1-50 of 272 names.

Lauren Holly

Born in Bristol, Pennsylvania, the daughter of two college professors, Lauren grew up in the upstate New York town of Geneva. Her childhood was split between experiences that contrasted. She was privy to the shelter of growing up in a rural town and also exposed due to the erudite sophistication of her parents' academic careers. Lauren spent time traveling in Europe and lived for a year in London, where she studied languages and flute at the famed Sarah Siddons School. A graduate of Sarah Lawrence College in New York, Lauren credits her love of acting to her great-grandmother who bred a family tradition of "treading the boards" on the musical theatre stages of Liverpool and London. Lauren's breakthrough motion picture performance came in the New Line Cinema's box-office smash, Dumb and Dumber, with Jim Carrey and Jeff Daniels. Lauren captured the hearts of audiences, as "Mary Swanson", the woman who drove Jim Carrey to follow her across the country to pledge his love. Next, she received glowing reviews for her performance in the Edward Burns drama, No Looking Back, as a woman whose life in a small seaside community is turned upside down by the reappearance of her ex-boyfriend. Lauren's other film credits include Oliver Stone's "Any Given Sunday," with Al Pacino, Cameron Diaz and Jamie Fox, Sydney Pollack's "Sabrina," starring Harrison Ford, the action-drama "Turbulence," co-starring Ray Liotta, the Miramax ensemble "Beautiful Girls," a lead role in the Universal production of "Dragon: The Bruce Lee Story," "A Smile Like Yours," "The Adventures of Ford Fairlane," the comedy "Down Periscope," starring Kelsey Grammer, "Entropy" and "The Last Producer," starring and directed by Burt Reynolds.In television, Lauren's credits are no less impressive. Lauren recently starred in 2 films for Hallmark. She also boasts three seasons as Director Jenny Shepard in CBS/Paramount Television's top-rated drama series NCIS. Lauren was seen in the TNT movie "King of Texas," an adaptation of Shakespeare's "King Lear," playing opposite Oscar winner Marcia Gay Harden and renowned actor Patrick Stewart, and in the NBC miniseries "Jackie, Ethel, Joan: Women of Camelot," alongside Jill Hennessy and Leslie Stefanson. Additionally, Lauren starred as plastic surgeon Jeremy Hanlon on David E. Kelley's Emmy Award-nominated CBS drama, "Chicago Hope," marking her second project with Kelley, following their successful collaboration on the critically acclaimed, Emmy Award-winning series, "Picket Fences." Lauren has worked on numerous Independent films. These feature films include the political thriller "Fatwa," in which she not only acted but also served as a producer, the Peter Schwaba penned and directed comedy "Godfather of Green Bay," "The Chumscrubber," an Arie Posen directed, independent film to be released by DreamWorks, "Pleasure Drivers," directed by acclaimed cinematographer Andrej Sekula and co-starring Angus McFadden, a Lifetime movie "Caught in the Act," which she also produced, and "Chasing 3000". Most recently, Lauren starred in "You're So Cupid" with Brian Krause and Jeremy Sumpter. Additional projects contributing to the broad and diverse body of motion picture work Lauren has compiled include the drama "Colored Eggs" with Faye Dunaway, the comedy "Raising Flagg" playing opposite Oscar winner Alan Arkin, the Darrell Roodt directed HBO thriller, "Pavement", co-starring Robert Patrick and Paramount Pictures', and "What Women Want" opposite Mel Gibson and Helen Hunt. In addition, Lauren served a lead role in Disney's Oscar winning animated motion picture "Spirited Away" as the voice of Chihiro's Mother. Coming up she will play a lead in "Perfect Age of Rock and Roll," produced by Spike Lee. Lauren currently [march, 2014] makes her home in Toronto, Canada with her "three kings", sons Alexander, George, and Henry.

Colin Ford

The "Supernatural" kid isn't so supernatural. Born in Nashville, Tennessee, he soon aspired to the career of acting at the age of 4, where he first got his modeling job in Atlanta, Georgia. He broke into feature films at the age of 5 where he played as Clinton Jr, in "Sweet Home Alabama". He made more films after that, acting in movies "When Harry met Lloyd:Dumb and Dumber, Moved, and The Work and The Glory. Soon after he did a photo shoot with Brad Pitt and Angelina Jolie portraying his son. In that same year he got a guest starring role in "Smallville". He made a couple more films before landing his first leading role in "Dog Days of Summer" as Jackson Patch. He took a year off of acting to get his studies done but soon after got back into his acting. He plays young Sam Winchester in "Supernatural" and is coming up with a Playhouse Disney show called, "Jake and the Neverland Pirates" playing Jake.

Gina Rodriguez

Named the "next big thing" and one of the "top 35 Latinos under 35," by The Hollywood Reporter, Gina Rodriguez's profile has been rising steadily since her breakout performance as the titular character in FILLY BROWN during the Sundance Film Festival in 2012.

Gina Rodriguez was born in Chicago, Illinois, to Puerto Rican parents Magali and Genaro Rodriguez, a boxing referee. She started performing at age seven with the salsa dance company Fantasia Juvenil. She went on to work with other companies including Los Soneros Del Swing, performing at several Salsa Congress' in Chicago, California, New York and Puerto Rico. At sixteen, Gina was one of thirteen teens to be accepted into Columbia University NY- Theatrical Collaboration taught by Richard Niles. She wrote, directed and performed original work with twelve other kids from around the world. She fell in love with New York and NYU called her name-she was accepted into the Tisch School of the Arts, and the calling was clear, theatre was it. Gina had four years of intense theatre training at both the Atlantic Theatre Company and Experimental Theatre Wing, working with David Mamet and William H. Macy, the brilliant guidance of Rosemary Quinn and other wonderful professors. Directly after graduation, Gina booked her first lead role in the feature film Tiny Dancer. After, Gina originated the role of Frida Kahlo in the world premiere of "Casa Blue: The Last Moments in the Life of Frida Kahlo," at the American Stage Theatre. She continued to work in NY with multiple theatres and her work in film and TV steadily grew, including shows "Jonny Zero," "Army Wives," and "Law and Order," in addition to several short and indie films. One in particular, Osvaldos, was accepted into festivals including ABFF, NY HBO Latino Film Fest, Chicago International Film Fest, Urbanworld. They named Gina winner of the "Best Actor" award at the First Run Film Festival in NY and the film aired on HBO in 2010 and was named one of the "Five Best Shorts." After the years of success in NY, Gina booked a lead role in a feature film Go for It (Lionsgate) in which she received a 2011 Imagen Awards nomination. After this, Gina booked her first co-star TV role on CBS' "Eleventh Hour." She went on to book series regular roles on web series "Eden's Court" and "No Names;" her first studio film Our Family Wedding with America Ferrera; and a lead in film Superchicas. Since then she has also guest starred on the TV shows: "The Mentalist," "Happy Endings" and "Ten Things I Hate About You." Next up came one of Gina's most exciting roles, to date, Filly Brown. Originally, this role had been written as a spoken word artist, an area that Gina had experience, but upon meeting the directors and producers, they informed her that they were changing the part to a rapper. After an outstanding audition, in which Gina provided an impromptu rap performance, she secured the role. Gina collaborated with music producers, E Dub and Khoolaid from Silent Giant, to come up with over five original songs for the film. Filly Brown is set to hit theatres nationally in April 2013.

Up next, Gina stars as the lead in the indie dark comedy Sleeping with Fishes, written and directed by Nicole Gomez Fisher. The film focuses on Alexis Rodriguez Fish, who returns home to her family after the death of her cheating husband. Anna Ortiz will play her sister. Gina remains in the midst of an ABC studios holding deal, and will be seen in a supporting role in Snap, a reunion with her FILLY BROWN director Youssef Delara. Her indie film California Winter with Ruttina Wesley remains in the pipeline as well.

Gina is a supporter of Inspira, an organization that works to spotlight Latino leaders who shape their communities. She also works with the National Hispanic Foundation for the Arts and the Boyle Heights Learning Collaborative, and won an Imagen award winner for "Best Actress in a Feature Film: Filly Brown".

As of 2014, Gina stars in the CW television series Jane the Virgin, for which she was nominated for a Golden Globe (Best Actress in a Television Series - Comedy). She lives in Los Angeles, CA.

Robert Rodriguez

Robert Anthony Rodriguez was born and raised in San Antonio, Texas, USA, to Rebecca (Villegas), a nurse, and Cecilio G. Rodríguez, a salesman. His family is of Mexican descent.

Of all the people to be amazed by the images of John Carpenter's 1981 sci-fi parable, Escape from New York, none were as captivated as the 12-year-old Rodriguez, who sat with his friends in a crowded cinema. Many people watch films and arrogantly proclaim "I can do that." This young man said something different: "I WILL do that. I'm gonna make movies." That day was the catalyst of his dream career. Born and raised in Texas, Robert was the middle child of a family that would include 10 children. While many a child would easily succumb to a Jan Brady sense of being lost in the shuffle, Robert always stood out as a very creative and very active young man. An artist by nature, he was very rarely seen sans pencil-in-hand doodling some abstract (yet astounding) dramatic feature on a piece of paper. His mother, not a fan of the "dreary" cinema of the 1970s, instills a sense of cinema in her children by taking them on weekly trips to San Antonio's famed Olmos Theatre movie house and treats them to a healthy dose of Hollywood's "Golden Age" wonders, from Sergio Leone to the silent classic of Charles Chaplin and Buster Keaton.

In a short amount of time, young Robert finds the family's old Super-8 film camera and makes his first films. The genres are unlimited: action, sci-fi, horror, drama, stop-motion animation. He uses props from around the house, settings from around town, and makes use of the largest cast and crew at his disposal: his family. At the end of the decade, his father, a salesman, brings home the latest home-made technological wonder: a VCR, and with it (as a gift from the manufacturer) a video camera. With this new equipment at his disposal, he makes movies his entire life. He screens the movies for friends, all of whom desperately want to star in the next one. He gains a reputation in the neighborhood as "the kid who makes movies". Rather than handing in term papers, he is allowed to hand in "term movies" because, as he himself explains, "[the teachers] knew I'd put more effort into a movie than I ever would into an essay." He starts his own comic strip, "Los Hooligans". His movies win every local film competition and festival. When low academic grades threaten to keep him out of UT Austin's renowned film department, he proves his worth the only way he knows how: he makes a movie. Three, in fact: trilogy of short movies called "Austin Stories" starring his siblings. It beats the entries of the school's top students and allows Robert to enter the program. After being accepted into the film department, Robert takes $400 of his own money to make his "biggest" film yet: a 16mm short comedy/fantasy called Bedhead.

Pouring every idea and camera trick he knew into the short, it went on to win multiple awards. After meeting and marrying fellow Austin resident Elizabeth Avellan, Robert comes up with a crazy idea: he will sell his body to science in order to finance his first feature-length picture (a Mexican action adventure about a guitarist with no name looking for work but getting caught up in a shoot-'em-up adventure) that he will sell to the Spanish video market and use as an entry point to a lucrative Hollywood career. With his "guinea pig" money he raises a mere $7,000 and creates El Mariachi. But rather than lingering in obscurity, the film finds its way to the Sundance film festival where it becomes an instant favorite, wins Robert a distribution deal with Columbia Pictures and turns him into an icon among would-be film-makers the world over. Not one to rest on his laurels, he immediately helms the straight-to-cable movie Roadracers and contributes a segment to the anthology comedy Four Rooms (his will be the most lauded segment).

His first "genuine" studio effort would soon have people referring to him as "John Woo from south-of-the-border". It is the "Mariachi" remake/sequel Desperado. More lavish and action-packed than its own predecessor, the movie--while not a blockbuster hit--does decent business and launches the American film careers of Antonio Banderas as the guitarist-turned-gunslinger and Salma Hayek as his love interest (the two would star in several of his movies from then on). It also furthers the director's reputation of working on low budgets to create big results. In the year when movies like Batman Forever and GoldenEye were pushing budgets past the $100 million mark, Rodriguez brought in "Desperado" for just under $7 million. The film also featured a cameo by fellow indie film wunderkind, Quentin Tarantino. It would be the beginning of a long friendship between the two sprinkled with numerous collaborations. Most notable the Tarantino-penned vampire schlock-fest From Dusk Till Dawn. The kitschy flick (about a pair of criminal brothers on the run from the Texas Rangers, only to find themselves in a vamp-infested Mexican bar) became an instant cult favorite and launched the lucrative film career of ER star George Clooney.

After a two-year break from directing (primarily to spend with his family, but also developing story ideas and declining Hollywood offers) he returned to "Dusk till Dawn" territory with the teen sci-fi/horror movie The Faculty, written by Scream writer, Kevin Williamson. Although it's developed a small following of its own, it would prove to be Robert's least-successful film. Critics and fans alike took issue with the pedestrian script, the off-kilter casting and the flick's blatant over-commercialization (due to a marketing deal with clothing designer Tommy Hilfiger). After another three-year break, Rodriguez returned to make his most successful (and most unexpected) movie yet, based on his own segment from Four Rooms. After a string of bloody, adult-oriented action fare, no one anticipated him to write and direct the colorful and creative Spy Kids, a movie about a pair of prepubescent Latino sibs who discover that their lame parents (Antonio Banderas and Carla Gugino) are actually two of the world's greatest secret agents. The film was hit among both audiences and critics alike.

After quitting the Writers' Guild of America and being introduced to digital filmmaking by George Lucas, Robert immediately applied the creative, flexible (and cost-effective) technology to every one of his movies from then on, starting with an immediate sequel to his family friendly hit: Spy Kids 2: Island of Lost Dreams which was THEN immediately followed by the trilogy-capper Spy Kids 3: Game Over. The latter would prove to be the most financially-lucrative of the series and employ the long-banished movie gimmick of 3-D with eye-popping results. Later the same year Rodriguez career came full circle when he completed the final entry of the story that made brought him to prominence: "El Mariachi". The last chapter, Once Upon a Time in Mexico, would be his most direct homage to the Sergio Leone westerns he grew up on. With a cast boasting Antonio Banderas (returning as the gunslinging guitarist), Johnny Depp (as a corrupt CIA agent attempting to manipulate him), Salma Hayek, Mickey Rourke, Willem Dafoe and Eva Mendes, the film delivered even more of the Mexican shoot-'em-up spectacle than both of the previous films combined.

Now given his choice of movies to do next, Robert sought out famed comic book writer/artist Frank Miller, a man who had been very vocal of never letting his works be adapted for the screen. Even so, he was wholeheartedly convinced and elated when Rodriguez presented him with a plan to turn Miller's signature work into the film Sin City. A collection of noir-ish tales set in a fictional, crime-ridden slum, the movie boasted the largest cast Rodriguez had worked with to that date. Saying he didn't want to mere "adapt" Miller's comics but "translate" them, Rodriguez' insistence that Miller co-direct the movie lead to Robert's resignation from the Director's Guild of America (and his subsequent dismissal from the film John Carter as a result). Many critics cited that Sin City was created as a pure film noir piece to adapt Miller's comics onto the screen. Co-directing with Frank Miller and bringing in Quentin Tarantino to guest-direct a scene allowed Rodriguez to again shock Hollywood with his talent.

In late 2007, Rodriguez again teamed up with his friend Tarantino to create the double feature Grindhouse. Rodriguez's offering, Planet Terror, was a film made to be "hardcore, extreme, sex-fueled, action-packed." Rodriguez flirts with his passion to make a showy film exploiting all of his experience to make an extremely entertaining thrill ride. The film is encompassed around Cherry (Rose McGowan), a reluctant go-go dancer who is found wanting when she meets her ex-lover El Wray (played by Freddy Rodríguez) who turns up at a local BBQ grill. They then, after a turn of events, find themselves fending off brain-eating zombies whilst trying to flee to Mexico (here we go off to Mexico again). Apart from directing, Rodriguez also involves himself in camera work, editing and composing music for his movies' sound tracks (he composed Planet Terror's main theme). He also shoots a lot of his own action scenes to get a direct idea from his eye as the director into the film. In El Mariachi, Rodriguez spent hours in front of a pay-to-use, computer editing his film. This allowed him to capture the ideal footage exactly as he wanted it. Away from the filming aspect of Hollywood, Rodriguez is an expert chef who cooks gourmet meals for the cast and crew. Rodriguez is also known for his ability to turn a low-budgeted film with a small crew into an example of film mastery. El mariachi was "the movie made on seven grand" and still managed to rank as one of Rodriguez' best films (receiving a rating of 92% on the Rotten Tomatoes film review site).

Because Rodriguez is involved so deeply in his films, he is able to capture what he wants first time, which saves both time and money. Rodriguez's films share some similar threads and ideas, whilst also having differences. In El Mariachi, he uses a hand-held camera. He made this decision for several reasons. First, he couldn't afford a tripod and secondly, he wanted to make the audience more aware of the action. In the action sequences he is given more mobility with a hand-held camera and also allows for distortion of the unprofessional action sequences (because the cost of all special effects in the film totaled $600). However, in Sin City and Planet Terror, the budget was much greater, and Rodriguez could afford to spend more on special affects (especially since both films were filmed predominately with green screen) and, thus, there was no need to cover for error.

Playing by his own rules or not at all, Robert Rodriguez has redefined what a filmmaker can or cannot do. Shunning Hollywood's ridiculously high budgets, multi-picture deals and the two most powerful unions for the sake of maintaining creative freedom are decisions that would (and have) cost many directors their careers. Rodriguez has turned these into his strengths, creating some of the most imaginative works the big-screen has ever seen.

Jennifer Saunders

Jennifer Saunders was born July 6th 1958 in Sleaford, Lincolnshire, UK. She attended Central School of Speech and Drama where she met her comedy partner Dawn French. Like many of the early 80s groundbreaking "alternative" comedians she began her career as comedienne/actress/writer with Dawn French at "The Comedy Store" in London, where she met fellow comedians Adrian Edmondson (later her husband), Rik Mayall, Nigel Planer, Alexei Sayle and Peter Richardson, who later opened his own club, "The Comic Strip", where these comedians quickly formed a regular format.

The Comic Strip team were transferred to television screens with great success as they all starred alongside each other in The Comic Strip Presents.... After The Comic Strip she starred in a few episodes of The Young Ones, Girls on Top and Happy Families. Afterwards she and Dawn French wrote a TV show of their own, French and Saunders, which was an immense success due to the double act's genius writing, brilliant acting performances and hilarious spoofs of world famous blockbusters and bands.

It was in one of the episodes of "French and Saunders" that the audience had the pleasure of watching a sketch about an uptight daughter and a crazy, neurotic mother that became a comedy classic sitcom. When the BBC next asked Saunders to write something, she just couldn't come up with any ideas, so she decided to expand on that sketch, making it more outrageous and therefore funnier - Absolutely Fabulous was born.

Perhaps by coincidence Saunders had created one of the most loved, funny, and creative TV Shows in BBC history. Three series were made, in 1995 the show was put on hold until Saunders began writing again and came back with a fourth series in 2001. She is always ready for charity as well, she has been doing "Comic Relief" with a lot of her comedy companions ever since 1986. Jennifer Saunders, one of the most loved TV faces in Britain, will hit the screens with her fifth series of Absolutely Fabulous in 2003.

Nicki Minaj

Onika Tanya Maraj, better known as Nicki Minaj was born on December 8, 1982 in Saint James, Trinidad and Tobago and raised in Jamaica, Queens, New York. She grew up in a troubled family with a father that was a drug addict who later changed after he checked into rehab and started going to church. Minaj went to LaGaurdia High School and studied singing and acting.

She was first spotted by the CEO of Young Money, and was later recruited for The Carter Edition of Young Money's own "The Come Up" DVD series. Her rapping skills caught the eyes of Lil Wayne who later worked with her for many collaborations with his mixtapes.

In April 2007, Minaj released her first mixtape "Playtime Is Over". One year later she made another mixtape "Sucka Free" which made her Female Artist of the Year at the Underground Music Awards. In 2009 she made her third mixtape "Beam Me Up Scotty" which got positive reviews from BET and MTV.

To date, Nicki has released 3 platinum selling studio albums, Pink Friday, Pink Friday: Roman Reloaded, and the most recent The Pinkprint

Sid Haig

Tall, bald and nearly always bearded, Sid Haig has provided hulking menace to many a low-budget exploitation film and high-priced action film.

Sid Haig was born Sidney Eddie Mosesian on July 14, 1939 in Fresno, California, a screaming ball of hair. His parents, Roxy (Mooradian) and Haig Mosesian, an electrician, were of Armenian descent. Sid's career was somewhat of an accident. He was growing so fast that he had absolutely no coordination. It was decided that he would take dancing lessons, and that's when it all began. At the age of seven, he was dancing for pay in a children's Christmas Show, then a revival of a vaudeville show... and on it went.

Sid also showed a musical inclination, particularly for the drums. So, when his parents got tired of him denting all the pots and pans in the house, they bought him a drum set. The music was in him and he took to it immediately, a born natural. First it was swing, then country, then jazz, blues and rock 'n' roll. Sid always found it easy to make money with his music, and did very well. One year out of high school and signing a recording contract is not too bad. Sid went on to record the single "Full House" with the T-Birds in 1958. However, back while he was in high school, Sid got bitten by the "acting bug". Alice Merrill was the head of the drama department at that time and gave him all the encouragement in the world to pursue an acting career. The clincher came in his senior year. The way that the senior play was cast was that she would double cast the show, then have one of her friends from Hollywood come up and pick the final cast.

