the opportunity just ahead when Blade II and Cronos director Guillermo del Toro announced that Perlman would star in the film adaptation of Mike Mignola's popular comic book Hellboy, although it seemed highly unlikely that studios would invest the millions of dollars needed to bring the comic to life with an actor of such minimal "marquee value." They wanted Vin Diesel for the role, but del Toro, with the blessing and encouragement of character originator Mignola, eventually won out to have Perlman play the Nazi-creation-turned-superhero in the 2004 fantasy-action film.

Trivia: Halliwell's Filmgoers Companion states that British character actor Roy Dotrice had "a strong line in senile characterizations". Maybe so, but he certainly seemed chillingly cogent in his portrayal of Mozart's father in the Oscar-winning Amadeus. In films since 1965's The Heroes of Telemark, Dotrice has been equally busy on television: he was a regular on such series as Space: 1999 (1975-76), Going to Extremes (1986), Wizards (1986) and Beauty and the Beast (1987-1990, as "The Beast's" Father). Roy Dotrice is the father of actresses Karen and Michele Dotrice.

Trivia: The son of actors Eddie Albert and Margo, Edward Albert was educated abroad at Oxford University. While chronologically his movie debut was in 1965's The Fool Killer, Albert didn't seriously pursue acting as a profession until his early twenties. In 1972, he made his film-starring bow in Butterflies are Free (1972), playing a well-adjusted sightless youth who becomes the object of hippie-like Goldie Hawn's affections. His next film, Forty Carats (1973), was like Butterflies an adaptation of a popular stage play, though this time his part was less interesting. Albert's subsequent films are most likely not as rewarding to him as his ongoing hobby of photography. Ardent TV viewers have seen Edward Albert in regular roles on the nighttime soap operas The Yellow Rose (1984) and Falcon Crest (1986).

Trivia: Tony award-winning composer and sometimes actor Albert Hague may be visually recognizable to film and television buffs for his numerous film and television appearances, though it was his music for the television classic How the Grinch Stole Christmas that would touch generations of fans with it's whimsical melodies that accompanied the grumpy green Grinch's attempts to undermine the holiday spirit. Born Albert Marcuse in Berlin, the youngster and his mother would later flee Nazi Germany for the U.S. Adopted by a prominent eye surgeon upon his arrival, Hague studied music at the University of Cincinnati and met his future wife while working on a musical in Cleveland in 1948. Later composing for such popular Broadway shows as The Fig Leaves Are Falling and Miss Moffat (starring Bette Davis), the composer received a Tony for Redhead in 1959. Hague's television appearances include roles in Beauty and the Beast and Tales From the Dark Side with film appearances including Fame and Space Jam. On November 12, 2001, Albert Hague died in Inglewood, CA. He was 81.