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Theodore Martin 'Ted' McGinley was born on May 30, 1958 in Newport Beach, California. He is perhaps best known for his long-running roles in the television series Happy Days (1974), The Love Boat (1977), Dynasty (1981), Married... with Children (1987) and The West Wing (1999). Formerly a model, McGinley was spotted by a casting director after appearing in the magazine 'GQ', and was subsequently offered the role of Roger Phillips in Happy Days (1974). However, the veteran television star is no stranger to film either, having appeared in a string of features including Young Doctors in Love (1982), Revenge of the Nerds (1984), Wayne's World 2 (1993), Major League: Back to the Minors (1998) and Pearl Harbor (2001).

Javicia Leslie was born in Augsburg, Germany. She moved to Maryland at a young age and was raised in Upper Marlboro near Washington, DC. Her first stream of work began as the lead for the television film, Killer Coach. Javicia has continued to work ties with series such as MacGyver, Chef Julian, and Prototype. In 2017 she filmed a role as one of the leads in the film - " The Family Business", based on the NY Times best selling author, Carl Weber. In 2018 she landed her first series regular role as Ali Finer in "God Friended Me" as the sister to Brandon Michael Hall for CBS. Along with film, television, and commercials, Javicia has performed in many plays. These plays include August Wilson's Seven Guitars, Ntozake Shange's For Colored Girls, and Bob Fosse's Chicago. Javicia Leslie is also trained in Muay Thai, Boxing, Weapons, Dance, Track, and Swimming and regularly trains in an extensive Fitness Bootcamp.

Idina Menzel was born on May 30, 1971 in New York City, New York as Idina Kim Mentzel. She's an American actress, singer & songwriter. She's best known as Maureen in Rent, Elphaba in Wicked & the voice of Elsa in Frozen (2013). Her mother Helene Goldberg was a therapist & her father Stuart Mentzel was a pajama salesman. Her grandparents emigrated to the U.S. from Russia. She grew up in New Jersey & on Long Island. At 15, she started to work as a wedding & bar mitzvah singer. She attended Syosset High School & graduated from New York University's Tisch School of the Arts w/ a degree in drama in 1992.

In 1996, she debuted in theater, originating the role of Maureen in Rent, which went from Off-Broadway to Broadway. This role also got Menzel her 1st Tony nomination. In 1998, she released her 1st album Still I Can't Be Still. She made her movie debut in 2001 when she played a minor role in Kissing Jessica Stein (2001). In 2003, she became 1 of the most popular Broadway performers when she originated the role of Elphaba in Wicked. This role brought her not only huge popularity & acclaim, but also a Tony Award for Best Leading Actress in a Musical.

In 2005, she appeared in the Off-Broadway musical See What I Wanna See, earning Drama Desk Award & Drama League Award nominations. The same year, she reprised the role of Maureen in the movie adaptation of Rent (2005). In 2007, she appeared in Enchanted (2007). In 2013, she received another Tony nomination for her performance in If/Then. She voiced Elsa for the 1st time in Frozen (2013), a role she often reprises for sequels & tie-ins. In addition to theater, movie & TV appearances, she regularly releases new music & goes on tour.

Jonah Hauer-King was born and raised in London. He is a dual citizen of the UK and the United States.

Jonah began his career at the Lyric Belfast, in Simon Stephen's 'Punk Rock'. He then went to Cambridge University, but juggled acting roles on stage and screen whilst he was there. His first feature was a lead role in Danny Huston's 'The Last Photograph', which received its world premiere at the Edinburgh International Film Festival. Jonah then starred alongside Bel Powley in 'Ashes In The Snow', based upon the novel Between Shades Of Gray by Ruta Sepetys, and Film 4's 'Old Boys' alongside Alex Lawther. He made his West End debut playing Kenneth Branagh's son in 'The Entertainer', then starred in two BBC miniseries: 'Howard's End' with Hayley Atwell and Mathew Macfadyen, and 'Little Women', with Emily Watson, Angela Lansbury, and Michael Gambon. He then acted in and wrote for the soundtrack for BFI's 'Postcards From London', which will released by Peccadillo Pictures in November 2018. Most recently, he was the lead in Sony's 'A Dog's Way Home', out in January 2019 and Blumhouse's 'Once Upon a Time in Staten Island' alongside Naomi Watts. He is now filming Francois Girard's 'Song of Names' alongside Tim Roth and Clive Owen, and the BBC's major new WW2 drama 'World on Fire'.

He began acting at school, and was signed by an agent when performing at the Edinburgh Fringe. He studied at Cambridge University graduating with a First Class degree in Theology and Religious Studies in 2017.

Jonah was featured in the Evening Standard's Progress 1000: London's most influential people in 2016, 2017, and 2018.

Colm Meaney was born on 30 May 1953 in Dublin, Ireland. He is an actor and producer, known for Star Trek: Deep Space Nine (1993), Under Siege (1992) and Layer Cake (2004). He has been married to Ines Glorian since 15 March 2007. They have one child. He was previously married to Bairbre Dowling.

In film, television, and theater, DeWanda Wise has established herself as one of the industry's most consistently critically acclaimed artists.

Of her work as Kayla Watts in Jurassic World Dominion, she's been nearly universally considered a standout of the sixth installment with critics noting her magnetism, swagger, wit, and charisma. Entertainment Weekly notes,

"Dominion's most memorable star might be its newest: DeWanda Wise, who joins the series as high- flying pilot Kayla Watts...Playing a daring pilot, (she) is basically starring in a one- woman Raiders of the Lost Ark in her head. Let's get that concept to the sequel writers stat."