You see, Merrill was quite famous as an actress on Broadway and kept up her contacts in the business. When the appointed day came, the "friend" that showed up was Dennis Morgan, a big musical comedy star from the 1940s. The rest is history -- he picked Sid for the role, then two weeks later came back to see the show and told Sid that he should continue his education down south and consider acting as a career path. Two years later, Sid enrolled in the world famous Pasadena Playhouse, the school that trained such actors as Robert Preston, Robert Young, Gene Hackman, Dustin Hoffman, and so on. After two years of "actor's hell" (non-stop 7:00am to 11:00pm with homework thrown in just for the fun of it), it was time to move on to the big "H", Hollywood! Sid did so with longtime friend and roommate Stuart Margolin (Angel on The Rockford Files).

Sid's first acting job was in Jack Hill's student film at UCLA. It was called The Host, which was released in 2004 on DVD as a companion to Switchblade Sisters, another Hill film. That role launched a 40-year acting career during which Haig appeared in over 50 films and 350 television series. He has proven himself quite valuable to such filmmakers as producer Roger Corman. He also became a staple in the pictures of Jack Hill, appearing in Spider Baby or, The Maddest Story Ever Told, Coffy, and Foxy Brown. Haig's other memorable credits include George Lucas' THX 1138, and the 1970 James Bond opus Diamonds Are Forever (he is one of the Slumber Brothers, and got to toss a topless Lana Wood from the window of a high-rise Vegas hotel).

Among his most significant television credits are appearances on such landmark programs as The A-Team, T.J. Hooker, The Dukes of Hazzard, Quincy M.E., Hart to Hart, Fantasy Island, Charlie's Angels, Police Woman, The Rockford Files, The Six Million Dollar Man, Mannix, Mission: Impossible, Gunsmoke, Get Smart, Here's Lucy, The Flying Nun, Daniel Boone, Star Trek, Batman and The Untouchables.

Sid has never been one to give-up on anything but after nearly 40 years of carrying a gun (except for the occasional Jack Hill or Roger Corman film), his dreams of being recognized as a more than competent actor were fading. Then in 1992, Sid, fed up with being typecast, retired from acting and quoted, "I'll never play another stupid heavy again, and I don't care if that means that I never work, ever." This just proves that if you take a stand people will listen, for in 1997 Quentin Tarantino wrote the part of the judge in Jackie Brown for Sid. Then things got better, much better. Not necessarily more work, just better work. During the mid and late 1990s, Sid ran a community theater company, as well as dabbled occasionally in theater in Los Angeles. Then in 2000, Sid came out of his self-imposed retirement at the request of Rob Zombie for a part in Zombie's debut film House of 1000 Corpses. He starred as the fun-loving, but murderous, Captain Spaulding. This role breathed new life into Sid's acting career and earned him an award for Best Supporting Actor in the 13th Annual Fangoria Chainsaw Awards, as well as an induction into the Horror Hall of Fame. Sid's character of Captain Spaulding has since become the icon for the new horror genre. Sid has recently enjoyed success as Captain Spaulding once again in Rob Zombie's follow-up to House of 1000 Corpses, entitled, The Devil's Rejects. For this film, Sid received the award for best Actor in the 15th Annual Fangoria Chainsaw Awards, as well as sharing the award for "Most Vile Villain" at the First Annual Spike TV Scream Awards with Leslie Easterbrook, Sheri Moon Zombie, and Bill Moseley as The Firefly Family.

As of this writing at the end of 2007, Sid has several projects in various stages of production, and continues to enjoy his renewed success as an actor.

David Caruso

His low-keyed intensity, deep-voiced somberness, pale skin, puffy-eyed baby face and crop of carrot-red hair are all obvious and intriguing trademarks of TV star David Caruso. A hugely popular item in the 1990s as a result of a smash crime series, he got way too caught up in all the hoopla surrounding him. Those working with him on the innovative cop series were not exactly unhappy when he decided to abandon ship after only one season in order to pursue movie star fame. Despite his own predictions, the show prospered quite well after the loss of his focal character...but it would be a major understatement to state that Caruso did not fare as well.

TV to film crossover fame is tricky and David did not have the right formula to pull it off. Bad judgment calls, bad publicity after his departure from his TV series, a couple of poor film vehicles, and virtual unemployment in its wake eventually led him back to the small screen again a somewhat humbler person. Not many are given a second chance but Caruso, the enigmatic talent that he is, found gold a second time as (again) a wan, brooding lead in a hip, unconventional cop series.

David Stephen Caruso was born in Forest Hills, Queens, New York, the son of Charles Caruso, a magazine and newspaper editor, and Joan, a librarian. The Irish Catholic youngster attended elementary and middle school at Our Lady Queen of Martyrs and then Archbishop Molloy High School, both in Queens.

Following high school graduation in 1974, he toyed with some commercial work. A few years later he began to make a slight dent in films. He first appeared in Getting Wasted and Without Warning, which led to a succession of secondary roles in such 80s movies as An Officer and a Gentleman, First Blood (as a sheriff's deputy), Thief of Hearts, Blue City, China Girl and Twins. But the break into full-fledged TV stardom proved elusive. It was argued that the thin and lanky actor was not handsome enough to become a leading man in film and didn't have the charisma credentials to carry a big movie.

Making his unbilled debut in a daytime episode of "Ryan's Hope", TV proved to be a more inviting medium and police stories seemed to be the name of the game for him. He had a strong recurring role as a gang leader on Hill Street Blues and showed to good advantage in the series Crime Story. This sudden notoriety on police TV gave way to some even stronger stuff in streetwise film crimers such as King of New York as a cop gone bad, and Mad Dog and Glory, in which he earned excellent marks as a cynical urban cop. But his star-making role came via TV and his portrayal of Detective John Kelly the critically-acclaimed series NYPD Blue. Audience adoration was immediate.

His volatile but principled character on the gritty, boldly-written, unconventional show earned him impressive and sexy notices with a Golden Globe Award and Emmy nomination placed in his hands. Confident now that he could be a magnetic force in front of a movie camera, stories began to circulate that the instant fame had gone to his head, that he was moody, demanding and difficult on the set, and that he was quickly alienating not only his co-stars but the show's directors and writers.

Ready to prove all those naysayers wrong about his chances in film, Caruso made tabloid headlines when he announced his decision to leave the highly-rated show after only one season (and only four episodes into the second season) to pursue film stardom. Rumors also bounced around that he left following unresolved salary negotiations. For whatever reason, he wasted no time in scouting out movie vehicles for himself. Again, he focused on his specialty -- crime thrillers. The first, Kiss of Death, in which he played a petty thief trying to go straight, did not go over well box-office-wise despite its good reviews, and the second, Jade, in which he portrayed a homicide detective, was a grisly, unappetizing thriller that was given the thumbs down almost immediately. As a comeuppance for coming up short, he was nominated for the dubious "Razzie" award as the "Worst New Star" of those two films. With no movie releases at all in 1996, by the time Cold Around the Heart was released, in which he played a jewel thief who is betrayed by his sexy partner-in-crime (Kelly Lynch), the TV star had lost all of his movie star momentum.

In 1997, Caruso made an inauspicious return to the small screen as the placid title prosecutor Michael Hayes, a law series, but it was a very short-lived experience. Audiences had become fickle and indifferent to his "heralded comeback". Finding a serious lack of offers, he returned to supporting others in films such as Russell Crowe in Proof of Life, and copped a couple of leads for himself in such low-budgeted films as Session 9 and the Canadian film Black Point.

But in 2002, he found TV magic once again behind a badge as Lt. Horatio Caine in the popular CSI spin-off series CSI: Miami. Strongly anchoring the show, which focuses more on crime methodology and whodunnit twists than character development, Caruso has nevertheless earned cult fame for his slick demeanor and deliberately slow speech patterns, reminding one of William Shatner's heady, methodical approach to Captain Kirk. Known for his deep, dry tones and parade of droll one-liners, many of which include him slipping on his dark shades during mid-sentence, he has been the subject of many a late-nite parody and satire.

A difficult interviewee who has admitted to keeping his monumental ego in check since his return to TV, David has been married and divorced three times, which includes a brief 1980s union to actress Rachel Ticotin. He has a daughter, Greta, from that union. On the sly, Caruso was a co-owner of now long-defunct Steam, a clothing and furniture store in Miami, Florida. He and his current girlfriend (since 2005), Liza Marquez, have two children -- son Marquez Anthony and and daughter, Paloma Raquel.

Michael Mando

Michael Mando stars on the AMC megahit Better Call Saul. He plays Nacho Varga: a highly intelligent and multi-layered gangster who disagrees with the short sighted methods of the Salamanca Cartel.

He has also portrayed the troubled and sympathetic Vic in another fan favorite, BBCA's Orphan Black, which has earned Mando his second Canadian Screen Awards Nomination for Best Supporting Actor.

Coming up on the big screen in July 2017, Mando will appear as Mac Gargan a.k.a. super villain The Scorpion in Sony's blockbuster franchise, Spider-Man: Homecoming. Additionally, Mando was the face of Ubisoft's award-winning videogame "Far Cry 3." Alongside a full motion capture performance in the character of Vaas Montenegro, Mando's appearance in the live action TV mini-series "The Far Cry Experience" has led his performance to be rated among the top 10 of all time.

Mando was born in Quebec City, Canada. He graduated from drama school in Montreal where he performed contemporary and classical theatre. Michael spent most of his younger years living in different areas of the world including West Africa (Accra, Ghana and Abidjan, Ivory Coast) as well as Paris, France, before coming back to Canada as a Teenager. He now resides in Los Angeles.

Thomas Barbusca

East Coaster Thomas Barbusca followed his older sister Brielle's footsteps in to acting when he was just a toddler. At 6 the industry brought Thomas to Los Angeles, when his sister Brielle, booked a series regular role on the hit USA series The Starter Wife.

In Los Angeles, ginger haired Thomas quickly became a favorite amongst commercial ad agencies; booking award winning campaigns for products like Dominos, Ford, Kraft, JC Penney, & Lunchables; just to name a few. Was not long after that, that Thomas began booking television on shows like Body of Proof (ABC), The New Girl (FOX), Sam & Cat (Nickelodeon), Anger Management (FX), and The Thunderman's (Nickelodeon). Thomas also began recurring on shows like The New Normal (NBC) & Grey's Anatomy (ABC)

In 2015 Thomas began work on the Wet Hot American Summer reboot for Netflix. Thomas' witty remarks as Camper Drew, quickly gained Hollywood's attention; making him one of the breakout stars of the series. Post Wet Hot, Thomas began work, recurring on American Horror Story:Hotel (FX), as well as Preacher (AMC). In between filming both shows, Thomas also found time take flight as Peter Pan in the 2015-16 Geico commercial campaign.

Coming up in 2016 you can catch Thomas in Middle School: The Worst Years of My Life for CBS Films; based on the James Patterson book series, and coming up in 2017, you can catch Thomas weekly in The Mick on Fox.

Andy Buckley

Born in Salem, Massachusetts. Played on the Stanford golf team his freshman year. A journeyman actor in the 90s and stopped acting as a career in 2000. Partner in an Investment Advisory Group at a brokerage house in Los Angeles. Auditioning for The Office was a fluke. Hats off to Allison Jones, the show's casting director, for coming up with the idea. Buckley's grateful and having fun with it.

Along with Melissa McCarthy, Ben Falcone and Dax Shepard, was part of a short lived sketch comedy group 'House of Floyd,' which grew out of their work at The Groundlings. Was Reba McEntire's fella in two of her music videos: 'Rather Ride Around With You' and 'What If It's You.' Played in the U.S. Amateur many years ago. Married to Nancy Banks, an acting teacher/coach. They have two sons.

Kyle Schmid

Born in August 1984 in Ontario, Canada, Kyle Schmid has been acting for a majority of his life. Commercials and early modeling gigs turned into film auditions, and he shortly landed a small appearance in the Canadian film Virus. After a small break, he landed two hits in the made for television movies Alley Cats Strike for which he beat out 400 other competitors for the lead role, and The Sandy Bottom Orchestra. Both raised him to his current fan base. In 2001, he was nominated for a Young Artist Award for "Best performance in a TV Movie-Supporting Young Actor" for his performance as Sam Miller in the latter. Later he was playing bully Jordan Lynch on the popular Canadian series I Was a Sixth Grade Alien. Residing in Ontario, Canada, Kyle spends a majority of his free time playing his favorite sport, soccer. Other hobbies include swimming, horseback riding and mountain biking. He plays on the Erin Mills soccer team which as of right now (2002) is ranked the highest division in Ontario. With more projects coming up, this teen star will most likely follow in the steps of former Canadian star Hayden Christensen and rise to international fame.

More recently, Kyle was seen as both Henry Durham in the Syfy Channel series Being Human, and Robert Morehouse in the BBC America series Copper. Kyle may be best known for his starring role as vampire Henry Fitzroy on the Lifetime Television series, Blood Ties and will soon be seen in the upcoming feature film Saul: The Journey to Damascus. Other notable feature films include: The Sisterhood of the Traveling Pants, Croneberg's A History of Violence, Zerophilia, Adam Shankman's The Pacifier with Vin Diesel, The Covenant, Joy Ride 2: Dead Ahead and Dead Before Dawn 3D and Dark Hearts. Kyle has made guest appearances in such television series as CSI: Miami, Smallville and the lead in the FX/FOX pilot Three Inches as well as the recent NBC pilot Babylon Fields. He also had a recurring role as Evan Frasier in the ABC Family original series Beautiful People and co-starred in the Disney Channel Original Movies Alley Cats Strike and The Cheetah Girls.

Kyle spends a majority of his free time writing screenplays and playing his favorite sport, soccer. Other hobbies include swimming, horseback riding and mountain biking.

Pablo Larraín

Born in Santiago in 1976, Pablo Larraín is, along with Sebastián Lelio, Chile's greatest movie director as well as a major producer (through his Fabula company). Not for the weak-hearted, his films are straightforward, generally aggressive and interspersed with violence. They paint a hard-hitting portrait of his country, Chile, notably in a trilogy covering fifteen years of national history from 1973 (the last days of Salvador Allende's presidency in Post Mortem) to 1978 (the height of General Pinochet reign of terror in Tony Manero) to 1988 (the last days of Pinochet in No). Another characteristic of Laraín's cinema is the unusual angle under which his subjects are dealt with. If the writer-director decides to attack Pinochet he does it through a strange love story or by telling the misdeeds of a petty thief imitating John Travolta or else by portraying an ad executive coming up with a campaign to defeat the dictator. Likewise, Fuga, his first effort, was about a composer going mad while his last one to-date, The Club takes place in a beach house where priests who have "sinned" are sidelined. This firebrand earned the director the Silver Bear at the Berlin International Film Festival. It is also Chile's official selection for the 2016 Best Foreign Movie Award.

Maureen O'Sullivan

Maureen Paula O'Sullivan was born on May 17, 1911 in County Roscommon, Ireland, to Evangeline "Mary Eva" Lovatt (Frazer) and Charles Joseph O'Sullivan, an officer in the Connaught Rangers. She was of Irish, English, and Scottish descent. The future mother of Mia Farrow was educated in private Catholic girls schools in London, Dublin, and Paris. Maureen was a classmate of Vivien Leigh, another actress destined for screen immortality. Even as a schoolgirl, Maureen desired an acting career; she studied hard and read widely. When the opportunity to be an actress came along, it almost dropped in her lap. The director Frank Borzage was in Dublin filming Song o' My Heart when Maureen, then 18, met him. Borzage suggested a screen test, which she took. The results were more than favorable, as she won the part of Eileen O'Brien. The part was a substantial one, so much so that Maureen went on to Hollywood to complete the filming.

Once in sunny California, Maureen wasted no time landing roles in other films such as Just Imagine, The Princess and the Plumber, and So This Is London. She was perhaps MGM's most popular ingenue throughout the 1930s in a number of non-Tarzan vehicles. Maureen was on a roll that her contemporaries could only have wished for when they were coming up through the ranks. In 1932, Maureen was teamed up with Olympic medal winner Johnny Weissmuller for the first time in Tarzan the Ape Man. Five other Tarzan films followed, the last being Tarzan's New York Adventure. The Tarzan epics rank as one of the most memorable series ever made. Most people agree that those movies would not have been successful had it not been for the fine acting talents, not to mention beauty, of Maureen O'Sullivan. But she was more than Jane Parker in the Tarzan films; she had great roles and played beautifully in films such as The Flame Within, David Copperfield, and Anna Karenina. She turned in yet another fine performance in Pride and Prejudice. After the 1940s, Maureen made far fewer films, not because she lost popularity but by choice.

It isn't always easy to walk away from a lucrative career, but she did because she wanted to devote more time to her husband, John Farrow, an Australian writer, and their seven children: Michael, Patrick, Maria (Mia Farrow), John, Prudence, Theresa (Tisa Farrow), and Stephanie Farrow. The couple were married from 1936 until his death in 1963. After her last Tarzan she asked for release from her contract to care for her husband, who had just left the Navy with typhoid.

She did not, however, retire completely; Maureen still found time to make occasional movies, television and stage appearances, and operate a bridal consulting service (Wediquette International).. Later movie patrons remember her as Elizabeth Alvorg in the hit film Peggy Sue Got Married. Her final silver screen appearance was in The River Pirates. Some TV movies followed, but only until 1996. She maintained homes in New Hampshire and Arizona, and it was in Scottsdale that Maureen died on June 23, 1998, of a heart attack. She was 87 years old.

Nash Grier

Nash Grier (Hamilton Nash Grier) is a social media star on many different platforms. Nash was born on December 28th 1997 in North Carolina to parents Chad and Elizabeth with the name Hamilton Nash Grier but he chooses to be called by Nash instead. In 2013 Nash started posting vines which included his brothers, Hayes Grier (Benjamin Hayes), Will Grier and his little half-sister Skylnn Floyd. A well-known celebrity re-vined a vine that Nash and his brother Hayes filmed which contributed to Nash and Hayes becoming more noticed and well known. Nash later joined a group called Magcon, which stands for Meet And Greet Convention along with other Internet sensations Cameron Dallas, Aaron Carpenter, Carter Reynolds, Hayes Grier, Taylor Caniff, Mahogany Lox, Matthew Espinosa, Shawn Mendes, Jack Johnson, Jack Gilinsky, Jacob Whitesides and then later in the tour Sammy Wilk, Brent Rivera, JC Caylen and Sam Pottorff were added but eventually all the boys left for business issues and to pursue their careers. In early 2014 Nash got nominated for Best WebStar in the Teen Choice Awards. Nash was later signed to Awesomeness TV along with his fellow Viner and best friend Cameron Dallas. He also released an App called Cash Dash with Viner best friend Cameron Dallas, his brother Hayes Grier, fellow Internet stars Carter Reynolds and Bart Baker,and their photographer Bryant Eslava. Nash has gained over 4.4 Million followers on Twitter and 7.4 Million on instagram adding to a total of 11.8 million followers. But Nash is the most followed person on vine with a massive 11.4 million followers. so in total Nash has 23.2 million followers across the entire world. He has become known as the King Of Vine since his social media career began in 2013. Nash has also been named one of the most influential people in the world. At the end of October 2014 Nash Grier, Carter Reynolds, Cameron Dallas and Hayes Grier released a clothing line called United XXVI with Aeropostale and Bryant. Nash has many big things coming up in his career, which include him starring as Jack Sanders in the new movie (coming 2016) 'The Outfield' with best friend, vine star and room-mate, Cameron Dallas and a world tour, as well as revealing new items to the clothing line and uploading regular videos to his youtube channel (4M Subscribers) and vines too. Nash and Hayes Grier, Cameron Dallas, Carter Reynolds and Aaron Carpenter who all stared in the former Magcon Tour, along with many other social stars such as singers Daniel Skye, Alec Bailey, Jonah Marais and Alyssa Shouse, YouTube star and Cameron's sister, Sierra Dallas, Photographer, Bryant Eslava and other social superstars Bart Baker and Tez Mengestu are now signed too 26MGMT.

Frank Capra

One of seven children, Frank Capra was born on May 18, 1897, in Bisacquino, Sicily. On May 10, 1903, his family left for America aboard the ship Germania, arriving in New York on May 23rd. "There's no ventilation, and it stinks like hell. They're all miserable. It's the most degrading place you could ever be," Capra said about his Atlantic passage. "Oh, it was awful, awful. It seems to always be storming, raining like hell and very windy, with these big long rolling Atlantic waves. Everybody was sick, vomiting. God, they were sick. And the poor kids were always crying."

The family boarded a train for the trip to California, where Frank's older brother Benjamin was living. On their journey, they subsisted on bread and bananas, as their lack of English made it impossible for them to ask for any other kind of foodstuffs. On June 3, the Capra family arrived at the Southern Pacific station in Los Angeles, at the time, a small city of approximately 102,000 people. The family stayed with Capra's older brother Benjamin, and on September 14, 1903, Frank began his schooling at the Castelar Elementary school.

In 1909, he entered Los Angeles' Manual Arts High School. Capra made money selling newspapers in downtown L.A. after school and on Saturdays, sometimes working with his brother Tony. When sales were slow, Tony punched Frank to attract attention, which would attract a crowd and make Frank's papers sell quicker. Frank later became part of a two-man music combo, playing at various places in the red light district of L.A., including brothels, getting paid a dollar per night, performing the popular songs. He also worked as a janitor at the high school in the early mornings. It was at high school that he became interested in the theater, typically doing back-stage work such as lighting.

Capra's family pressured him to drop out of school and go to work, but he refused, as he wanted to partake fully of the American Dream, and for that he needed an education. Capra later reminisced that his family "thought I was a bum. My mother would slap me around; she wanted me to quit school. My teachers would urge me to keep going....I was going to school because I had a fight on my hands that I wanted to win."

Capra graduated from high school on January 27, 1915, and in September of that year, he entered the Throop College of Technology (later the California Institute of Technology) to study chemical engineering. The school's annual tuition was $250, and Capra received occasional financial support from his family, who were resigned to the fact they had a scholar in their midst. Throop had a fine arts department, and Capra discovered poetry and the essays of Montaigne, which he fell in love with, while matriculating at the technical school. He then decided to write.

"It was a great discovery for me. I discovered language. I discovered poetry. I discovered poetry at Caltech, can you imagine that? That was a big turning point in my life. I didn't know anything could be so beautiful." Capra penned "The Butler's Failure," about an English butler provoked by poverty to murder his employer, then to suicide."

Capra was singled out for a cash award of $250 for having the highest grades in the school. Part of his prize was a six-week trip across the U.S. and Canada. When Capra's father, Turiddu, died in 1916, Capra started working at the campus laundry to make money.

After the U.S. Congress declared War on Germany on April 6, 1917, Capra enlisted in the Army, and while he was not a naturalized citizen yet, he was allowed to join the military as part of the Coastal Artillery. Capra became a supply officer for the student soldiers at Throop, who have been enrolled in a Reserve Officers Training Corps program. At his enlistment, Capra discovered he was not an American citizen; he became naturalized in 1920.

On September 15, 1918, Capra graduated from Throop with his bachelor's degree, and was inducted into the U.S. Army on October 18th and shipped out to the Presidio at San Francisco. An armistice ending the fighting of World War One would be declared in less than a month. While at the Presidio, Capra became ill with the Spanish influenza that claimed 20 million lives worldwide. He was discharged from the Army on December 13th and moved to his brother Ben's home in L.A. While recuperating, Capra answered a cattle call for extras for John Ford's film "The The Outcasts of Poker Flat (Capra, cast as a laborer in the Ford picture, introduced himself to the film's star, Harry Carey. Two decades later, Capra, designated the #1 director in Hollywood by "Time" magazine, would cast Carey and his movie actress wife Olive in Mr. Smith Goes to Washington for which Carey won a Best Supporting Actor Oscar nomination).

While living at his mother's house, Capra took on a wide variety of manual laboring jobs, including errand boy and ditch digger, even working as an orange tree pruner at 20 cents a day. He continued to be employed as an extra at movie studios and as a prop buyer at an independent studio at Sunset Boulevard and Gower Street, which later became the home of Columbia Pictures, where Capra would make his reputation as the most successful movie director of the 1930s. Most of his time was spent unemployed and idle, which gave credence to his family's earlier opposition to him seeking higher education. Capra wrote short stories but was unable to get them published. He eventually got work as a live-in tutor for the son of "Lucky" Baldwin, a rich gambler. (He later used the Baldwin estate as a location for Dirigible).

Smitten by the movie bug, in August of that year, Capra, former actor W. M. Plank, and financial backer Ida May Heitmann incorporated the Tri-State Motion Picture Co. in Nevada. Tri-State produced three short films in Nevada in 1920, Don't Change Your Husband, The Pulse of Life, and The Scar of Love (1920), all directed by Plank, and possibly based on story treatments written by Capra. The films were failures, and Capra returned to Los Angeles when Tri-State broke up. In March 1920, Capra was employed by CBC Film Sales Co., the corporate precursor of Columbia Films, where he also worked as an editor and director on a series called "Screen Snapshots." He quit CBC in August and moved to San Francisco, but the only jobs he could find were that of bookseller and door-to-door salesman. Once again seeming to fulfill his family's prophecy, he turned to gambling, and also learned to ride the rails with a hobo named Frank Dwyer. There was also a rumor that he became a traveling salesman specializing in worthless securities, according to a "Time" magazine story "Columbia's Gem" (August 8, 1938 issue, V.32, No. 6).

Still based in San Francisco in 1921, producer Walter Montague hired Capra for $75 per week to help direct the short movie The Ballad of Fisher's Boarding House, which was based on a poem by Rudyard Kipling. Montague, a former actor, had the dubious idea that foggy San Francisco was destined to become the capital of movies, and that he could make a fortune making movies based on poems. Capra helped Montague produced the one-reeler, which was budgeted at $1,700 and subsequently sold to the Pathe Exchange for $3,500. Capra quit Montague when he demanded that the next movie be based upon one of his own poems.

Unable to find another professional filmmaking job, Capra hired himself out as a maker of shorts for the public-at-large while working as an assistant at Walter Ball's film lab. Finally, in October 1921, the Paul Gerson Picture Corp. hired him to help make its two-reel comedies, around the time that he began dating the actress Helen Edith Howe, who would become his first wife. Capra continued to work for both Ball and Gerson, primarily as a cutter. On November 25, 1923, Capra married Helen Howell, and the couple soon moved to Hollywood.

Hal Roach hired Capra as a gag-writer for the "Our Gang" series in January, 1924. After writing the gags for five "Our Gang" comedies in seven weeks, he asked Roach to make him a director. When Roach refused (he somewhat rightly felt he had found the right man in director Bob McGowan), Capra quit. Roach's arch rival Mack Sennett subsequently hired him as a writer, one of a six-man team that wrote for silent movie comedian Harry Langdon, the last major star of the rapidly disintegrating Mack Sennett Studios, and reigning briefly as fourth major silent comedian after Charles Chaplin, Buster Keaton, and Harold Lloyd. Capra began working with the Harry Langdon production unit as a gag writer, first credited on the short Plain Clothes.

As Harry Langdon became more popular, his production unit at Sennett had moved from two- to three-reelers before Langdon, determined to follow the example of Chaplin, Keaton, and Lloyd, went into features. After making his first feature-length comedy, His First Flame for Sennett, Langdon signed a three-year contract with Sol Lesser's First National Pictures to annually produce two feature-length comedies at a fixed fee per film. For a multitude of reasons Mack Sennett was never able to retain top talent. On September 15, 1925, Harry Langdon left Sennett in an egotistical rage, taking many of his key production personnel with him. Sennett promoted Capra to director but fired him after three days in his new position. In addition to the Langdon comedies, Capra had also written material for other Sennett films, eventually working on twenty-five movies.

After being sacked by Sennett, Capra was hired as a gag-writer by Harry Langdon, working on Langdon's first First National feature-length film, Tramp, Tramp, Tramp. The movie was directed by Harry Edwards who had directed all of Harry Langdon's films at Sennett. His first comedy for First National, Tramp, Tramp, Tramp did well at the box office, but it had ran over budget, which came out of Langdon's end. Harry Edwards was sacked, and for his next picture, The Strong Man, Langdon promoted Capra to director, boosting his salary to $750 per week. The movie was a hit, but trouble was brewing among members of the Harry Langdon company. Langdon was increasingly believing his own press.

His marriage with Helen began to unravel when it is discovered that she had a life-threatening ectopic pregnancy that had to be terminated. In order to cope with the tragedy, Capra became a work-a-holic while Helen turned to drink. The deterioration of his marriage was mirrored by the disintegration of his professional relationship with Harry Langdonduring the making of the new feature, Long Pants.

The movie, which was released in March 1927, proved to be Capra's last with Harry Langdon, as the comedian soon sacked Capra after its release. Capra later explained the principle of Langdon comedies to James Agee, "It is the principal of the brick: If there was a rule for writing Langdon material, it was this: his only ally was God. Harry Langdon might be saved by a brick falling on a cop, but it was verboten that he in any way motivated the bricks fall."

During the production of Long Pants, Capra had a falling out with Langdon. Screenwriter Arthur Ripley's dark sensibility did not mesh well with that of the more optimistic Capra, and Harry Langdon usually sided with Ripley. The picture fell behind schedule and went over budget, and since Langdon was paid a fixed fee for each film, this represented a financial loss to his own Harry Langdon Corp. Stung by the financial set-back, and desiring to further emulate the great Chaplin, Harry Langdon made a fateful decision: He fired Capra and decided to direct himself. (Langdon's next three movies for First National were dismal failures, the two surviving films being very dark and grim black comedies, one of which, The Chaser, touched on the subject of suicide. It was the late years of the Jazz Age, a time of unprecedented prosperity and boundless bonhomie, and the critics, and more critically, the ticket-buying public, rejected Harry. In 1928, First National did not pick up his contract. The Harry Langdon Corp. soon went bankrupt, and his career as the "fourth major silent comedian" was through, just as sound was coming in.)

In April of 1927, Capra and his wife Helen split up, and Capra went off to New York to direct For the Love of Mike for First National, his first picture with Claudette Colbert. The director and his star did not get along, and the film went over budget. Subsequently, First National refused to pay Capra, and he had to hitchhike back to Hollywood. The film proved to be Capra's only genuine flop.

By September 1927, he was back working as a writer for Mack Sennett, but in October, he was hired as a director by Columbia Pictures President and Production Chief Harry Cohn for $1,000. The event was momentous for both of them, for at Columbia Capra would soon become the #1 director in Hollywood in the 1930s, and the success of Capra's films would propel the Poverty Row studio into the major leagues. But at first, Cohn was displeased with him. When viewing the first three days of rushes of his first Columbia film, That Certain Thing, Cohn wanted to fire him as everything on the first day had been shot in long shot, on the second day in medium shot, and on the third day in close-ups.

"I did it that way for time," Capra later recalled. "It was so easy to be better than the other directors, because they were all dopes. They would shoot a long shot, then they would have to change the setup to shoot a medium shot, then they would take their close-ups. Then they would come back and start over again. You lose time, you see, moving the cameras and the big goddamn lights. I said, 'I'll get all the long shots on that first set first, then all the medium shots, and then the close-ups.' I wouldn't shoot the whole scene each way unless it was necessary. If I knew that part of it was going to play in long shot, I wouldn't shoot that part in close-up. But the trick was not to move nine times, just to move three times. This saved a day, maybe two days."

Cohn decided to stick with Capra (he was ultimately delighted at the picture and gave Capra a $1,500 bonus and upped his per-picture salary), and in 1928, Cohn raised his salary again, now to to $3,000 per picture after he made several successful pictures, including Submarine. The Younger Generation, the first of a series of films with higher budgets to be directed by Capra, would prove to be his first sound film, when scenes were reshot for dialogue. In the summer of that year, he was introduced to a young widow, Lucille Warner Reyburn (who became Capra's second wife Lou Capra). He also met a transplanted stage actress, Barbara Stanwyck, who had been recruited for the talkie but had been in three successive unsuccessful films and wanted to return to the New York stage. Harry Cohn wanted Stanwyck to appear in Capra's planned film, Ladies of Leisure, but the interview with Capra did not go well, and Capra refused to use her.

Stanwyck went home crying after being dismissed by Capra, and her husband, a furious Frank Fay, called Capra up. In his defense, Capra said that Stanwyck didn't seem to want the part. According to Capra's 1961 autobiography, "The Name Above the Title," Fay said, "Frank, she's young, and shy, and she's been kicked around out here. Let me show you a test she made at Warner's." After viewing her Warners' test for The Noose, Capra became enthusiastic and urged Cohn to sign her. In January of 1930, Capra began shooting Ladies of Leisure with Stanwyck in the lead. The movies the two made together in the early '30s established them both on their separate journeys towards becoming movieland legends. Though Capra would admit to falling in love with his leading lady, it was Lucille Warner Reyburn who became the second Mrs. Capra.

"You're wondering why I was at that party. That's my racket. I'm a party girl. Do you know what that is?"

Stanwyck played a working-class "party girl" hired as a model by the painter Jerry, who hails from a wealthy family. Capra had written the first draft of the movie before screenwriter Jo Swerling took over. Swerling thought the treatment was dreadful. According to Capra, Swerling told Harry Cohn, when he initially had approached about adapting the play "Ladies of the Evening" into Capra's next proposed film, "I don't like Hollywood, I don't like you, and I certainly don't like this putrid piece of gorgonzola somebody gave me to read. It stunk when Belasco produced it as Ladies of Leisure, and it will stink as Ladies of Leisure, even if your little tin Jesus does direct it. The script is inane, vacuous, pompous, unreal, unbelievable - - and incredibly dull."

Capra, who favored extensive rehearsals before shooting a scene, developed his mature directorial style while collaborating with Stanwyck, a trained stage actress whose performance steadily deteriorated after rehearsals or retakes. Stanwyck's first take in a scene usually was her best. Capra started blocking out scenes in advance, and carefully preparing his other actors so that they could react to Stanwyck in the first shot, whose acting often was unpredictable, so they wouldn't foul up the continuity. In response to this semi-improvisatory style, Capra's crew had to boost its level of craftsmanship to beyond normal Hollywood standards, which were forged in more static and prosaic work conditions. Thus, the professionalism of Capra's crews became better than those of other directors. Capra's philosophy for his crew was, "You guys are working for the actors, they're not working for you."

After "Ladies of Leisure," Capra was assigned to direct Platinum Blonde starring Jean Harlow. The script had been the product of a series of writers, including Jo Swerling (who was given credit for adaptation), but was polished by Capra and Robert Riskin (who was given screen credit for the dialogue). Along with Jo Swerling, Riskin would rank as one of Capra's most important collaborators, ultimately having a hand in 13 movies. (Riskin wrote nine screenplays for Capra, and Capra based four other films on Riskin's work.)

Riskin created a hard-boiled newspaperman, Stew Smith for the film, a character his widow, the actress Fay Wray, said came closest to Riskin of any character he wrote. A comic character, the wise-cracking reporter who wants to lampoon high society but finds himself hostage to the pretensions of the rich he had previously mocked is the debut of the prototypical "Capra" hero. The dilemma faced by Stew, akin to the immigrant's desire to assimilate but being rejected by established society, was repeated in Mr. Deeds Goes to Town and in Meet John Doe.

Capra, Stanwyck, Riskin and Jo Swerling all were together to create Capra's next picture, The Miracle Woman, a story about a shady evangelist. With John Meehan, Riskin wrote the play that the movie is based on, "Bless You, Sister," and there is a possibly apocryphal story that has Riskin at a story conference at which Capra relates the treatment for the proposed film. Capra, finished, asked Riskin for his input, and Riskin replied, "I wrote that play. My brother and I were stupid enough to produce it on Broadway. It cost us almost every cent we had. If you intend to make a picture of it, it only proves one thing: You're even more stupid than we were."

Jo Swerling adapted Riskin's play, which he and his brother Everett patterned after Sinclair Lewis' "Elmer Gantry." Like the Lewis novel, the play focuses on the relationship between a lady evangelist and a con man. The difference, though, is that the nature of the relationship is just implied in Riskin's play (and the Capra film). There is also the addition of the blind war-vet as the moral conscience of the story; he is the pivotal character, whereas in Lewis' tale, the con artist comes to have complete control over the evangelist after eventually seducing her. Like some other Capra films, The Miracle Woman is about the love between a romantic, idealizing man and a cynical, bitter woman. Riskin had based his character on lady evangelist Uldine Utley, while Stanwyck based her characterization on Aimee Semple McPherson.

Recognizing that he had something in his star director, Harry Cohn took full advantage of the lowly position his studio had in Hollywood. Both Warner Brothers and mighty MGM habitually lent Cohn their troublesome stars -- anyone rejecting scripts or demanding a pay raise was fodder for a loan out to Cohn's Poverty Row studio. Cohn himself was habitually loathe to sign long-term stars in the early 1930s (although he made rare exceptions to Peter Lorre and The Three Stooges) and was delighted to land the talents of any top flight star and invariably assigned them to Capra's pictures. Most began their tenure in purgatory with trepidation but left eagerly wanting to work with Capra again.

In 1932, Capra decided to make a motion picture that reflected the social conditions of the day. He and Riskin wrote the screenplay for American Madness, a melodrama that is an important precursor to later Capra films, not only with It's a Wonderful Life which shares the plot device of a bank run, but also in the depiction of the irrationality of a crowd mentality and the ability of the individual to make a difference. In the movie, an idealistic banker is excoriated by his conservative board of directors for making loans to small businesses on the basis of character rather than on sounder financial criteria. Since the Great Depression is on, and many people lack collateral, it would be impossible to productively lend money on any other criteria than character, the banker argues. When there is a run on the bank due to a scandal, it appears that the board of directors are rights the bank depositors make a run on the bank to take out their money before the bank fails. The fear of a bank failure ensures that the failure will become a reality as a crowd mentality takes over among the clientèle. The board of directors refuse to pledge their capital to stave off the collapse of the bank, but the banker makes a plea to the crowd, and just like George Bailey's depositors in It's a Wonderful Life, the bank is saved as the fears of the crowd are ameliorated and businessmen grateful to the banker pledge their capital to save the bank. The board of directors, impressed by the banker's character and his belief in the character of his individual clients (as opposed to the irrationality of the crowd), pledge their capital and the bank run is staved off and the bank is saved.

In his biography, "The Name Above the Picture," Capra wrote that before American Madness, he had only made "escapist" pictures with no basis in reality. He recounts how Poverty Row studios, lacking stars and production values, had to resort to "gimmick" movies to pull the crowds in, making films on au courant controversial subjects that were equivalent to "yellow journalism."

What was more important than the subject and its handling was the maturation of Capra's directorial style with the film. Capra had become convinced that the mass-experience of watching a motion picture with an audience had the psychological effect in individual audience members of slowing down the pace of a film. A film that during shooting and then when viewed on a movieola editing device and on a small screen in a screening room among a few professionals that had seemed normally paced became sluggish when projected on the big screen. While this could have been the result of the projection process blowing up the actors to such large proportions, Capra ultimately believed it was the effect of mass psychology affecting crowds since he also noticed this "slowing down" phenomenon at ball games and at political conventions. Since American Madness dealt with crowds, he feared that the effect would be magnified.

He decided to boost the pace of the film, during the shooting. He did away with characters' entrances and exits that were a common part of cinematic "grammar" in the early 1930s, a survival of the "photoplays" days. Instead, he "jumped" characters in and out of scenes, and jettisoned the dissolves that were also part of cinematic grammar that typically ended scenes and indicated changes in time or locale so as not to make cutting between scenes seem choppy to the audience. Dialogue was deliberately overlapped, a radical innovation in the early talkies, when actors were instructed to let the other actor finish his or her lines completely before taking up their cue and beginning their own lines, in order to facilitate the editing of the sound-track. What he felt was his greatest innovation was to boost the pacing of the acting in the film by a third by making a scene that would normally play in one minute take only 40 seconds.

When all these innovations were combined in his final cut, it made the movie seem normally paced on the big screen, though while shooting individual scenes, the pacing had seemed exaggerated. It also gave the film a sense of urgency that befitted the subject of a financial panic and a run on a bank. More importantly, it "kept audience attention riveted to the screen," as he said in his autobiography. Except for "mood pieces," Capra subsequently used these techniques in all his films, and he was amused by critics who commented on the "naturalness" of his direction.

Capra was close to completely establishing his themes and style. Justly accused of indulging in sentiment which some critics labeled "Capra-corn," Capra's next film, Lady for a Day was an adaptation of Damon Runyon's 1929 short story "Madame La Gimp" about a nearly destitute apple peddler whom the superstitious gambler Dave the Dude (portrayed by Warner Brothers star Warren William) sets up in high style so she and her daughter, who is visiting with her finance, will not be embarrassed. Dave the Dude believes his luck at gambling comes from his ritualistically buying an apple a day from Annie, who is distraught and considering suicide to avoid the shame of her daughter seeing her reduced to living on the street. The Dude and his criminal confederates put Annie up in a luxury apartment with a faux husband in order to establish Annie in the eyes of her daughter as a dignified and respectable woman, but in typical Runyon fashion, Annie becomes more than a fake as the masquerade continues.

Robert Riskin wrote the first four drafts of Lady for a Day, and of all the scripts he worked on for Capra, the film deviates less from the script than any other. After seeing the movie, Runyon sent a telegraph to Riskin praising him for his success at elaborating on the story and fleshing out the characters while maintain his basic story. Lady for a Day was the favorite Capra film of John Ford, the great filmmaker who once directed the unknown extra. The movie cost $300,000 and was the first of Capra's oeuvre to attract the attention of the Academy of Motion Picture Arts & Sciences, getting a Best Director nomination for Capra, plus nods for Riskin and Best Actress. The movie received Columbia's first Best Picture nomination, the studio never having attracted any attention from the Academy before Lady for a Day. (Capra's last film was the flop remake of Lady for a Day with Bette Davis and Glenn Ford, Pocketful of Miracles)

Capra reunited with Stanwyck and produced his first universally acknowledged classic, The Bitter Tea of General Yen, a film that now seems to belong more to the oeuvre of Josef von Sternberg than it does to Frank Capra. With "General Yen," Capra had consciously set out to make a movie that would win Academy Awards. Frustrated that the innovative, timely, and critically well-received American Madness had not received any recognition at the Oscars (particularly in the director's category in recognition of his innovations in pacing), he vented his displeasure to Columbia boss Cohn.

"Forget it," Cohn told Capra, as recounted in his autobiography. "You ain't got a Chinaman's chance. They only vote for that arty junk."

Capra set out to boost his chances by making an arty film featuring a "Chinaman" that confronted that major taboo of American cinema of the first half of the century, miscegenation.

In the movie, the American missionary Megan Davis is in China to marry another missionary. Abducted by the Chinese Warlord General Yen, she is torn away from the American compound that kept her isolated from the Chinese and finds herself in a strange, dangerous culture. The two fall in love despite their different races and life-views. The film ran up against the taboo against miscegenation embedded in the Motion Picture Producers and Distributors Association's Production Code, and while Megan merely kisses General Yen's hand in the picture, the fact that she was undeniably in love with a man from a different race attracted the vituperation of many bigots.

Having fallen for Megan, General Yen engenders her escape back to the Americans before willingly drinking a poisoned cup of tea, his involvement with her having cost him his army, his wealth, and now his desire to live. The Bitter Tea of General Yen marks the introduction of suicide as a Capra theme that will come back repeatedly, most especially in George Bailey's breakdown on the snowy bridge in It's a Wonderful Life.

Despair often shows itself in Capra films, and although in his post-"General Yen" work, the final reel wraps things up in a happy way, until that final reel, there is tragedy, cynicism, heartless exploitation, and other grim subject matter that Capra's audiences must have known were the truth of the world, but that were too grim to face when walking out of a movie theater. When pre-Code movies were rediscovered and showcased across the United States in the 1990s, they were often accompanied by thesis about how contemporary audiences "read" the films (and post-1934 more Puritanical works), as the movies were not so frank or racy as supposed. There was a great deal of signaling going on which the audience could read into, and the same must have been true for Capra's films, giving lie to the fact that he was a sentimentalist with a saccharine view of America. There are few films as bitter as those of Frank Capra before the final reel.

Despair was what befell Frank Capra, personally, on the night of March 16, 1934, which he attended as one of the Best Director nominees for Lady for a Day. Capra had caught Oscar fever, and in his own words, "In the interim between the nominations and the final voting...my mind was on those Oscars." When Oscar host Will Rogers opened the envelope for Best Director, he commented, "Well, well, well. What do you know. I've watched this young man for a long time. Saw him come up from the bottom, and I mean the bottom. It couldn't have happened to a nicer guy. Come on up and get it, Frank!"

Capra got up to go get it, squeezing past tables and making his way to the open dance floor to accept his Oscar. "The spotlight searched around trying to find me. 'Over here!' I waved. Then it suddenly swept away from me -- and picked up a flustered man standing on the other side of the dance floor - Frank Lloyd!"

Frank Lloyd went up to the dais to accept HIS Oscar while a voice in back of Capra yelled, "Down in front!"

Capra's walk back to his table amidst shouts of "Sit down!" turned into the "Longest, saddest, most shattering walk in my life. I wished I could have crawled under the rug like a miserable worm. When I slumped in my chair I felt like one. All of my friends at the table were crying."

That night, after Lloyd's Cavalcade, beat Lady for a Day for Best Picture, Capra got drunk at his house and passed out. "Big 'stupido,'" Capra thought to himself, "running up to get an Oscar dying with excitement, only to crawl back dying with shame. Those crummy Academy voters; to hell with their lousy awards. If ever they did vote me one, I would never, never, NEVER show up to accept it."

Capra would win his first of three Best Director Oscars the next year, and would show up to accept it. More importantly, he would become the president of the Academy in 1935 and take it out of the labor relations field a time when labor strife and the formation of the talent guilds threatened to destroy it.

The International Academy of Motion Picture Arts & Sciences had been the brainchild of Louis B. Mayer in 1927 (it dropped the "International" soon after its formation). In order to forestall unionization by the creative talent (directors, actors and screenwriters) who were not covered by the Basic Agreement signed in 1926, Mayer had the idea of forming a company union, which is how the Academy came into being. The nascent Screen Writers Union, which had been created in 1920 in Hollywood, had never succeeded in getting a contract from the studios. It went out of existence in 1927, when labor relations between writers and studios were handled by the Academy's writers' branch.

The Academy had brokered studio-mandated pay-cuts of 10% in 1927 and 1931, and massive layoffs in 1930 and 1931. With the inauguration of President Franklin D. Roosevelt on March 4, 1933, Roosevelt took no time in attempting to tackle the Great Depression. The day after his inauguration, he declared a National Bank Holiday, which hurt the movie industry as it was heavily dependent on bank loans. Louis B. Mayer, as president of the Association of Motion Picture Producers, Inc. (the co-equal arm of the Motion Picture Producers and Distributors Association charged with handling labor relations) huddled with a group from the Academy (the organization he created and had long been criticized for dominating, in both labor relations and during the awards season) and announced a 50% across-the-board pay cut. In response, stagehands called a strike for March 13th, which shut down every studio in Hollywood.

After another caucus between Mayer and the Academy committee, a proposal for a pay-cut on a sliding-scale up to 50% for everyone making over $50 a week; which would only last for eight weeks, was inaugurated. Screen writers resigned en masse from the Academy and joined a reformed Screen Writers Guild, but most employees had little choice and went along with it. All the studios but Warner Bros. and Sam Goldwyn honored the pledge to restore full salaries after the eight weeks, and Warners production chief Darryl F. Zanuck resigned in protest over his studio's failure to honor its pledge. A time of bad feelings persisted, and much anger was directed towards the Academy in its role as company union.

The Academy, trying to position itself as an independent arbiter, hired the accounting firm of Price Waterhouse for the first time to inspect the books of the studios. The audit revealed that all the studios were solvent, but Harry Warner refused to budge and Academy President 'Conrad Nagel' resigned, although some said he was forced out after a vote of no-confidence after arguing Warner's case. The Academy announced that the studio bosses would never again try to impose a horizontal salary cut, but the usefulness of the Academy as a company union was over.

Under Roosevelt's New Deal, the self-regulation imposed by the National Industrial Relations Act (signed into law on June 16th) to bring business sectors back to economic health was predicated upon cartelization, in which the industry itself wrote its own regulatory code. With Hollywood, it meant the re-imposition of paternalistic labor relations that the Academy had been created to wallpaper over. The last nail in the company union's coffin was when it became public knowledge that the Academy appointed a committee to investigate the continued feasibility of the industry practice of giving actors and writers long-term contracts. High salaries to directors, actors, and screen writers was compensation to the creative people for producers refusing to ceded control over creative decision-making. Long-term contracts were the only stability in the Hollywood economic set-up up creative people,. Up to 20%-25% of net earnings of the movie industry went to bonuses to studio owners, production chiefs, and senior executives at the end of each year, and this created a good deal of resentment that fueled the militancy of the SWG and led to the formation of the Screen Actors Guild in July 1933 when they, too, felt that the Academy had sold them out.

The industry code instituted a cap on the salaries of actors, directors, and writers, but not of movie executives; mandated the licensing of agents by producers; and created a reserve clause similar to baseball where studios had renewal options with talent with expired contracts, who could only move to a new studio if the studio they had last been signed to did not pick up their option.

The SWG sent a telegram to FDR in October 1933 denouncing this policy, arguing that the executives had taken millions of dollars of bonuses while running their companies into receivership and bankruptcy. The SWG denounced the continued membership of executives who had led their studios into financial failure remaining on the corporate boards and in the management of the reorganized companies, and furthermore protested their use of the NIRA to write their corrupt and failed business practices into law at the expense of the workers.

There was a mass resignation of actors from the Academy in October 1933, with the actors switching their allegiance to SAG. SAG joined with the SWG to publish "The Screen Guilds Magazine," a periodical whose editorial content attacked the Academy as a company union in the producers' pocket. SAG President Eddie Cantor, a friend of Roosevelt who had bee invited to spend the Thanksgiving Day holiday with the president, informed him of the guild's grievances over the NIRA code. Roosevelt struck down many of the movie industry code's anti-labor provisions by executive order.

The labor battles between the guilds and the studios would continue until the late 1930s, and by the time Frank Capra was elected president of the Academy in 1935, the post was an unenviable one. The Screen Directors Guild was formed at King Vidor's house on January 15, 1936, and one of its first acts was to send a letter to its members urging them to boycott the Academy Awards ceremony, which was three days away. None of the guilds had been recognized as bargaining agents by the studios, and it was argued to grace the Academy Awards would give the Academy, a company union, recognition. Academy membership had declined to 40 from a high of 600, and Capra believed that the guilds wanted to punish the studios financially by depriving them of the good publicity the Oscars generated.

But the studios couldn't care less. Seeing that the Academy was worthless to help them in its attempts to enforce wage cuts, it too abandoned the Academy, which it had financed. Capra and the Board members had to pay for the Oscar statuettes for the 1936 ceremony. In order to counter the boycott threat, Capra needed a good publicity gimmick himself, and the Academy came up with one, voting D.W. Griffith an honorary Oscar, the first bestowed since one had been given to Charles Chaplin at the first Academy Awards ceremony.

The Guilds believed the boycott had worked as only 20 SAG members and 13 SWG members had showed up at the Oscars, but Capra remembered the night as a victory as all the winners had shown up. However, 'Variety' wrote that "there was not the galaxy of stars and celebs in the director and writer groups which distinguished awards banquets in recent years." "Variety" reported that to boost attendance, tickets had been given to secretaries and the like. Bette Davis and Victor McLaglen had showed up to accept their Oscars, but McLaglen's director and screenwriter, John Ford and Dudley Nichols, both winners like McLaglen for The Informer, were not there, and Nichols became the first person to refuse an Academy Award when he sent back his statuette to the Academy with a note saying he would not turn his back on his fellow writers in the SWG. Capra sent it back to him. Ford, the treasurer of the SDG, had not showed up to accept his Oscar, he explained, because he wasn't a member of the Academy. When Capra staged a ceremony where Ford accepted his award, the SDG voted him out of office.

To save the Academy and the Oscars, Capra convinced the board to get it out of the labor relations field. He also democratized the nomination process to eliminate studio politics, opened the cinematography and interior decoration awards to films made outside the U.S., and created two new acting awards for supporting performances to win over SAG.

By the 1937 awards ceremony, SAG signaled its pleasure that the Academy had mostly stayed out of labor relations by announcing it had no objection to its members attending the awards ceremony. The ceremony was a success, despite the fact that the Academy had to charge admission due to its poor finances. Frank Capra had saved the Academy of Motion Picture Arts and Sciences, and he even won his second Oscar that night, for directing Mr. Deeds Goes to Town. At the end of the evening, Capra announced the creation of the Irving Thalberg Memorial Award to honor "the most consistent high level of production achievement by an individual producer." It was an award he himself was not destined to win.

By the 1938 awards, the Academy and all three guilds had buried the hatchet, and the guild presidents all attended the ceremony: SWG President Dudley Nichols, who finally had accepted his Oscar, SAG President Robert Montgomery, and SDG President King Vidor. Capra also had introduced the secret ballot, the results of which were unknown to everyone but the press, who were informed just before the dinner so they could make their deadlines. The first Irving Thalberg Award was given to long-time Academy supporter and anti-Guild stalwart Darryl F. Zanuck by Cecil B. DeMille, who in his preparatory remarks, declared that the Academy was "now free of all labor struggles."

But those struggles weren't over. In 1939, Capra had been voted president of the SDG and began negotiating with AMPP President 'Joseph Schenck', the head of 20th Century-Fox, for the industry to recognize the SDG as the sole collective bargaining agent for directors. When Schenck refused, Capra mobilized the directors and threatened a strike. He also threatened to resign from the Academy and mount a boycott of the awards ceremony, which was to be held a week later. Schenck gave in, and Capra won another victory when he was named Best Director for a third time at the Academy Awards, and his movie, You Can't Take It with You, was voted Best Picture of 1938.

The 1940 awards ceremony was the last that Capra presided over, and he directed a documentary about them, which was sold to Warner Bros' for $30,000, the monies going to the Academy. He was nominated himself for Best Director and Best Picture for Mr. Smith Goes to Washington, but lost to the Gone with the Wind juggernaut. Under Capra's guidance, the Academy had left the labor relations field behind in order to concentrated on the awards (publicity for the industry), research and education.

"I believe the guilds should more or less conduct the operations and functions of this institution," he said in his farewell speech. He would be nominated for Best Director and Best Picture once more with It's a Wonderful Life in 1947, but the Academy would never again honor him, not even with an honorary award after all his service. (Bob Hope, in contrast, received four honorary awards, including a lifetime membership in 1945, and the Jean Hersholt Humanitarian award in 1960 from the Academy.) The SDG (subsequently renamed the Directors Guild of America after its 1960 with the Radio and Television Directors Guild and which Capra served as its first president from 1960-61), the union he had struggled with in the mid-1930s but which he had first served as president from 1939 to 1941 and won it recognition, voted him a lifetime membership in 1941 and a Lifetime Achievement Award in 1959.

Whenever Capra convinced studio boss Harry Cohn to let him make movies with more controversial or ambitious themes, the movies typically lost money after under-performing at the box office. The Bitter Tea of General Yen and Lost Horizon were both expensive, philosophically minded pictures that sought to reposition Capra and Columbia into the prestige end of the movie market. After the former's relative failure at the box office and with critics, Capra turned to making a screwball comedy, a genre he excelled at, with It Happened One Night. Bookended with You Can't Take It with You, these two huge hits won Columbia Best Picture Oscars and Capra Best Director Academy Awards. These films, along with Mr. Deeds Goes to Town, Mr. Smith Goes to Washington, and It's a Wonderful Life are the heart of Capra's cinematic canon. They are all classics and products of superb craftsmanship, but they gave rise to the canard of "Capra-corn." One cannot consider Capra without taking into account The Bitter Tea of General Yen, American Madness, and Meet John Doe, all three dark films tackling major issues, Imperialism, the American plutocracy, and domestic fascism. Capra was no Pollyanna, and the man who was called a "dago" by Mack Sennett and who went on to become one of the most unique, highly honored and successful directors, whose depictions of America are considered Americana themselves, did not live his cinematic life looking through a rose-colored range-finder

In his autobiography "The Name Above the Title," Capra says that at the time of American Madness, critics began commenting on his "gee-whiz" style of filmmaking. The critics attacked "gee whiz" cultural artifacts as their fabricators "wander about wide-eyed and breathless, seeing everything as larger than life." Capra's response was "Gee whiz!"

Defining Hollywood as split between two camps, "Mr. Up-beat" and "Mr. Down-beat," Capra defended the up-beat gee whiz on the grounds that, "To some of us, all that meets the eye IS larger than life, including life itself. Who ca match the wonder of it?"

Among the artists of the "Gee-Whiz:" school were Ernest Hemingway, Homer, and Paul Gauguin, a novelist who lived a heroic life larger than life itself, a poet who limned the lives of gods and heroes, and a painter who created a mythic Tahiti, the Tahiti that he wanted to find. Capra pointed to Moses and the apostles as examples of men who were larger than life. Capra was proud to be "Mr. Up-beat" rather than belong to "the 'ashcan' school" whose "films depict life as an alley of cats clawing lids off garbage cans, and man as less noble than a hyena. The 'ash-canners,' in turn, call us Pollyannas, mawkish sentimentalists, and corny happy-enders."

What really moves Capra is that in America, there was room for both schools, that there was no government interference that kept him from making a film like American Madness. (While Ambassador to the Court of St. James, Joseph P. Kennedy had asked Harry Cohn to stop exporting Mr. Smith Goes to Washington to Europe as it portrayed American democracy so negatively.) About Mr. Up-beat and Mr-Downbeat and "Mr. In-between," Capra says, "We all respect and admire each other because the great majority freely express their own individual artistry unfettered by subsidies or strictures from government, pressure groups, or ideologists."

In the period 1934 to 1941, Capra the created the core of his canon with the classics It Happened One Night, Mr. Deeds Goes to Town, You Can't Take It with You, Mr. Smith Goes to Washington and Meet John Doe, wining three Best Director Oscars in the process. Some cine-historians call Capra the great American propagandist, he was so effective in creating an indelible impression of America in the 1930s. "Maybe there never was an America in the thirties," John Cassavetes was quoted as saying. "Maybe it was all Frank Capra."

After the United States went to war in December 1941, Frank Capra rejoined the Army and became an actual propagandist. His "Why We Fight" series of propaganda films were highly lauded for their remarkable craftsmanship and were the best of the U.S. propaganda output during the war. Capra's philosophy, which has been variously described as a kind of Christian socialism (his films frequently feature a male protagonist who can be seen a Christ figure in a story about redemption emphasizing New Testament values) that is best understood as an expression of humanism, made him an ideal propagandist. He loved his adopted country with the fervor of the immigrant who had realized the American dream. One of his propaganda films, The Negro Soldier, is a milestone in race relations.

Capra, a genius in the manipulation of the first form of "mass media," was opposed to "massism." The crowd in a Capra film is invariably wrong, and he comes down on the side of the individual, who can make a difference in a society of free individuals. In an interview, Capra said he was against "mass entertainment, mass production, mass education, mass everything. Especially mass man. I was fighting for, in a sense, the preservation of the liberty of the individual person against the mass."

Capra had left Columbia after "Mr. Smith" and formed his own production company. After the war, he founded Liberty Films with John Ford and made his last masterpiece, It's a Wonderful Life. Liberty folded prior to its release (another Liberty film, William Wyler's masterpiece, The Best Years of Our Lives was released through United Artists). Though Capra received his sixth Oscar nomination as best director, the movie flopped at the box office, which is hard to believe now that the film is considered must-see viewing each Christmas. Capra's period of greatness was over, and after making three under-whelming films from 1948 to '51 (including a remake of his earlier Broadway Bill), Capra didn't direct another picture for eight years, instead making a series of memorable semi-comic science documentaries for television that became required viewing for most 1960's school kids. His last two movies, A Hole in the Head and Pocketful of Miracles his remake of Lady for a Day did little to enhance his reputation.

But a great reputation it was, and is. Capra's films withstood the test of time and continue to be as beloved as when they were embraced by the movie-going "masses" in the 1930s. It was the craftsmanship: Capra was undeniably a master of his medium. The great English novelist Graham Greene, who supported himself as a film critic in the 1930s, loved Capra's films due to their sense of responsibility and of common life, and due to his connection with his audience. (Capra, according to the 1938 "Time" article, believed that what he liked would be liked by moviegoers). In his review of Mr. Deeds Goes to Town, Greene elucidated the central theme of Capra

Jack Wild

Born September 30, 1952, in Royton, near Oldham, England, Jack Wild was discovered by talent agent June Collins, mother of rock star Phil Collins. His breakthrough came when he landed the role of Oliver in the London stage production of "Oliver!" When it came to casting the film, the role of the Artful Dodger went to Jack, a role that resulted in his getting an Oscar nomination for Best Supporting Actor. Fresh from this success, Jack was offered the lead role in the American television series H.R. Pufnstuf. This Sid Krofft and Marty Krofft production featured Wild as a boy marooned in an enchanted land with puppets and actors in elaborate costumes. The success of this program led to Wild reprising the role for the film version, Pufnstuf. Other roles followed, including Melody and Flight of the Doves. Around the same time, Wild released three albums ("The Jack Wild Album"; "Everything's Coming up Roses", featuring along with cover numbers a couple of new songs written by up-and-coming songwriter Lynsey de Paul; and "Beautiful World"). By 1972, however, he was already being demoted to the role of supporting actor for The Pied Piper. He also appeared in Our Mutual Friend. He returned to films in two small roles: the miller's son in Robin Hood: Prince of Thieves and a peddler in Basil. Wild underwent surgery for oral cancer in July 2004, and had some vocal cords and part of his tongue removed. Unfortunately, the cancer proved untreatable and he died on 1 March 2006.

Walter Pidgeon

Walter Pidgeon, a handsome, tall and dark-haired man, began his career studying voice at the New England Conservatory of Music in Boston. He then did theater, mainly stage musicals. He went to Hollywood in the early 1920s, where he made silent films, including Mannequin and Sumuru. When talkies arrived, Pidgeon made some musicals, but he never received top billing or recognition in these. In 1937 MGM put him under contract, but only in supporting roles and "the other man" roles, such as in Saratoga opposite Jean Harlow and Clark Gable and in The Girl of the Golden West opposite Jeanette MacDonald and Nelson Eddy. Although these two films were big successes, Pidgeon was overlooked for his contributions to them. MGM lent him out to Fox, where he finally had top billing, in How Green Was My Valley. When he returned to MGM the studio tried to give him bigger roles, and he was cast opposite his frequent co-star Greer Garson. However, Garson seemed to come up on top in Blossoms in the Dust and Mrs. Miniver, although Pidgeon did receive an Academy Award nomination for his role in the latter film.

Pidgeon remained with MGM through the mid-'50s, making films like Dream Wife and Hit the Deck with Jane Powell and old pal Gene Raymond. In 1956 Pidgeon left the movies to do some work in the theater, but he returned to film in 1961.

Pidgeon retired from acting in 1977. He suffered from several strokes that eventually led to his death in 1984.

Adam Green

Adam Green is an American screenwriter, director, producer, and actor known for his success within the horror genre with films like the "Hatchet" franchise, "Frozen," and "Digging Up The Marrow." He is also the creator, writer, director, star, and show runner of the television comedy series "Holliston."

Born and raised in the small town of Holliston, Massachusetts, Green grew up performing leading roles in school plays and hosting his own morning radio program "Coffee & Donuts" on the town's local radio station. He graduated from Holliston High School in 1993. Upon graduating from Hofstra University in New York with a Bachelor of Science in film and television production in 1997, Green landed a job producing and directing local and regional cable television commercials at Time Warner Cable Advertising back in his hometown of Boston. While working at Time Warner he met cinematographer Will Barratt and in 1998 the two formed their own production company ArieScope Pictures and began making short films together under the ArieScope banner. During this time period Green was also the lead singer for the hard rock/metal band "Haddonfield" which amassed a large and loyal following as they headlined weekly club shows in Salam, MA and other large venues around Boston's north shore in the late 90's. In 1999 at the age of 24, Green wrote, directed, and starred in his first feature film "Coffee & Donuts" which was based on his own life and his experiences chasing his career dreams while trying to get over the break-up with his first girlfriend/childhood love. The autobiographical comedy was made for only $400 by "borrowing" Time Warner's commercial production equipment after hours and ultimately gained the attention of United Talent Agency (UTA) in Los Angeles when it won "Best Picture" in (what was then called) The Smoky Mountain Film Festival. Signed by UTA as an official client, Green moved to Los Angeles in February of 2000 with the intention of turning "C&D" into a sit-com.

Though reactions were positive and interest in "Coffee & Donuts" was strong within the industry, Green's first three years in Los Angeles were a major struggle and he survived by doing any odd job that would pay or feed him. Though he was able to find occasional paid work as everything from an on-set production assistant, to performing as a stand-up comic, to working as a writer's/show runner's assistant, to performing as an extra/background, to writing, shooting, and editing local cable commercials, to ghost writing jokes for other stand-up comics, Green's main occupation from 2000 to 2003 was working as the DJ in the upstairs nightclub at the world famous Rainbow Bar and Grill where he survived off of the left-over food off of customer's plates or by eating out of the restaurant's trash at the end of each night. He performed stand-up comedy at various Hollywood night clubs including monthly comedy shows at the Rainbow with his regular troupe of comedians/friends that included comics Andy Sandberg, Chris Romano, and Eric Falconer whom had also all yet to be discovered at that time. In 2003 Green sold "Coffee & Donuts" as a sit-com to Touchstone/UPN with Tom Shadyac producing. However, the week after Green delivered the final draft of his pilot script for "Coffee & Donuts", UPN announced a merger with the WB (creating the CW network) and all of UPN's pilot development was scrapped, tying up the rights to Green's dream project and life story for a further 5 years. ("C&D" would wind up going through thirteen years of development and false starts due to random corporate mergers at various networks and studios before eventually coming to fruition as the television series "Holliston" in 2012.)

Green first gained worldwide recognition with his independent slasher comedy "Hatchet", a story and character ("Victor Crowley") that he had first come up with while at summer sleep away camp in 1983 when he was just 8 years old in an effort to scare the other children in his cabin. Written in 2003 while Green was spinning heavy metal records in the DJ booth at the Rainbow, "Hatchet" was filmed independently in May/June of 2005 and had its world premiere at the Tribeca Film Festival on April 27, 2006. Green spent the next 18 months traveling the world with his gruesome slasher/comedy as it played dozens of film festivals, winning a multitude of awards and accumulating incredibly positive reviews from critics and fans along the way. "Hatchet" received a US theatrical release through Anchor Bay on September 7, 2007 and introduced the world to the iconic villain "Victor Crowley." A worldwide success, "Hatchet" has spawned two sequels to date. Green wrote and directed "Hatchet 2" which arrived in US theaters on October 1, 2010 and he also wrote and produced "Hatchet 3" (2013) which opened in US theaters on June 14, 2013. "Hatchet" also earned Green his place in the "Splat Pack", a term coined by esteemed UK film critic Alan Jones to describe a core group of new genre filmmakers who brought practical effects and extreme violence/gore back to the horror genre in the mid 2000's. Heralded by Jones as "the next wave of genre filmmakers," his original article about the "Splat Pack" ran in Total Film magazine in April of 2006 and by October both Time Magazine and the New York Post had also published stories about the "Splat Pack." Green appeared in the 2010 documentary "The Splat Pack" that also featured extensive interviews with his fellow "Splat Pack" members Eli Roth, Neil Marshall, Darren Bousman, Alex Aja, and Greg McLean. (Missing from the documentary were "Splat Pack" members James Wan and Rob Zombie.) Various merchandise based on "Hatchet" and its iconic villain "Victor Crowley" continues to sell more and more each year and in August of 2015 the first widely distributed "Victor Crowley" Halloween mask hit retail shelves across America, selling out of stock nationwide long before the Halloween holiday had arrived. In 2011 "Victor Crowley" first appeared in comic book form in "Hatchet/Slash", a crossover comic between Green's "Hatchet" films and Tim Seeley's long-running "Hack/Slash" comic series. An upcoming series of stand alone "Hatchet" comics will hit retail stores in late 2016.

After the first "Hatchet" film was massively censored by the Motion Picture Association of America for its 2007 theatrical release, Green made international headlines in 2010 by standing up to the MPAA's archaic and secretive ratings system and refusing to accept the organization's arbitrary NC-17 rating for "Hatchet 2" which the filmmaker stated was completely unfair given the comedic tone of his film and in comparison to the serious torture porn style films of the time, many of which featured sequences of rape and mean spirited, realistic violence but which also happened to be distributed by major studios. After offering cuts and re-submitting "Hatchet 2" to the MPAA numerous times to no avail in an effort to try and find a compromise for an "R" rating, Green and distributor Dark Sky ultimately opted to release the "Hatchet 2" uncut through an arrangement with AMC cinemas, making it the first genre film in almost 30 years to be released in mainstream multiplexes without an MPAA rating. Though the unrated release of "Hatchet 2" was endorsed and conducted exclusively through AMC theaters, the chain immediately began pulling the film from all screens upon its midnight opening and within just 48 hours of its release the film had mysteriously disappeared from all AMC screens nationwide. Though journalists in the media pointed to outside pressure from the MPAA on AMC to pull the film, no explanation was ever given on official record by a proper representative of AMC and the MPAA refused to comment on the matter. With "Hatchet 3" being green-lit almost immediately after "Hatchet 2" arrived on home video, "Victor Crowley" still succeeded despite the AMC/MPAA debacle.

Aside from "Hatchet" (2007) and its two sequels (2010 and 2013), Green continued and diversified his filmmaking legacy by directing the award winning Hitchcockian psycho-drama "Spiral" (2008), by producing the Sundance shocker and critically acclaimed "Grace" (2009), by writing and directing another Sundance darling and global success the very next year with his snowy suspense thriller "Frozen" (2010), by producing, writing, and directing the comedy "The Diary of Anne Frankenstein" which was included as part of the drive-in anthology film "Chillerama" (2011), and by writing, directing, and starring in the genre bending and highly praised successful pseudo-documentary "Digging Up The Marrow" (2015). In between his feature films Green also continued to write and direct various short films for his ArieScope website just for fun, several of which went on to become full blown viral hits with millions of views on-line including "Jack Chop," "Fairy Tale Police," and "Saber." Written, directed, and edited by Green, "Saber" received two awards in Lucasfilm's annual Star Wars Fan Film Awards at San Diego Comic-Con in 2009 ("Best Action" and "Audience Choice") and also spawned two sequels that were released to huge success in 2012 and 2014.

Meanwhile, after thirteen years of development and setbacks due to network mergers, Green's ultimate passion project "Coffee & Donuts" was finally brought to fruition as the sit-com "Holliston." In its new form, Green was not only "Holliston's" creator but also the series' show-runner, writer, director, and main star. Licensed for broadcast by the FEARnet cable network, "Holliston" had its world television premiere on April 3, 2012 and quickly found a loyal audience. A second season was announced the morning after only the second episode had aired. An hour-long "Holliston Christmas Special" premiered later that same year on December 18th and is still considered by most fans to be their favorite episode of the series with its unexpected amount of emotion including a tear-jerking final scene between "Adam" and "Corri" that was revealed on the Blu-ray commentary track to have been largely improvised by actors Adam Green and Corri English. Season 2 of "Holliston" premiered on June 4, 2013 and further solidified the series as a hit despite FEARnet's extremely limited broadcast accessibility. However, just as Green was beginning to write Season 3, "Holliston" suffered the tragic death of main ensemble cast member Dave Brockie who passed away in what was eventually reported to be a drug overdose. Brockie not only played "Oderus Urungus" on "Holliston" (Green's character's imaginary alien friend and ulterior conscience), he had also performed as the lead singer for the heavy metal band GWAR for 30 years and was one of Green's closest friends in real life. To make matters even worse, just three weeks after Brockie's death, the FEARnet television network was suddenly dissolved in yet another unforeseen corporate merger between Comcast and Time Warner. In August of 2014 Green delivered a eulogy for Brockie at a public memorial in Virginia attended by several thousand GWAR and "Holliston" fans. During his speech, Green's played back the final voice mail Brockie had left for him and concluded by asking the thousands of fans that were present to all hold their hands together in the air. "This is your metal family," Green reminded the grieving fans. "And your metal family will always be here for you." The memorial concluded with a traditional viking style burning of Brockie's "Oderus Urungus" costume in Richmond's Haddad Lake. Overcome with grief, Green stepped away from "Holliston" for over a year and a half without any word if he would return to his show again.

During Green's indefinite hiatus from "Holliston," he continued to do a weekly podcast with fellow director, co-star, and real-life best friend Joe Lynch called "The Movie Crypt" on the GeekNation digital network. Named after the fictitious cable access program that Green and Lynch's character's host on "Holliston", "The Movie Crypt" was originally designed to merely be a spin-off and companion piece to the sit-com and the two filmmakers only planned to do the podcast for the ten weeks that Season 2 was airing. However, their weekly program began pulling in extraordinarily high numbers and quickly became one of the most popular entertainment industry behind the scenes podcasts on the internet due to Green and Lynch's enjoyable on-air chemistry and the duos unfiltered honesty about their real-life experiences as working artists in the Hollywood system. Focusing on a different guest artist's entire career journey each week, "The Movie Crypt" showcases all sides of the industry from filmmakers to actors to costumers to agents to studio executives to musicians and beyond. Guests have included Chris Columbus, Slash, Joe Dante, Jordan Peele, James Gunn, Penelope Spheeris, Bobcat Goldthwait, and Rob Cohen. By January of 2015 "The Movie Crypt" was averaging over 500,000 worldwide listeners a week and the podcast was listed in Entertainment Weekly's January 9th issue as one of "The Top 20 Podcasts You Should Be Listening To" out of over 285,000 podcasts in existence. In addition to their candid and compelling weekly artist interviews, Green and Lynch have also produced special stand out episodes of "The Movie Crypt" such as the November 2015 "Addiction" episode that tackled substance abuse and addiction within the industry, the December 2014 "Holliston Reunion" episode where the cast performed a new original "Holliston" episode designed as a radio play, and their December 2015 "Christmas Special" which featured a sincere and moving 2-hour interview with Santa Claus that remains the podcast's most popular episode to date. Green and Lynch have never missed a single week since the podcast first launched on May 6, 2013. It was "The Movie Crypt's" unplanned and unexpected success that would ultimately set the stage for the return of "Holliston."

In August of 2015 Entertainment Weekly made the announcement that "Holliston" would indeed continue on with Season 3. No longer under license by FEARnet, the existing seasons of the series would now be carried along with "The Movie Crypt" podcast on the GeekNation digital network where it would be available to stream worldwide for the first time ever. In February of 2016 the "Holliston" cast appeared on a live Periscope session where they answered questions from fans after completing their first ever read through of two of Green's new scripts for Season 3. During the Q&A with fans Green stated that "Oderus" would not be recast or replaced and that when "Holliston" returns he would acknowledge the loss of Brockie and then move on with the show, keeping his character's closet door permanently closed for as long as the series may continue. As of the time of this writing, Season 3 of "Holliston" is expected to begin shooting at the end of 2016 when the cast's individual production schedules are next expected to all line-up together. The first official "Holliston" comic book (titled "Friendship Is Tragic") was announced and previewed on March 17, 2016 at Chicago's C2E2 comic book expo and pop culture convention. The comic book is set to hit retail shelves in the Fall of 2016.

In 2015 Green brought their ArieScope website to a new level by offering free weekly original programming. With over 100 free short films and original series' episodes to watch, Green's personal blog, and an on-line merchandise store, ArieScope.com has become a destination site for original content to millions of fans worldwide. Original on-line series such as "Adam Green's Scary Sleepover" and "Horrified" proved to be extremely popular with fans and ArieScope.com also released the award winning series "20 Seconds To Live" which was helmed by filmmaker Ben Rock, an artist that Green personally believes in and wanted to expose his own audience to. Green's original on-line series and various short films are also carried on ArieScope's YouTube channel which has received over 3.6 million individual views to date.

A celebrated leader and inspirational personality in the horror genre, Adam Green has amassed an enormous following worldwide through his down to earth and extraordinarily kind demeanor at personal appearances, by his accessibility to his fans on social networking, by performing improv comedy and original live "Holliston" episodes for fans on the convention circuit, by never charging his fans for his autograph or photo, by consistently putting out new entertainment for his audience on such a frequent schedule, and by inspiring and encouraging his own fans that they too can achieve their dreams so long as they don't let the world's negativity change or disenchant their spirit. Green organized and personally lead a three-night fundraiser in his home town of Boston in May of 2013 where he held theatrical screenings of the "Hatchet" films, a preview screening of select Season 2 episodes of "Holliston", and a silent auction of celebrity donated genre memorabilia in which he raised over $15,000.00 to help the victims of the April 2013 Boston Marathon bombing. In April of 2015 Green also helped raise $7,000.00 for the "Save The Yorkies" rescue in New Jersey by auctioning himself off for a date with a fan and auctioning off a screen-used prop hatchet to benefit the local dog shelter. While on stage during the auction event, Green stated that it was the companionship of his own Yorkie "Arwen" that got him through the various personal tragedies he underwent in 2014. "You're not just saving the lives of these wonderful dogs, you're also very likely saving the lives of the people who will adopt them."

At the time of this posting, Green is writing and developing Season 3 of "Holliston" while simultaneously shooting his next feature film. According to ArieScope.com and IMDB the new film will be released in 2017 but there are no specific details about it available at this time. Green cites much of the success of 2015's "Digging Up The Marrow" to the project's extreme secrecy and has stated on "The Movie Crypt" podcast that he hopes to keep as many details of his upcoming productions quiet whenever possible. Though fans have passionately expressed their hopes that Green will one day bring them a new "Hatchet" film, it is highly unlikely that the current film he is making will be a new chapter in the "Hatchet" franchise. Though the filmmaker has never definitively stated that "Victor Crowley" will stay dead forever, he has very clearly used the term "trilogy" in describing his 3-film "Hatchet" series. Green is also attached to direct the big budget children's adventure movie "Killer Pizza" (based on the novel by Greg Taylor) which he wrote the screenplay for. The film is being produced by Chris Columbus' 1492 Pictures.

Adam Green lives in Los Angeles with his dog "Arwen" and his cat "Tyler." An avid music fan he has been known to follow bands on tour such as Aerosmith, Metallica, Guns N Roses, Twisted Sister, GWAR, and Marilyn Manson when time allows for him to do so. 1982's "E.T. The Extra Terrestrial" remains his favorite film of all time and he is a devoted animal lover and collector of horror and science fiction toys. He is consistently active on Twitter and Instagram at @Adam_Fn_Green and he also personally responds to his fans on his public Facebook page: Facebook.com/AdamFnGreen.

Biography submitted to IMDB in May 2016.

Roger C. Carmel

Roger C. Carmel, who was born September 27, 1932, was named after his grandfather, Roger Charles, who carved the horses for the carousel in New York's Central Park. He became an actor and won television immortality by appearing as Harry Mudd in two classic "Star Trek" episodes, "I, Mudd" and "Mudd's Women." Carmel was one of the few actors, other than the regulars, to appear in two episodes of "Star Trek" as the same character.

After appearing on stage, Carmel began working steadily on television in the early 1960s as a character actor, appearing on both dramas ("Route 66") and situation-comedies ("The Dick Van Dyke Show"). The highlight of Carmel's non "Star Trek" acting career came in 1967, when he was cast as Kay Ballard's husband in the TV situation comedy "The Mothers in Law" by Desi Arnaz, the Cuban-born actor and entertainment impresario's first production since I Love Lucy.

The network, NBC, was disappointed by the mediocre ratings of "The Mothers-in-Law" and almost canceled it. It picked the show up for a second season after rival network ABC expressed interest in the show, but the network informed Arnaz that they would not give any additional money for the show. Traditionally, salaries are increased when a TV show is picked up for a new season, and all the actors' contracts specifically called for raises in the event of renewal.

Show creator Arnaz, who was also producer, director, and writer, called together the cast and crew and told them that although the series had been renewed, there was no money for salary increases. According to Carmel's own recollection, Arnaz was already drawing down multiple salaries on the program, and would shortly cast himself as a supporting character in the series, thus drawing another salary, although Carmel didn't know that at the time. Arnaz elicited a promise from the creative people, the crew and the actors to forgo salary increases to keep the show on the air. All the actors had agreed but one: Roger Carmel. He told Arnaz he would quit unless he received a raise, as per his contract.

In a contemporaneous account of the incident, Carmel said, "Desi called me and put it on a personal basis. I didn't feel it should be done that way - it was very unfair of him. Then Desi and the Morris Agency threatened I would be replaced. Kaye Ballard and Eve Arden also called me and asked me to go along, but I wouldn't."

Arnaz's response to Carmel's ultimatum was dismissive. "Where else is he going to make two thousand dollars a week?" the producer asked rhetorically. If Arnaz's Desilu production company gave in to Carmel, it would be faced with giving all the cast members a raise, which was financially unviable with the money on offer from NBC. Arnaz was forced to terminate Carmel, who was replaced by fellow "Dick Van Dyke Show" alumnus Richard Deacon for the second season. The show had poor ratings and was canceled after its second season.

After being fired from "The Mothers-in-Law,", Carmel's acting career suffered. Other than his Harry Mudd appearances, Carmel's most memorable gig on TV was as Colonel Gumm on "Batman" in 1967. He made regular appearances on the syndicated quiz TV show "Stump The Stars" from 1968 to 1970. Carmel even reprised his most famous role, that of Harry Mudd, in an episode of the animated version of "Star Trek" (1973-75), an indicator of the direction of his future career. However, during the 1970s, he could not secure another regular role as an ongoing character on a TV series, though he continued to appear regularly on sitcoms, mostly in ethnic roles, including appearances on "All In The Family," "Chico and The Man," and "Three's Company." He also appeared in B-movie bombs, including the Jerry Lewis flop "Hardly Working" (1981).

At the dawn of the new decade of the 1980s, Carmel finally got another opportunity for the first time in a dozen years, when he was cast as a regular on the network program "Fitz and Bones." An hour-long drama starring the TV comedy-musical duo The Smothers Brothers as investigative reporters, the show was a ratings failure, lasting only one month. After this monumental flop ("Fitz and Bones" was the lowest-rated series for the entire 1981-82 season), character parts dried up and Carmel was reduced to doing voice-over work for children's cartoons, including "The Transformers."

Carmel's last triumph as an actor was in commercials. Carmel was a huge hit in advertising playing Senor Naugles, a faux-Mexican Colonel Sanders clone, for the West Coast region Mexican fast food chain Naugles. The commercials were a success and the chain began expanding rapidly. However, both the renewed success of Roger C. Carmel and the fresh success of the chain were, sadly, to prove short-lived.

According to acquaintances, Carmel was struck by chest pains on the night he died and called a cab to take him to the hospital. When the cab showed up at his Hollywood high-rise but Carmel did not come down to get it, the doorman sent the cab away, never inquiring why he failed to appear. Carmel was found dead on the floor of his apartment the next morning, November 11, 1986. While there were rumors that he committed suicide (he was rumored to be a recreational drug user), the official cause of death was listed as hypertrophic cardiomyopathy, a disease of the heart muscle in which the organ becomes enlarged. The condition leads to congestive heart failure, which apparently is what struck down Carmel. He was only 54 years old.

Roger C. Carmel's body was interred in Glendale, New York.

After Carmel's death, Naugles failed to come up with another successful ad campaign, and eventually, its financial fortunes changed. It was eventually acquired by rival Del Taco.

Carol Ohmart

She was one of a bevy of sexy blondes shuffled about in 50s films, thrust into the limelight by ambitious movie studios as possible contenders to Marilyn Monroe's uncooperative pedestal. Almost none of these ladies managed to even step up to the plate when it came to the powerful allure of "La Monroe" and starlet Carol Ohmart managed to be no different.

Armelia Carol Ohmart was born in Salt Lake City, Utah on July 3, 1927, the daughter of a dentist father (Thomas Carlyle Ohmart, a one-time actor) and an abusive Mormon mother (Armelia Merl Ohmart). Raised in Seattle and a baby contest winner as an infant, she was on stage from age 3 in a vaudeville act with her uncle. She then lived all over the place with her mother after her divorce from her father, attending high school at Lewis & Clark High in Spokane. A radio singer back in Salt Lake City, Carol won the "Miss Utah" title (then a brunette) at age 19, coming up fourth runner-up when she segued into the 1946 "Miss America" contest (came in 4th). The attention she received led to a modeling, commercial and magazine cover career.

In the early 1950s Carol found TV and commercial work and on stage on Broadway (in the ensemble of "Kismet" and also as Joan Diener's understudy) and summer stock. Paramount took interest after a talent agent caught her in "Kismet" and signed her in 1955, billing her, of course, as the "next Marilyn." But Carol came off more hardbitten and unsympathetic than the vulnerable, innocent sex goddess, and when the knockout blonde's first two movies The Scarlet Hour and The Wild Party tanked at the box office, she was written off in 1957. Only a few more film offers came her way, including director William Castle's gimmicky House on Haunted Hill (her best known); the campy horror _Spider Baby, or The Maddest Story Ever Told (1968)_; and her last, The Spectre of Edgar Allan Poe. She had steadier work on TV with guest appearances on "Bat Masterson," "Perry Mason," "Get Smart," "Mannix" and "Barnaby Jones," but by 1974 she was pretty much history.

Carol wed three times. The first, to radio actor Ken Grayson, lasted two years before it was annulled. A second brief two-year marriage in 1956 was with cowboy actor Wayde Preston (ne William Erskine Strange), who starred in the rugged "Colt .45" TV western. In the late 1970s, she married a third time to a non-professional (fireman), which lasted. After a particularly depressing period dealing with medication addiction and disability, a recovered, spiritual-leaning Carol found a helpful avenue outside the Hollywood scene in the 1970s studying metaphysics, delving also in oil painting, gardening, poetry and writing.

John Robinson

Likes snowboarding and plays lacrosse for his school. He was chosen out of 3000 children to play in the controversial film by Gus Van Sant which mirrors the Columbine school shootings called Elephant. John took acting classes in Portland years prior to his acting debut in this movie. Coming up next for John is Lords of Dogtown a film that follows the surf and skateboarding trends that originated in Venice, California during the 1970s.

Barry Gibb

If you were to try and summarize Barry Gibb's forty-five year career in the music industry in a single phrase you would probably come up with something such as "versatile". Barry Gibb continues to remain an important, relevant figure in the music industry due to his willingness to adapt his music, his style and his image into whatever musical styling is at the fore. What makes the story of Barry Gibb so unique is that he has had a successful musical career of over forty years, continually restyling both the image and the music of the Bee Gees in order to remain relevant to the contemporary era. Barry has gone from being the front man of the soft rock/pop styling of the Bee Gees in the 1960s, to bringing the disco scene to the fore in the 70s, becoming a crooner in the 80s and reinventing his career yet again in the 1990s, as the Bee Gees enjoyed yet another reinvigoration, as their new albums and hit "One Night Only" tour proved that the music of the Bee Gees was timeless. Lasting over forty years, the Bee Gees are one of the longest running musical acts of all-time, and Barry's longevity can be attributed in part to the timelessness of his songs about unrequited love, soul-mates, people finding courage in times of dismay and above all, celebrating the short time we have on this earth.

Barry's story begins on the 1st of September 1946, where he was born the second of five children to parents Barbara and Hugh Gibb. In the early 1960s Barry, and his twin brothers, Maurice and Robin, formed pop group The Bee Gees, named in tribute to two people who helped launch their career, racetrack promoter Bill Goode and a DJ named Bill Gates. It was later changed to an acronym for the Brothers Gibb.

Barry and his family emigrated to Australia shortly after the birth of youngest sibling Andy, and the Gibbs performed anywhere and everywhere they could, in order to raise some pocket money. After securing a spot performing on local television shows, they were eventually signed for a record label in 1963. From the outset Barry was the primary creative force behind the music of the Bee Gees, penning the majority of their hit songs in the 1960s as well as countless other songs for other artists. In the 1970s the was a drastic change to the dynamics of the music industry, which saw singers from previous eras struggle to remain relevant. Barry helped pave the way for the Bee Gees most memorable decade, as he came up with the idea of performing in their now trademark falsetto's, as well as helping to launch the career of his youngest sibling, Andy Gibb. Barry became a mentor to the young Andy, guiding him in his initial foray into the music industry, by penning the majority of his hit singles.

The 1980s saw Barry struggle to remain relevant to the music industry, as the onset of the electro-funk styling of bands such as INXS saw the Bee Gees labeled as "uncool". Barry refused to be swayed by the Bee Gees dwindling record sales, and continued to record as both part of the Bee Gees, while also making his mark as a songwriter for other artists, penning memorable hit songs for artists as diverse as Kenny Rogers, Diana Ross and Olivia Newton-John. In 1988 Barry was heartbroken when brother Andy Gibb succumbed to years of substance abuse, and died at the age of 30. Just months before in was decided that Andy would be joining the Bee Gees as the fourth member, and Andy's death took a toll on Barry for the remainder of that decade, and his musical creativity diminished.

While Barry continues to record in the early 90s, it wasn't until 1997 that the Bee Gees returned to the fore, with the critically hailed "Still Waters" album. In late 1997 Barry, Robin and Maurice performed the legendary "One Night Only" concert at the MGM Grand in Las Vegas, Nevada, United States, and the DVD recording of the concert has gone on to become the highest selling music DVD in Australian history, remaining on the ARIA DVD chart for over ten years.

In 2003 Maurice Gibb died of a cardiac arrest because of a congenital birth defect, bringing to a close the forty year career of The Bee Gees. However, Barry continues to remain in the public eye, as he has become more politically active, as he has generated controversy for his staunch criticism of the Schappelle Corby trial and lack of copyright protection for sound recordings in the UK. Few singers can boast having a number one record in five consecutive decades as Barry can, and with artists such as Faith No More, Wyclef Jean and Ronan Keating covering Barry's songs, Barry's timeless lyrics continue to reach out to a new generation of listeners.

Ethel Merman

Born in the Astoria section of Queens, New York City, Ethel Merman surely is the pre-eminent star of 'Broadway' musical comedy. Though untrained in singing, she could belt out a song like quite no one else, and was sought after by major songwriters such as Irving Berlin and Cole Porter. Having debuted in 1930 in "Girl Crazy, " she is yet remembered for her marvelous starring appearances in so many great musicals that were later adapted to the silver screen. Among the film versions, Merman herself starred in Anything Goes and Call Me Madam. That wonderfully boisterous blonde, Betty Hutton, had the Merman lead in both Red, Hot and Blue and Annie Get Your Gun. Besides Betty Hutton, other Merman screen stand-in roles include Lucille Ball, (in Du Barry Was a Lady), Ann Sothern, (in Panama Hattie), Vivian Blaine (in Something for the Boys) and Rosalind Russell (in Gypsy). (Russell could never render Stephen Sondheim and Jule Styne's "Everything's Coming Up Roses" the way the immortal Merman did, over and over again.) Ethel Merman's lifetime facts: her dare of birth, was on Thursday, January 16th, 1908 & her life expired on Wednesday, February 15th, 1984. Thursday, January 16th, 1908 & Wednesday, February 15th, 1984, differ 27,789 days, equaling 3,969 weeks & 6 days.

Fernando Lamas

Handsome, dapper Argentine-born actor who came to Hollywood as a romantic lead in several colourful MGM extravaganzas and then succeeded in living up to his Latin Lover image in real life. Lamas studied drama at school in his native country and later enrolled in a law course at college. His strong leaning towards athletic pursuits prevailed and he abandoned his studies to take up horse riding, winning trophies fencing and boxing (middleweight amateur title) and becoming the South American Freestyle Swimming Champion of 1937. While still in his teens he appeared on stage, then on radio, and by the age of 24 in his first motion picture.

All this sporting publicity aroused interest in Hollywood and, in 1951, Lamas was signed by MGM to charm the likes of Lana Turner and Esther Williams in A-grade productions like The Merry Widow and Dangerous When Wet. He also spent time 'on loan' to Paramount who featured him in several Pine-Thomas B-movies, such as the 3-D Technicolour Sangaree and Jivaro. His sole appearance on Broadway was in the 1957 play 'Happy Hunting'. There was considerable friction between him and co-star Ethel Merman, both on and off-stage. Lamas was nonetheless nominated for a Tony Award as Best Actor, but had the misfortune of coming up against Rex Harrison's Professor Higgins in 'My Fair Lady'.

In real life, Lamas proudly lived up to his reputation as a ladies man. With two ex-wives back in Argentina, he conducted well-publicised affairs with most of his female co-stars, including one with Lana Turner which began while filming 'The Merry Widow'. Actress Arlene Dahl, who appeared with him in 'Sangaree' and The Diamond Queen, became his third wife, and fellow swimming champion Esther Williams his fourth.

In 1963, Lamas directed the Spanish film Magic Fountain, with himself and wife Esther Williams playing the lead roles. From then on, he began to concentrate on television, alternating between acting (notable in a recurring role as playboy Ramon de Vega in Run for Your Life and directing episodes of shows like Mannix, Alias Smith and Jones, The Rookies and House Calls.

Jeff Corey

Jeff Corey was a film and television character actor, as well as one of the top acting teachers in America.

Corey was born Arthur Zwerling on August 10, 1914 in New York City, New York, to Mary (Peskin), a Russian Jewish immigrant, and Nathan Zwerling, an Austrian Jewish immigrant. He was an indifferent student, but after taking a drama class in high school, young Corey became hooked. His talent earned him a scholarship to the Feagin School of Dramatic Arts, the top acting school in New York City at the time. Corey then became a professional actor, a career choice which saved him from a life selling sewing machines, he later said.

His first gig after acting school was with a Shakespearean repertory company, after which he became a member of a traveling troupe that entertained children. After Leslie Howard closed his Broadway production of Hamlet in December 1936, he took the play on the road with Corey cast as Rosencrantz in 1937. In 1939, Corey appeared as part of the Federal Theater Project's (FTP) Living Newspaper dramatic showcase in the Life and Death of an American, co-starring with Arthur Kennedy, and featuring the music of Alex North. He made his film debut in a bit part in the Federal Theater's sole movie production, ...One Third of a Nation.... Starring Sylvia Sidney, Leif Erickson and future Oscar-winning director Sidney Lumet, the movie, which was released by Parmount, was a progressive exegesis on the hazards of tenement slum conditions. Congress terminated FTP funding on June 30, 1939, mainly due to objections to the leftist political tones of many FTP productions (see Tim Robbins' movie Cradle Will Rock about the pressures faced by the FTP in 1939).

In 1940, Corey, who had married his wife Hope in 1938, moved to Hollywood, where he appeared in studio productions through 1943, including The Devil and Daniel Webster, My Friend Flicka and Joan of Arc. He also had a hand in establishing the Actors Lab, where he appeared in a wide variety of plays, including "Abe Lincoln in Illinois", "Miss Julie" and "Prometheus". He also produced "Juno and the Paycock" for the Lab. He joined the United States Navy Photographic Service in 1943 and was assigned to the aircraft carrier Yorktown as a motion picture combat photographer. He earned three citations while serving during the war, including one for shooting footage on the Yorktown during a kamikaze attack on the ship. The citation, which was awarded in October 1945, read: "His sequence of a Kamikaze attempt on the Carrier Yorktown, done in the face of grave danger, is one of the great picture sequences of the war in the Pacific, and reflects the highest credit upon Corey and the U.S. Navy Photographic Service."

After the war, Corey returned to Hollywood and resumed his acting career, specializing in character parts and playing heavies in films such as The Killers and Brute Force, both of which starred another returning war vet, Burt Lancaster. His appearance as the psychiatrist in Home of the Brave, one of his best screen performances, promised a long and productive career in Hollywood, but the first phase of his cinema career was cut short in 1951 when he was subpoenaed to appear before the House Committee on Un-American Activities (HUAC) after being named as a former Communist Party member by actor Marc Lawrence.

HUAC had scheduled hearings in Los Angeles as part of its crusade to ferret out Communist influence in Hollywood. Appearing before HUAC in Los Angeles in September 1951, the 37-year-old Corey refused to testify, instead invoking his 5th Amendment rights. The movie industry ruled that anyone invoking their constitutional right not to testify would be blacklisted, and Corey was, missing out on an entire decade of work in films and television during the 1950s. Ironically, Lawrence, whom Corey despised for the rest of his life, pointing out that he had remained stateside on a health deferment while Corey risked his life during the war, was virtually absent from American films and television during the same decade, having to make his living in Italy along with American expatriates who had been blacklisted.

In the book on Hollywood blacklistees "Tender Comrades", Corey explained that he had been a member of the Communist Party, and that while he no longer was in 1951, he could not in good conscience turn informer. "Most of us were retired reds," Corey said. "We had left it, at least I had, years before. The only issue was, did you want to just give them their token names so you could continue your career, or not? I had no impulse to defend a political point of view that no longer interested me particularly. They just wanted two new names so they could hand out more subpoenas."

After being blacklisted, Corey used his G.I. Bill benefits to study speech therapy at UCLA while supporting his family as a common laborer. At the request of a fellow student, Corey organized a class in speech that he taught in the garage of his home in Hollywood Hills home. He expanded his curriculum to acting, accepting $10 a month in "tuition" per month from each student that allowed them to attend weekly classes. Eventually, he expanded the garage to create a small theater where his students performed scenes. Corey's reputation as a teacher grew, and by the mid-1950s, he had become the premier acting coach in Hollywood. Although studios refused to hire the blacklisted Corey as an actor, they did send contract players to study with him.

Corey's class, which became known as the Professional Actors Workshop, attracted directors, screenwriters and established actors seeking insight into the craft. Corey's Workshop has been described by the National Observer as "A major influence in the motion picture industry." Corey was a Stanislavskian teaching the popular Method technique of sense-memory popularized by such other acting gurus as Lee Strasberg and Stella Adler, which sought to tap into the actor's own emotions and psyche. Corey's own teaching technique was eclectic: He focused on one-on-one work with an individual actor, seeking through improvisational exercises to get the actor to tap into his/her subconscious and to use their imagination to come up with a theme that would elucidate their character.

His students included Robert Blake, pop singer Pat Boone, Richard Chamberlain, singer/actress Cher, director-producer Roger Corman, James Dean, Kirk Douglas, Jane Fonda, Peter Fonda, Michael Forest, Sally Kellerman, Irvin Kershner, Shirley Knight, Penny Marshall, Rita Moreno, Jack Nicholson, Leonard Nimoy, Anthony Perkins, Rob Reiner, singer/actress/director Barbra Streisand, future Academy Award-winning screenwriter Robert Towne and Robin Williams. Of Corey the teacher, three-time Oscar-winner Jack Nicholson said after he had become a major movie star, "Acting is life study, and Corey's classes got me into looking at life as an artist."

Corey also tutored experienced actors who had trouble with a role, or who just needed insight into playing a character. One of the already-established actors Corey tutored was three-time Oscar nominee Kirk Douglas, who came to Corey for help in playing the title role in Spartacus. It was Douglas who, along with Otto Preminger, ended the blacklist by hiring Dalton Trumbo to write the screenplays for Spartacus and Exodus, respectively. Two years after the Trumbo-penned films debuted on the big screen, Corey again was working in films and television. In 1962, he was cast in the film The Yellow Canary when one of his acting students, pop singer Pat Boone, pressured 20th-Century Fox into hiring him. Now off the blacklist, Corey became a busy character actor in movies and on television. Corey made his reputation as an actor's actor whom other actors loved to work with. Always good with actors, Corey also directed some episodes of television series.

In addition to his acting work, Corey continued teaching. He was Professor of Theater Arts at California State University in Northridge, and was artist in residence at Ball State, in Indiana, the University of Illinois in Bloomington, Chapman College's World Campus Afloat, the University of Texas in Austin, and at the Graduate School of Creative Writing at New York University. He also conducted acting seminars at Emory University in Atlanta, and for the Canadian Film Institute in Vancouver, British Columbia.

On August 16, 2002, six days after his 88th birthday, Corey died in a Santa Monica, California hospital, of complication from a fall. He was survived by his wife of 64 years, Hope, three daughters, and grandchildren.

Lara Jill Miller

Lara Jill is best known as "Samantha" from the NBC series Gimme a Break! for 6 seasons. Prior to her TV debut, she toured the US and starred on Broadway along side Dick Van Dyke in "The Musica Man." Lara Jill graduated from NYU, Magna Cum Laude and Phi Beta Kappa. She then earned her JD from Fordham Law and passed the NY, NJ and PA Bars. Upon her return to LA, she appeared in "The Amanda Show," "General Hospital" and "iCarly." She starred in the series "Digimon" and the accompanying feature film. She can be heard as the voice of "Lambie" on Disney's Peabody Award winning Doc McStuffins, as "Lisa Loud" in The Loud House, "Cat" in the new Amazon series "If You Give a Mouse a Cookie," and "Allie" in Curious George. She has voiced the title roles of "Henry" in "Henry Hugglemonster," "Clifford" in Clifford's Puppy Days, and "Juniper Lee" in The Life and Times of Juniper Lee. She can also be heard as "Widget" in Nick's Wow! Wow! Wubbzy!, "Izzie" in PBS's Emmy Award winning show SciGirls, along with guest roles coming up on "OK KO" and "Vampirina."

Max Wasa

About Me

Max Wasa is a long-time industry professional.

Max is a classically-trained musician; LA Music Award winner for Life time achievement record producer; nationally-recognized children's writer; green product developer; the creative force behind Hopey The Hound Dog, The Delicate Dragonfly, Kid Fuel Beverages; and along with writing partner Carrie Magalski the author of the brand new graphic novel "Inspirit: Cherubs In Training."

In recent times, Max has produced the newest Dan Reed CD (entitled "Coming Up For Air"), with Clay Ostwald and Tommy Anthony from Miami Sound Machine and Santana. As producer and owner of Liquid Music Group, Max work's with some of the top artist in the industry. Max is also a working actor with numerous film, theatre, and television credits - having worked with name directors such as John Landis, Kevin Bright, Michael Mann, and Richard Benjamin (to name a few).

All of this, as well as being one of the most popular models ever to grace the pages of Playboy Magazine.

Her giving heart and unending talent set her apart from most of her contemporaries. Whether being behind the board in the recording studio; on stage in front of 60,000 people with Alice Cooper at Wembly; writing curriculum for advanced music academies; teaching voice lessons; writing for Paw Print Magazine; being the musical director for the documentary film "Seed Of Faith"; or shooting large and small-scale films, Max is an inspiration.

Look for her new films,"House of Manson,"Smoke filled lungs","The Wendigo","Impure","Isolated" ,"Death House,"Astro",Hell's Kitty",A Doggone Mystery"and "No Strings 2: Play Time In Hell." And, Max was given the top honor of being called "The greatest woman of horror and sci-fi today" look for the dvd doc out soon. And this just in, Max is in talks for 3 reality shows and a number of up coming films. Stayed tuned for details.

Be sure to catch Max at a comic con near you and don't miss Max-Ed out on youtube with Max and Edward Nyahay.and The Tortoise and the Hare Exsperience radio/pod show Where Max interviews the biggest stars in the business.

Jim Wynorski

A 25-year veteran in the Hollywood exploitation field, writer/producer/director Jim Wynorski is responsible for over 150 varied motion pictures in a myriad of genres. Leaving behind a successful commercial business in New York, Wynorski relocated to California in 1980 and soon found himself on the doorstep of his childhood idol, B-film king Roger Corman. "The rest was destiny," recounts Wynorski, who soon found himself hired by the renowned movie mogul to cut "coming attractions" for all of the company's new action and horror films. "It was like grasshopper learning from the kung-fu master," says Wynorski, who claims his six-months internship with Corman taught him more than four years at film school.

"It wasn't long after that Corman offered me the first of many writing/directing assignments. Some distributor wanted a flick about a killer in a shopping mall," recalls Wynorski, "and Roger trusted me enough to say 'come up with something good, and you can direct it." Well, a couple days later, the director walked in with the first treatment to a film called Chopping Mall, and the rest was history. From then on, Jim Wynorski turned out an average of three to five films a year as a director, and even more as a producer/writer. Throughout the 1980s came a steady stream of wild exploitation titles like Big Bad Mama II with Angie Dickinson, Not of This Earth with Traci Lords and The Return of Swamp Thing with Heather Locklear. On into the 1990s, Wynorski continued to climb to the top of the B-Film mountain with flicks like Hard Bounty starring Kelly LeBrock, Point of Seduction: Body Chemistry III & Body Chemistry 4: Full Exposure with Shannon Tweed and Morgan Fairchild and Munchie, which featured the first film appearance of the then-unknown 12-year-old child actress Jennifer Love Hewitt.

As the years peeled by and tastes changed, Jim Wynorski kept hip by innovating new special effects techniques that landed the director no less than seven world premieres on the Sci-Fi Channel. His credits there include films like Gargoyle, The Curse of the Komodo, Project Viper and Cry of the Winged Serpent.

As for the future, the 59-year-old Wynorski feels the audience for alternative cinema made away from the studio system will continue to grow thanks to new advances in Internet and Cable technologies. In fact, he is in post-production on another thriller, Vampire in Vegas. "And you can bet I'll be there," he offers with a big smile, "with some really fun stuff." Jim has a huge following in the MidWest and is beloved in Franklin, Indiana, Home of The B Movie Celebration.

Tim Neff

Tim Neff is a working actor and filmmaker, with a strong passion for martial arts.

In his early years, Tim moved around regularly, exposing him to a multitude of cultures, thereby making him a student of life and an expert in the subtleties of human communication. This skill has helped him tremendously in his current film and acting work, relating his vast life experiences to the roles he designs.

Tim is also former military, and held an above top secret security clearance. He has been trained in hand-to-hand combat, knives, explosives and firearms, and is a specialist holding a marksman in 9mil, M-16, AR-15 and the 12 gauge shotgun. Additionally, Tim is very passionate about and skilled in stage combat, fight choreography, parkour/freerunning, and stunt work, as well as martial arts including Capoeira, Taekwondo, Wing Chun, Boxing, Kickboxing and Martial Arts Tricking.

After completing his time in the military, Tim moved to Los Angeles where he began taking traditional acting classes such as Tony Barr's film actor's workshop, improvisation at the Groundlings, and courses at the Ivana Chubbuck studio and intensive workshops with Margie Haber.

Tim is working on a feature film called "Ripped to Shredz" in a leading role, that will have a theatrical release. A second project in the works is the live action adaptation of "Dragon Ball Z" in which Tim plays the lead role, and fan favorite, Trunks. Both parts are action and stunt heavy, both of which are his specialties. On top of these Tim has been working on a short film that has won 8 short film festivals and is currently in post to be recreated into a full feature shooting end of 2016 into 2017.

Tim was also a character/creature actor in SyFy's Face Off" for five seasons, working with prosthetics and movie makeup as a performer. He has been a on NBC's "Hollywood Game Night" alongside Jane Lynch since its culmination as a pilot and coming up on season 5 later this year, and has appeared as the lead in many music videos and national commercials.

Admiring such actors as Bruce Lee, Jackie Chan, Jet Li, Donnie Yen and Cecep Arif Rahman for their revolutionary fight scenes and ability to move uniquely in a confined space, Tim has adapted that into his own practice. Artists like Jim Carrey and Robin Williams inspire Tim to explore comedic timing, and the intricacies of layering emotions into a scene. Jack Nicholson, Daniel Day-Lewis and Morgan Freeman have undeniable range and can play characters with such determined, precise choices, offering Tim the inspiration and insight to apply similar skill to his own work.

Pulp Fiction, Seven, Braveheart, Last of the Mohicans, Fight Club, IP Man, Enter the Dragon, Goodfellas, American Beauty, The Shining, Gladiator, Requium for a Dream, Pan's Labyrinth, Heat, Good Will Hunting, Warrior, Fargo, and A Beautiful Mind are just a handful of Tim's favorite films due their artistic merit and aesthetic beauty. Directors like Tarantino, Kubrick, Coppola and Scorsese are some of the greats that Tim admires as their entire body of work consistently push the boundaries of film as an art form and as a method of telling a story.

When not working as an actor and athlete, Tim has taken the initiative to create his own clothing line, Heart Attack Clothing. Tim has designed custom Heart Attack wear for popular TV shows such as SyFy's "Lost Girl", bands such as Depeche Mode, as well as providing streetwear/dancewear to the general public, building the Heart Attack brand to by synonymous with edginess and cutting edge design. He has also been a dancer for a number of years, performing and teaching hip hop styles of dance including break and pop lock. He loves art and music, and being able to express himself through all aspects of both.

Joey Luthman

Joey is a Series Regular on the dramatic _"Fox 21 Television Studios"_ & _"National Geographic Channel"_ Series: The Long Road Home as "PSC Jonathan Riddell". He recently guest starred on Chicago Med and Hawaii Five-O. He is known for his recurring roles as "Young Luke Spencer" on General Hospital as "Roger McFadden" on The Goldbergs and "Teen Zoltan" on A.N.T. Farm. He was just on _"Battle Creek" (2015)_, and coming up, recurring on Instant Mom. He is seen as "Drew" in Modern Family, Recurring as "Rad Ferris" on Weeds, "Evan" on Private Practice, "Dave" on iCarly, "Emmitt" on Disney's Kickin' It, as "Craig Kronberg" on Nick's How to Rock, and as "Teddy Toblosky" in _"10.0 Earthquake" (2014)_ and the upcoming Feature: _"In The Dark" (2015)_ as "Atticus". He is also known as "King Orr" recurring on Chosen.

He was discovered at a National Talent Show in Florida and was soon performing on The Tyra Banks Show. The second youngest child from a family of seven performing children,he was making his family laugh with impressions of Jim Carrey at the tender age of three. After watching his brothers and sisters perform, Luthman soon caught the acting bug. At just five years old, Joey booked his first professional role at The Dayton Playhouse (where'Rob Lowe (I)' also began) in a production of "Nuncrackers" singing "I'm a Little Teacup".

Following a family relocation to Los Angeles, Joey first appeared on television as one of five national triple threat finalists on The Tyra Banks Show. Recently Joey has Guest Starred on Criminal Minds, Grey's Anatomy, Ghost Whisperer, and ABC's October Road

He has also filmed Bad Teacher and was in the Kelsey Grammer feature film, An American Carol directed and produced by David Zucker, plus the comedy hit Miss March. In addition,on Netflix, Luthman has a supporting role in the teen thriller Forget Me Not, starring Carly Schroeder and Cody Linley. Joey plays the younger version of Linley's character.

He continues to hone his performing skills, with ongoing classes in acting, singing,dancing and stand-up comedy. Outside of his busy entertainment schedule, Joey is a Starpower Ambassador for Starlight Children's Foundation and a strong supporter of many charities including the Ronald McDonald house, MS, and St. Jude Children's Research Hospital. His hobbies include parkour, soccer, basketball, piano, ocarina, and chess. Luthman aspires to follow the footsteps of famed actor and director Ron Howard.

Jackie Evancho

Being a singing prodigy won Jackie Evancho her first major film role. In 2011, Robert Redford was casting his feature film, The Company You Keep, when he saw Jackie for the first time, as she sang on television a piece from Pucinni.

Jacqueline Marie "Jackie" Evancho began singing just before turning eight in 2008, when the movie The Phantom of the Opera mesmerized her. Entering a series of talent competitions in which she came in second over and over again, and singing in whatever venue would have her, she began to be recognized locally around her hometown of Pittsburgh, Pennsylvania. After being turned down, twice, by the casting judges for the television competition America's Got Talent (AGT), she finally won a place on the show, in the spring of 2010 as her youtube submission received the most votes from viewers.

Being the second child of Michael and Lisa Evancho, with an older and younger brother and a younger sister, and with her experience in being the runner-up in so many talent competitions, she laughs about having been second so often, and her disappointment wasn't finished yet. Continuing on AGT to sing in the style she has humorously dubbed "popsical", she reached the final two where, despite dueting with the renowned Sarah Brightman, she finished second yet again. But success was assured. Almost solely because of her, the AGT finale gave the show its highest-rated episode in three years, and Jackie was to go on to become one of the two most successful AGT alumni of all time.

In her rocket-ride to international stardom, shortly after the Fall conclusion of AGT, she signed with Simon Cowell's SYCO and Columbia records (moving over to Sony Music Masterworks in 2014). Releasing a four-song holiday album, "O Holy Night EP", she became the best-selling debut artist of 2010, the youngest top-10 debut artist in U.S. history, and the youngest solo artist ever to achieve platinum sales. With Columbia? In June 2011, her first full-length album, "Dream With Me", produced by the renowned David Foster, was released and debuted at No. 2 on the Billboard 200 chart. Jackie's solo concert television special, Jackie Evancho: Dream with Me in Concert, for the 2011 PBS Great Performances series became one of the most viewed specials in the 38-year-history of the series, raising record amounts for PBS stations. Released as a CD/DVD set in September 2011, it reached No. 1 on Billboard's Top Music Video chart and ranked on the Billboard.biz Top Music Video chart for more than 60 weeks by the end of 2012.

Another studio album, "Heavenly Christmas", was released in November 2011, entering the Billboard Classical Albums chart at No. 1, the Holiday Albums chart at No. 3, and the Billboard 200 at No. 16, peaking at No. 11. Billboard ranked her the top Classical Albums Artist for 2011.

Her fourth full-length album and third top-ten album debut, "Songs from the Silver Screen", was released in October 2012, debuting at No. 7 on the Billboard 200 and No. 1 on the Classical Albums chart, making 12-year-old Jackie join Michael Jackson in having three top-10 albums on the Billboard 200 at such a young age. The album remained on the Billboard 200 for 13 weeks and, as of January 2014, charted on the Billboard Classical Albums chart for 66 weeks. [Bring up to date] PBS Great Performances filmed another special, called Jackie Evancho 'Music of the Movies', which began airing on PBS stations on August 11, 2012. Her fifth album, "Awakening", is due to be released on September 23, 2014.

Jackie began her acting career by performing in "High School Musical" with the Pittsburgh Musical Theater in 2007 and musical theater versions of "A Christmas Carol" and "Little Red Riding Hood", in which she played the title role in 2009. She appeared briefly as an extra in the 2010 film, She's Out of My League, while her first featured television appearance was in the 2011 episode, Back to Max, from the Disney Channel series, Wizards of Waverly Place, where she earnestly hoped her rendition of "America the Beautiful" was sufficient to work off her school detention. It was.

After another day of coming up empty, he was in his hotel room, "sitting there all depressed, surfing and drinking and suddenly I'm skipping across the channels and this golden-haired, angelic face is pouring out, singing", Redford recalled just before The Company You Keep had its premiere at the Toronto International Film Festival in September 2012.

Jackie modeled for the GUESS Kids fall 2012 advertising campaign, and has appeared in other product advertisements, as well as doing several public service campaigns, including partnering with "WhyHunger", "philosophy.com" and "Sephora" to offer a bath product, to believe, inspired by the lyrics of her song "To Believe" with the proceeds to support WhyHunger's efforts to end world hunger. She is an ambassador of the Humane Society of the United States for "Mission: Humane", a program that encourages children to help protect animals.

Ron Smoorenburg

Ron Smoorenburg is mainly known for the end fight in Jackie Chan's 'Who am I?', 1998, and his record highest kick in 1997 (11 feet)

Ron worked with a lot of the well known action stars and directors and developed himself in the last 20 years as an actor which with a versatile and experienced action background.

Ron plays a part as the German Mercenary (Steiner) in the movie Triple Threat. Coming up in 2018 the movie 'Asura' will be released which is Chinese highest budget movie (Directed by Peng Zhang) In this movie Ron plays a General.

Damaine Radcliff

Out of the Highbridge section of the northern Bronx borough is the up-and-comer Damaine Radcliff. As a youth he was thought to have potentially excelled in two areas other than acting. While at IS 229 he was a part of the nationally ranked chess team (which coincidentally became a movie). His athletic prowess then shone as he became an All-City basketball star at Samuel Gompers High School. While at Milford Academy Prep he sustained an injury which preempted an athletic scholarship. It seems, luckily, that Damaine's star simply was meant to shine in another galaxy. Upon returning home he began pursuing another love, acting and filmmaking. He would write comedy skits and then film them with friends, family or anyone who happened to be walking down Macombs Road where the Radcliffs lived. It soon became common for people from the neighborhood to be recognized from a role in one of these skits which were then on DVDs, copied and circulating around the city. Damaine then began the grind of show biz. He began with doing tons of background/extra work, which he was able to parlay into a couple of PSA's and a Sprite Campaign. His big break could almost be considered a "break-in." An acting buddy told him about auditions being held for a 'little' basketball movie and suggested that Damaine crash the audition. He did as his friend suggested and that little movie actually was Jerry Bruckhiemer's Glory Road. And the role was a lead portraying another Bronx native, legend Willie Cager. After months of filming and more months of waiting for release, the reward is the number one movie in America, which is drawing comparisons to great sports movies like "Hoosiers." Damaine next appeared in "Step Up" with Channing Tatum, Jenna Dewan, platinum recording artists Mario Drew, Sidora and rapper/actor Heavy D, which was released in 2006. He also starred in an episode of "Law and Order-Trail By Jury" (Pattern of Conduct episode 1.6). Due to the nature of the business Damaine reluctantly had to move to Hollywood. Not to despair, he returns home often to extend his hand to those who were with him "on the come up." His acting troupe, known as The Drama Unit, still collaborate with him on projects. He also gives back to the neighborhood by producing audition reels for kids who want to get into the business.

Chris Adams

Chris Adams is a native of South Carolina, and grew up in Charlotte, North Carolina. At an early age, Chris had a passion for pretending to be other characters and act out scenes in his childhood, he practiced his craft silently. Chris realized as he was finishing college that he decided to come up with a career plan in the TV/Film industry and reached out to many industry people located in Atlanta, G. A. and Los Angeles for guidance. Chris, then, up and moved from Winthrop University to Atlanta, G.A. and has immediately started acting classes and booking roles. He is mainly known for his role in Sustained as Mr. Kent. Chris is excited about his potential in the film business and what the future holds. In his spare time, Chris likes to practice martial arts, play Texas Limit Hold'em poker, work out, and do volunteer work whenever the opportunity arises.

Wayne Yip

Writer/Director Wayne Yip graduated with a degree in Graphic Design at Oxford & Cherwell College in 2004. His career began in partnership with writer/director Alex Garcia, initially with music videos, which saw them win the Domino Records and Audience Award at the Radar Festival in 2007. Later that year their short film, Happy Birthday Granddad, won the Bafta '60 Seconds of Fame' competition. After the multiple award-winning short film Diego's Story (2009), he directed Tom Bidwell's Would Like To Meet (2010) for Channel 4's 'Coming Up'. Following on from this, Wayne went on to direct Secret Diary Of a Call Girl Series 4 (2010) with Billie Piper, the lead block of Misfits Series 3 (2012) and the second half of Dennis Kelly's Utopia series 1 (2013) for Kudos and Channel 4. Most recently he has just completed filming the last ever episode of Misfits, which will air later this year on E4.

Hilda van der Meulen

Growing up carefree in Friesland, the north of the Netherlands. Wholeheartedly Competing as an equestrian on National level, as a lark, she entered and unexpectedly won the Miss Holland Beauty Pageant and represented the Netherlands in the Miss World pageant in Sun City, South Africa.

After one year of her Miss Holland obligations, Hilda realized that a whole new world had been opened to her. Demand for her services as a model and later an actress and presenter, took her first to London, and then to Los Angeles, where she lived for several years. She was admitted to the prestigious Beverly Hills Playhouse Acting School, where she became a working film and TV actress, besides that she was tutored on all aspects of film, including screenwriting, character development and how to translate a script into workable scenes on a film set. From there she created a production company, and concentrated on the creative and development aspects of the film industry. Her connections to quality Hollywood producers, distributors, international investors and film financiers took her back and forth from Europe and the USA.

After more than a decade working on several projects in front or as an executive producer, she returned to Friesland life in the country with her horses to focus on making films and entertainment in her native country. It is this "Hollywood" experience, background, and versatility that brings extensive creative outlook and international expansion.

As creative producer of Farmhouse, Hilda van der Meulen was responsible for the process that precedes the making of a film or television series. This includes coming up with original ideas, translating those into commercially-viable concepts, script-writing guidance, and attracting the right people.

Gloria Jean

Gloria Jean Schoonover was born on April 14, 1926 in Buffalo, New York. Her family moved to Scranton, Pennsylvania shortly after that; this is where Gloria spent the early part of her childhood. Her father owned a music store, while her mother, who had been a bareback rider in a circus, took care of Gloria and her three siblings.

Gloria's singing ability was discovered at a young age, and by age five she was singing in the Scranton area. At age twelve, Gloria was taken to an audition by Universal director Joe Pasternak, who was looking for a new child singer to replace studio icon Deanna Durbin, who was being steered into adult and ingénue roles. Although hundreds of Shirley-Temple-perfect girls competed, the natural-looking Gloria was chosen, and she and her mother were soon on their way to Hollywood.

In 1939, Gloria made her first film: "The Under-Pup", which made her an instant hit with moviegoers. Happy with their young coloratura soprano, Universal cast her in "If I Had My Way", which co-starred Bing Crosby. Following that was what many consider Gloria's best movie: "A Little Bit of Heaven". Following this was a co-starring role with W.C. Fields in "Never Give a Sucker an Even Break", which is the most seen of her movies today.

At this point in 1941, Gloria was at the pinnacle of her career, and one would imagine that her star would soar. Unfortunately, it didn't work that way. Gloria had outgrown her Little Miss Fixit roles (as had Durbin a few years earlier), but Durbin was in command of the older-girl roles for the better pictures. At a loss for what to do with Jean, Universal moved her to the "Hepcat" movies, which appealed to the teenagers of that day. "What's Cooking", "Get Hep to Love", "When Johnny Comes Marching Home", and "It Comes Up Love," were all shot in 1942. "Mr. Big," and "Moonlight in Vermont" followed in 1943. All of the above were stock B films which appealed to teenagers of the time. Gloria (as did many Universal stars) had a few seconds on-screen in the war-effort picture, "Follow the Boys", in 1944. After that came a rather good picture "Follow My Rhythm" with Mel Torme, who became a close friend. Then, in "Ghost Catchers", she was teamed with popular comedians Ole Olsen and Chic Johnson. The rather forgettable "Reckless Age" was next, its main distinction being that it was the first movie in which Gloria played a more mature role.

Gloria was to star in one of four episodes of the Julien Duvivier's "Flesh and Fantasy," alongside such stars as Edward G. Robinson, Charles Boyer, and Barbara Stanwyck. But the movie was deemed to be too long, and Gloria's segment was cut out. Some awful footage was added, and the end result was "Destiny". Gloria's performance was given rave reviews, but the movie itself met with modest success. Following this, Gloria did three more films at Universal: "I'll Remember April", "River Gang", and "Easy to Look at".

At this point, upon the (bad) advice of her agent, Gloria decided not to renew her contract at Universal, opting instead to go on tour. The tour did not work out as well as expected, and Gloria returned to the Hollywood in 1947, but she found virtually nobody interested in her services. Groucho Marx gave her a minor role in his picture "Copacabana". This appearance ultimately landed her four more roles in: "I Surrender, Dear", "Manhattan Angel", "An Old Fashioned Girl" and "There's a Girl in My Heart".

As the 1950's began, television was taking off in popularity. Gloria made several singing shorts that were aired during television's early days. Other than that and a few guest appearances on TV series, Gloria's acting career was virtually finished. She appeared in the forgettable "Air Strike" in 1955 and she worked in a couple of movies that were never released.

Jerry Lewis found her working as a restaurant hostess and gave her a part in his movie "The Ladies' Man", which was meant to re-launch her career. Unfortunately, her scenes were cut from the final release. Gloria married shortly after that movie, a short-lived marriage which happily produced a son. At that point, Gloria virtually retired from the screen. She went to work for Redken (a cosmetics firm) until her retirement in 1993.

Gloria was reintroduced to a limelight of sorts by the magic of Ebay, where her movies (many of which are in the public domain) were being sold. Through the help of her sister Bonnie (who handled the computer end of things: Gloria didn't do "Windows"), Gloria got onto Ebay herself, selling copies of the movies she appeared in, as well as signed photographs (copies of old publicity shots) of herself. Spurred by the popularity of these, Gloria published her autobiography "Gloria Jean: A Little Bit of Heaven" in 2005.

After her sister Bonnie's death in 2007, Gloria moved to Hawaii, where she now lives with her son and his family.

Jase Robertson

Jase Robertson is the son of Phil Robertson (aka "The Duck Commander") and Kay Robertson. Jase appears as himself on the A&E reality TV show, Duck Dynasty. Jase was born and raised in West Monroe, Louisiana with his brothers Alan Robertson, Willie Robertson and Jep Robertson and his parents, Phil and Mrs Kay. Jase is in charge of the production of Duck Calls in the family-run business, "Duck Commander", and works in the duck call room with his Uncle Si Robertson and brother Jep Robertson, along with employees Martin and Godwin. He is constantly coming up with ways to goof off from work with his colleagues, which very much annoys his brother, Willie, who is the CEO of the business.

Katharine Lee McEwan

Conformity is something that Katharine McEwan has tried to avoid her whole life. Ask her what she looks for in a character and the word "rebellious" is bound to come up. The British actress is drawn to play the sort of woman who fights to explore a more authentic, more fulfilling life, and who embodies the pioneering spirit.

Katharine was born in Redcar, Cleveland - a small steel town in the North of England. One of six daughters, Katharine spent her early years being home-schooled by her parents and acting in local productions. Her freedom came to an abrupt end at age eleven when she was sent to Catholic school, where she languished for five long years. Wholly uninspired by traditional education, Katharine decided to forgo university and seek overseas adventure instead.

Her journey took her through Europe, Asia, South Africa and Australia. Arriving in Los Angeles with a renewed passion and an even greater desire to study her craft, she enrolled at the Lee Strasberg Theatre and Film Institute. Upon graduating, Katharine started working in theatre and independent film, but soon realized that creating her own material would give her the opportunity to play the dynamic, fiery women she most identified with.

After gaining experience producing short films, Katharine wrote, produced and starred in the feature-length drama Solitary released by Electric Entertainment in November 2016. Solitary received sixteen festival awards and thirteen nominations, including eight Best Feature wins and four Best Actress wins / nominations for Katharine. It was the opening night film of both the Chelsea Film Festival in New York and the London Independent Film Festival, where it won Best UK Feature. Most recently, Katharine produced and acted in the short film Swim which won the Audience Award for Best Short at the 2017 Los Angeles Film Festival.

Off camera, Katharine is an avid reader of history, with a particular passion for the Tudor era. Other favorite pastimes include hiking with her dog and playing pool. She still dreams about taking another Australian road trip, with only her backpack and sleeping bag for company.

Marco Grazzini

Originally from Toronto Canada, Marco's effortless charm, brooding good looks and vast array of talents have propelled him to the forefront of the American film and television landscape. Marco is most well known for his roles on CW's "The Flash" as the villain 'Tar Pit' and NBC's "Heroes Reborn" as the masked hero 'El Vengador' . Amongst his other notable appearances are a recurring role on Crackle's "The Art of More", and guest spots on Syfy's "The Magician"s & "Killjoys". Marco was also the original voice of 'Alejandro' in Cartoon Network's smash hit "Total Drama World Tour". Coming up in 2017 for Marco is an appearance on the Amanda Seyfried & Clive Owen headlined feature "ANON".

Hilary Greer

An actress & comedienne born in NYC. Just shot the lead in a thriller opposite Eric Roberts for Lifetime Television. She had 2 seasons on Alien Dawn, in which she played Series Regular Ruby Turner a scientist and mother out to protect her son and save the world. It was voted Best New Show in 2013 for Nickelodeon. Coming up next is Montauk Boys, a SYFY thriller pilot in which she has a Series Regular role, happily playing the lead's mom. Currently she is working on a dramatic pilot in a recurring role.

Nathan McLeod

Nathan McLeod grew up with music all around him in small town Airdrie, Alberta. From Karaoke with the family to Community Theatre, it was evident that he loved to perform. At the age of 9 he moved to Toronto and realized his dreams were closer. Ever since the film "Spy Kids" was released, young Nathan was determined to be a "Spy Kid". Moving to Toronto gave him the opportunities he wanted to be able to start an acting career. He quickly learned that it would take some hard work to get to where he wanted to be and in doing so, he learned his love for all aspects of the arts.

In the next 8 years Nathan booked over a dozen commercials, has been a series lead and special guest in several television shows and movies, starred in over 8 Musicals, performed for functions across the Greater Toronto Area and has been writing dozens of songs throughout it all.

Education has always been important to Nathan because he knew it would be the next step in achieving his goals. Studying at the Etobicoke School of the Arts, Stage It Arts, Linda Fletcher Vocal Studio, Lewis Baumander Acting Studio, The Royal Conservatory of Music and many other institutions has educated Nathan in every aspect of being a true triple threat.

Nathan is so excited to keep doing what he loves and is always so excited for what's coming up next.

Lydia Kay

British actress Lydia Kay was born in Leighton Buzzard, Bedfordshire. Daughter to an artist and a guitarist she naturally grew up creative in many ways. From an early age Lydia decided that acting was the career for her, and everything she has achieved since has been in pursuit of this dream. When she was seven she first trod the boards with a local amateur dramatics group, and later went on to perform many times with the Leighton Buzzard Children's Theatre. It was through work with this group that Lydia began to fully realise her potential, not only with acting but singing and dance also. By the time she was headed for drama school Lydia had twelve years of experience on stage, as well as seven years training in dance (styles including street, jazz, modern and ballet).

Lydia trained for three years at East 15 Acting School on the BA (Hons) World Performance course, and is privileged to belong to its first ever graduating year. The course was a valuable eye opener for Lydia, teaching her to strive for what she wants and exposing her to a huge range of different global performance techniques, which both intrigued and inspired her. The intensive training enabled her to develop her performance in Western acting styles but also to learn new disciplines such as Jingju, Balinese dance, Kecak, traditional Nigerian dance and drumming, Butoh and many more.

Since graduating Lydia has been acting almost non-stop, with a great desire to progress into film and television. She has had several scare acting jobs, which were of great enjoyment, and has been warmly welcomed into the world of touring Pantomime. One of the greatest opportunities she had was the chance to perform everyday at the London 2012 Olympic and Paralympic Games for Coca-Cola, in their interactive Beatbox building. An experience which has since influenced her to take up archery. She has also completed filming on the features 'Survivors' and 'Christmas Slay', and has a lead role coming up in 2014 in the high profile indie film 'Invasion of the Not Quite Dead'.

Emma Pedersen

Emma Pedersen is a perfect mix of intelligence and beauty. Her lively spirit and ambition has brought her to Vancouver from Toronto to pursue her love of acting.

Emma has always been captivated by the arts. Beginning with stage performance as a child, she was involved with recitals, plays and musicals of all kinds and levels. Although she never had a particular moment of realization in wanting an acting career, her certainty in knowing she could never stop performing has driven her forward. Emma's roles in local productions, musicals, and classic theatrical roles at such an early age helped introduce her to the world of singing, acting and even choreography. Some of her fondest performance memories include playing Ilsa in Spring Awakening and the feisty Velma Kelly in Chicago, both at Sheridan College.

Emma began her involvement in television, fresh out of college in 2013, when she landed a role on USA Network's "Suits". Later that year, she guest starred in CBC's "Murdoch Mysteries" and in 2015 she appeared on Hulu's "Killjoys". She had her film debut in the film LIFE, where she worked alongside actors Robert Pattinson and Joel Edgerton.

Since coming to Vancouver Emma has worked on such Hallmark productions as "Signed, Sealed, Delivered", and national commercials.

Coming up, Emma plans to continue her focus on her film and TV career while expanding her work in music. She has several cover-song-style music videos in the works and will begin choreographing once again as she continues to audition within the Vancouver area.

Karl Freund

Karl Freund, an innovative director of photography responsible for development of the three-camera system used to shoot television situation comedies, was born on January 16, 1890, in the Bohemian city of Koeniginhof, then part of the Austria-Hungarian Empire (now known as Dvur Kralove in the Czech Republic). Freund went to work at the age of 15 as a movie projectionist, and by the age of 17, he was a camera operator shooting shot subjects and newsreels. Subsequently, he was employed at Germany's famous UFA Studios during the 1920s, when the German cinema was the most innovative in the world.

At UFA, Freund worked as a cameraman for such illustrious directors as F.W. Murnau and Fritz Lang. For Murnau's The Last Laugh (aka The Last Laugh), screenwriter Carl Mayer worked closely with Freund to develop a scenario that would employ the moving camera that became a hallmark of Weimar German cinema. One of the most beautiful and critically acclaimed silent films, The Last Laugh is considered the perfect silent by some critics as the images do most of the storytelling, allowing for a minimal amount of inter-titles. The collaborative genius of Murnau, Mayer, and Freund meant that the images communicated the integral part of the narrative, visualizing and elucidating the protagonist's psyche. Freund filmed a drunk scene with the camera secured on his chest, with a battery pack on his back for balance, enabling him to stumble about and produce vertiginous shots suggesting intoxication.

Director Ewald André Dupont gave credit for the innovative camera work on his masterpiece Variety (aka Variety) to Freund, praising his ingenuity in an article published in The New York Times. Freund was one of the cameramen and the co-writer (with Carl Mayer and director Walter Ruttmann) on Berlin: Symphony of a Great City (Berlin: Symphony of a Great City), an artistic documentary that used a hidden camera to capture the people of the city going about their daily lives. Always technically innovative, Freund developed a high-speed film stock to aid his shooting in low-light situations. This film also is hailed as a classic. Other classic German films that Freund shot were The Golem (aka The Golem) and Lang's Metropolis.

Now possessing an international reputation, Freund emigrated to the U.S. in 1929, where he was employed by the Technicolor Co. to help perfect its color process. Subsequently, he was hired as a cinematographer and director by Universal Studios, where he cut his teeth, uncredited, as a cinematographer on the great anti-war classic All Quiet on the Western Front, Universal's first Oscar winner as Best Picture.

Universal's bread and butter in the early 1930s were its horror films, and Freund was involved in the production of several classics. Among his Universal assignments, Freund shot Dracula and Murders in the Rue Morgue, and directed The Mummy. The Mummy was Freund's first directorial effort, and co-star Zita Johann, who disliked Freund, claimed he was incompetent, which is unfair, seeing as how the film is now considered a classic of its genre. The film uses the undead sorcerer Imhotep's pool with which he can impose his will over the living by spreading some tana leaves on the water, as a visual metaphor for the subconscious. The film is arresting visually due to Freund's cinematic eye that created a sense of "otherness." The film is infused with a dream-like state that seems rooted in the subconscious mind. Freund's other directorial efforts at Universal proved less satisfying.

Moving to MGM, Freund directed just one more motion picture, Mad Love (aka The Hands of Orlac) a horror classic that utilized the expressionism of his UFA apprenticeship. With the great lighting cameraman Gregg Toland as his director of photography, the collaboration of Freund and Toland created a European sensibility unique for a Hollywood horror film. The compositions of the shots featured arch shapes and utilized the expressive shadows of the best of the European avant-garde films of the 1920s.

But MGM wanted Freund for his genius at camera work. He shot the rooftop numbers for The Great Ziegfeld, another Best Picture Oscar winner, and worked with William H. Daniels, Garbo's favorite cameraman, on "Camille" (1936). He shot Greta Garbo's Conquest solo, though he never worked with Garbo again. That same year, he was the director of photography on The Good Earth, for which he won an Academy Award for Best Cinematography.

Other major MGM pictures he shot were Pride and Prejudice, for which he received an Academy Award nomination, Tortilla Flat, and A Guy Named Joe. He also worked for other studios, shooting Golden Boy for Columbia. In 1942, he pulled off a rare double: he was nominated for Best Cinematography in both the black and white and color categories, for The Chocolate Soldier and Blossoms in the Dust, respectively.

One of the last films he shot for MGM was Two Smart People, starring Lucille Ball. In 1947, he moved on to Warner Bros, where he shot the classic Key Largo for John Huston. His last film as a director of photography was Michael Curtiz' Montana, which starred Gary Cooper.

Always the technical innovator, Freund founded the Photo Research Corp. in 1944, a laboratory for the development of new cinematographic techniques and equipment. His technical work culminated in his receipt of a Class II Technical Award in 1955 from the Motion Pictures Arts & Sciences for the design of a direct-reading light meter. That same year, he had the honor of representing his adopted country at the International Conference on Illumination in Zurich, Switzerland.

It was perhaps inevitable that the technical and innovation-minded Freund would get to work for a brand new visual medium, television. Lucille Ball, whom he had photographed when she was a contract player at MGM, became his boss when he was hired as the director of photography at Desilu Productions, owned by Ball and her husband, Desi Arnaz. Desilu hired the great Freund as its owners were determined to shoot the show I Love Lucy on film rather than produce the show live, as was standard in the early 1950s. Most shows were shot live, while a film of the program was simultaneously shot from a monitor, a process that created a "kinescope." The kinescope would be shown in other time zones on the network's affiliates. Desilu's owners disliked the quality of kinescopes, and needed Freund to come up with a solution to their problem of how to maintain the intimacy of a live show on film.

Freund agreed that the show should be shot on film rather than live, as film enabled thorough planning and allowed for cutting, which was impossible with live TV. Freud knew that film would allow Desilu to eliminate the fluffs which were a staple of early television, and would allow the producers to re-shoot scenes to improve the show, if needed.

I Love Lucy had to be filmed before an audience to retain the immediacy of a live TV show, which meant that the traditional, time-consuming methods of studio production with one camera would not work. Freund decided to shoot I Love Lucy with three 35mm Mitchell BNC cameras, one of each to simultaneously shoot long shots, medium shots and close-ups. Thus, the editor would have adequate coverage to create the 22 minutes of footage needed for a half-hour commercial network show.

The then-innovative, now-standard technique of simultaneously shooting a situation comedy with three 35mm cameras cut the production time needed to produce a 22-minute program to one-hour. The cameras were mounted on dollies, with the center camera outfitted with a 40mm wide-angle lens, and the side cameras outfitted with 3- and 4-inch lenses. The resulting shots were edited on a Movieola. A script girl in a booth overlooking the stage cued the camera operators. Due to extensive rehearsal time before the show was shot live, the camera operators had floor marks to guide them, but Freund's system was enabled by the script girl overseeing their actions via a 2-way intercom. The system made the shooting, breaking-down, and setting-up process for the next scenes on the three sets of the I Love Lucy stage very economical in terms of time, averaging one and one-half minutes between shots.

Freund worked out the lighting during the rehearsal period. Almost all of the lighting was overhead, except for portable fill lights mounted above the matte box on each camera. In Freund's system, there were no lighting changes during shooting, other than the use of a dimming board. Since the lighting was mounted overhead on catwalks, power cables were kept off the floor, which facilitated the dollying that was essential for making the system work fluidly.

Freund's solution to the problem of shooting a show on film economically was to make lighting as uniform as possible, taking advantage of adding highlights whenever possible, since a comedy show required high-key illumination. Due to the high contrast of the tubes in the image pickup systems at the television stations, contrast was a potential problem, as any contrast in the film would be exaggerated upon transmission of the film. To keep the film contrast to what Freund called a "fine medium," the sets were painted in various shades of gray. Props and costumes also were gray to promote a uniformity of color and tone that would not defeat Freund's carefully devised illumination scheme.

In a typical workweek, the I Love Lucy company engaged in pre-production planning and rehearsals on Monday through Thursday. I Love Lucy was filmed before a live audience at 8:00 o'clock PM on Friday evenings, and Freund's camera crew worked only on that Friday and the preceding Thursday. Freund, however, attended the Wednesday afternoon rehearsal of the cast to study the movements of the players around the sets, noting the blocking and their entrances and exits, in order to plan his lighting and camera work. Thursday morning at 8:00 o'clock AM, Freund and the gaffers would begin lighting the sets, which typically would be done by noon, the time the camera crew was required to report on set to be briefed on camera movements. Then, Freund would rehearse the camera action in order to make necessary changes in the lighting and the dollying of the cameras.

It was during the Thursday full-crew rehearsal that the cues for the dimmer operator were set, and the floor was marked to indicate the cameras' positions for various shots. For each shot, the focus was pre-measured and noted for each camera position with chalk marks on the stage floor. Another rehearsal was held at 4:30 PM with the full production crew. Though a full-dress rehearsal was held at 7:30 PM, with the attendance of the full crew, the cameras were not brought onto the set. The director would take the opportunity to discuss the plan of the show and solicit input from the cast and crew on how to tighten the show and improve its pacing.

The next call for the entire company was at 1:00 PM on Friday to discuss any major changes that were discussed the previous night. After this meeting, the cameras would be brought out onto the stage, and at 4:30 PM, there would be a final dress rehearsal during which Freund would check his lighting and make any required changes.

After a dinner break, the cast and production crew would hold a "talk through" of the show to solicit further suggestions and solve any remaining problems. At 8:00 PM, the cast and production crew were ready to start filming the show before a live audience. Before shooting, one of the cast or a member of the company had briefed the audience on the filming procedure, emphasizing the need for the audience's reactions to be spontaneous and natural.

Shooting was over in about an hour due to the rapid set-ups and break-downs of the crew, which shot the show in chronological order. Due to the thorough planning and rehearsals, retakes were seldom necessary. Camera operators in Freund's system had to make each take the right way the first time, every time, to keep the system working smoothly, and they did. An average of 7,500 feet of film was shot for each show at a cost that was significantly less than a comparable major studio production.

Freund also served as the cinematographer on the TV series Our Miss Brooks, which was shot at Desilu Studios, and Desilu's own December Bride. It was no accident that Desilu productions turned to Karl Freund to realize their dream of creating a high-quality show on film. Freund had the broadest experience of any cameraman of his stature, starting in silent pictures, and then excelling in both B&W and color in the sound era. With his penchant for technical innovation, he was the ideal man to develop solutions for filming a television show. Freund met the challenge of creating high quality filmed images in a young medium still handicapped by its primitive technology.

Freund became the dean of cinematographers in a new medium, with Desilu's I Love Lucy and its other shows recognized as the gold standard for TV production. His work ensured the fortunes of Desilu Productions, and the personal fortunes of Desilu owners Desi Arnaz and Lucille Ball, as he provided them with quality films of each show that could be easily syndicated into perpetuity, whereas the live shows filmed secondarily off of flickering TV monitors as kinescopes could not.

After retiring as a cinematographer, Freund continued his research at the Photo Research Corp. He died on May 3, 1969.

Joseph T. Campos

Joseph Thomas Campos also known as Joseph Thomas, was born on January 16. 1973, in Winfield, Illinois. A graduate of Mission High School, class of 1991, Joseph Thomas started acting in high school, where he took part in many plays for his drama class. His desire to fulfill his dream of being an Actor/Stuntman brought him to Austin, Texas and in the early 2000's he landed his first gig that would change his life forever. Joseph Thomas was hired on as an extra in the movie "The Alamo", where he played a soldier in the Mexican Army. He later became a featured extra performing Various Stunts, and was one of the Davey Crockett Executioners. From television series to feature films. Joseph Thomas. has etched an indelible mark into the industry and into the hearts of those he works with. His range of skills span from acting, voiceover, stunts, lighting, sound, writing, editing. On set, he cares about keeping up positive morale and can quickly anticipate the needs of others after working with them for just a short time. Joseph Thomas loves working with kids and enjoyed helping out in 2007 with the Austin Film School. Even as recent as last year he worked instructing elementary students all over the Austin area in association with LUPE Arte. His creativity does not stop there it also extends into music, he starred in a video for with The Late very popular Accordion Player & Vocalist Aniceto Molina. He received The Merit Award for Best Supporting Actor at Indie Fest 2009 for the role of Benito in Guilty. More recently he has worked on Dusk til Dawn (TV series). Coming up, you can see him in the new ABC TV series, American Crime & USA TV Series Queen of the South

Mandana Jones

Mandana was born in 1967 to her Welsh father and Iranian Mother. Her Head of English encouraged her to take up acting when she was unsure what she wanted to do with her life. She began building up her CV and one of her first jobs was an usherette in London's West End.

Then she got into drama school (the same one attended by Bad Girls co-star Helen Grace) The Drama School. Her theatre credits include 'Midsummer Nights Dream' at the National in 1992, 'Hove' at the National 1993 and ''Resolution' at the Battersea Arts Centre 1994. Previously she did Julius Caesar (Compass/No 1 tour), The Merchant of Venice, Volpone (English Shakespeare Company), (The Merchant of Venice and Volpone, after a visit to the Globe Theatre in Tokyo, completed a twentyfour week UK tour), Cymbeline/The Wager (Start Here Productions tour including the Lyric and Birmingham Rep Studios).

She was also in a film called Flesh and Blood. Her role on ITV award winning drama 'Bad Girls' is what most people associate her with. Mandana became a gay icon to millions of women through her role on Bad Girls playing Nikki Wade and is very proud of the shows achievements. But before Nikki she played parts such as a Doctor on London Bridge.

Her 2003 role on BBC1 afternoon play 'Coming Up For Air' was playing the part of Sarah, the love interest of Jeremy Sheffields character Tom.

Michael Yo

Michael Yo, a 2-time Emmy nominee, is a stand-up comedian coming up under the wings of Chelsea Handler on "Chelsea Lately" as a recurring comedy panelist. Stand-up has become a staple for Michael and he is now headlining across the country. Michael is Hollywood's resident entertainment and pop culture expert. He can be seen covering celebrity news and gossip on CBS' "The Insider" as well as guest co-hosting CBS' "The Talk," and appearing regularly as a hot topic talker on "The Wendy Williams Show." Additionally, Michael can be heard on SiriusXM as host of "Hits1 in Hollywood" weekday afternoons on channel 2. The self-proclaimed "Half-Black Brother with a Korean Mother" is known in the entertainment industry as the more respectful entertainment news correspondent as he will always embarrass himself more than his interviewees. Michael was born and raised in Houston and got his start in Austin at the popular central Texas station 96.7. After his stint in Texas radio, Michael moved east for college to his other hometown, Miami, where he was recruited by #1 radio station Y100. Following Miami, he made the move to Los Angeles where he's worked as a correspondent for "Extra," "E! News," and appeared regularly on "The Daily 10" and "Kourtney and Khloe Take Miami."

Sera-Lys McArthur

Sera-Lys McArthur is a mixed-race actress from Saskatchewan, Canada. She began acting at the age of 12 when she was cast in the CBC miniseries Revenge of the Land, directed by John N. Smith (Dangerous Minds, The Boys of St.Vincent). She has since lived, trained and worked in such locations as Vancouver, Toronto, New York, LA, and the U.K. She studied Musical Theatre at the AMDA in New York, and then stayed in the Big Apple to gain experience as a fashion model. She was awarded the Premier's One World Scholarship via Capilano University in BC and moved to London to attend the MA in Acting programme at East 15 Acting School at the University of Essex, where she graduated at the top of her class. She has also studied under veteran actress Barbara Bain in Los Angeles.

Sera-Lys starred in another highly-acclaimed John N. Smith miniseries called The Englishman's Boy. She was honored to be cast in this highly dramatic role based on the experience of her Nakota ancestors. She was also responsible for presenting the language for the first time on an indelible form of media such as film. She was thrilled to be cast in Hard Core Logo II (which was shown at Toronto International Film Festival 2011) and have the opportunity to work with acclaimed director Bruce McDonald. She played the lead role of Skye in a soon-to-be-released pilot called Skye and Chang, a sci-fi action 'dramedy' for APTN. This role had her embark on Kung Fu training, which she continues presently.

Perhaps her most recognizable work to date is on CBC's Arctic Air, which is now in it's third season. Her recurring guest-star role 'Hailey' is the onscreen niece of the famous Native actor, Adam Beach (Flags of Our Fathers, Law and Order: SVU) and onscreen daughter of the Gemini- and Leo-award-winning actress, Michelle Thrush (Blackstone, Dead Man).

Between shoot dates, Sera-Lys has also been involved in some excellent theatre productions. She played the daughter of acclaimed actor Lorne Cardinal (Corner Gas) in the Governor General Award-winning play Where the Blood Mixes by Kevin Loring, which had rave reviews in each of its runs: Western Canada Theatre (Kamloops), Theatre Aquarius (Hamilton), and Theatre Network (Edmonton). She also gladly accepted the opportunity to return to New York City and perform in the Signature Center on 42nd Street/Theatre Row in the world-premiere of Smoke by Vickie Ramirez.

Coming up: she is looking forward to starring as the female lead in the new musical Children of God, by Corey Payette of Vancouver's Raven Theatre Company.

Sera-Lys is extremely excited to be working with Native Earth and starring in the solo tour of Quilchena. The subject matter of missing and murdered women is an issue that she holds dear to her heart and is pleased to be raising awareness about through this strong collaborative work.

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