In Sony's Fatherhood directed by Paul Weitz, Wise plays Lizzie Swan. Her performance was similarly singled out for her depth of characterization, charm, and grace. While Variety noted that Swan was, "Saucy, gorgeous, so-supportive-she's-saintly," The Wrap observed how

"Lizzie Swan is the kind of ideal romantic partner that might seem eye-rollingly implausible were it not for the efforts of actor DeWanda Wise who makes Swan's healthy outlook and emotional patience seem like hard-earned positive qualities of a healthy, real human being."

As Erin Kennedy in Jennifer Kaytin Robinson's subversive rom com, "Someone Great," Variety declared,

"It's Wise who's this film's MVP, wittily delivering many hilarious, quotable one-liners with effervescence and charm."

Largely considered her breakout role, In the Netflix adaption of "She's Gotta Have It," created by Spike Lee, Wise appears as the iconic Nola Darling. Following its season one release, the series acquired great critical acclaim, and as a result, won an African-American Film Critics Association (AAFCA) award as one of the "Top 10 Television Shows." The Hollywood Reporter calls Wise's work "superb," while Deadline exclaimed, "With a star revealing herself before us, Underground alum Wise hits nothing but high notes." Other critics describe her performance as "fiery," "complex," "brilliant," and "moving."

Other acclaimed television work includes CBS All Access "The Twilight Zone," FOX's drama "Shots Fired," and WGN's hit historical drama "Underground."

Additional film credits include the 2016 Sundance romantic-comedy hit, "How to Tell You're a Douchebag," by Tahir Jetter. A film in which Wise both starred in and executive produced..

In 2016, Wise expanded her talents into screenwriting and wrote the short film entitled, "Where You Go," which premiered at Cannes in the "Short Film Corner."

Stage credits include Atlantic Theater Company's "Fireflies," by Donja R. Love, a performance universally acclaimed. Sara Holdren at Vulture states:

"Wise's smoldering, taut-as-a-bowstring Olivia is almost part animal. It's an electrically charged performance, the kind that you imagine an actor passing out after. Wise has extraordinary bright hazel eyes, cat-like in their intensity: They're the eyes of a domestic creature that should have been wild, a creature that's never at rest, whose small body contains a whole history of life before walls, before cages, before dependence."

Previous stage credits include a host of theater roles, notably originating the role of 'Nina' in acclaimed playwright Dominique Morisseau's "Sunset Baby." Ben Brantley of The New York Times stated,

"...it's the woman who's the toughest of them all. Ms. Wise, a beauty, makes us see and feel just how ugly Nina is...she also insists we understand why."

The Village Voice called her Nina, "commanding and severe," while The New Yorker described her performance as "Brutal and riveting."

Other praised performances include her work as Susan in the west coast premiere of David Mamet's "Race" with Center Theater Group, Mercy in "Flight," at City Theatre, and Abigail, a Zimbabwean wife grappling with an HIV diagnosis, in Danai Gurira's heartbreaking "In the Continuum" at Playmakers, Chapel Hill.

DeWanda Wise graduated from New York University with honors as a double major in Drama and Urban Social and Cultural Analysis with a minor in Community-based Theater and Performance. She is a Tisch Scholar Award recipient, the Atlantic Achievement in Studio Award recipient, and the BFA Representative of her graduating class of NYU's Tisch School of the Arts.

Sean Giambrone portrays youngest son "Adam Goldberg" on ABC's comedy series, The Goldbergs (2013), the younger version of the show's creator, Adam F. Goldberg. He can also be seen in the co-lead role as "Ron Stoppable" in Disney's new live-action Kim Possible (2019) movie. Giambrone is an accomplished voice-over with appearances in The Emoji Movie (2017), as well as Disney's Ralph Breaks the Internet (2018) and The Secret Life of Pets 2 (2019). Giambrone is also a series regular on Cartoon Network's Clarence (2013) and Hulu's Solar Opposites (2020), and makes regular appearances on Disney's Big Hero 6: The Series (2017).

Giambrone began his acting career at the age of 9 and starred in various television commercials, including those for "McDonald's" and "Friendly's" Restaurants. He gained particular attention in the nationwide campaign for "Sea World", even making an appearance in a spoof on "The Tonight Show", and also appeared as "Afro Boy" in the film, I Heart Shakey (2012).

Born in St. Joseph, Michigan, and raised in the Chicago area suburb of Park Ridge, Illinois. Giambrone is a big fan of the Michigan Wolverines. He loves working on his artwork and playing either soccer or basketball. He loves films and enjoys watching his favorite actors, Will Smith, Robert Downey Jr. and the late Heath Ledger. Giambrone has moved to Los Angeles with his parents, Vonda and David, as well as older brother, Luke.

Ruta Lee was born on 30 May 1935 in Montréal, Québec, Canada. She is an actress, known for Funny Face (1957), Seven Brides for Seven Brothers (1954) and Witness for the Prosecution (1957). She was previously married to Webster Bernard Lowe Jr..

Mark Andreas Sheppard was born on May 30, 1964 in London, England. He is an actor director and producer, known for Supernatural (2005), Battlestar Galactica (2004), Firefly (2002), Leverage (2008), Doctor Who (2005) In the Name of the Father (1993) and many others. He has been married to Sarah Louise Fudge since November 9, 2015.

Rachael Stirling was born on 30 May 1977 in St Marylebone, London, England, UK. She is an actress, known for Snow White and the Huntsman (2012), The Young Victoria (2009) and Tipping the Velvet (2002). She has been married to Guy Garvey since 3 June 2016. They have one child.

Character actor Stephen Tobolowsky was born on May 30, 1951 in Dallas, Texas. Over the past three decades, Tobolowsky has racked up a lengthy list of roles in movies and television across many different genres.

While Tobolowsky initially attended Southern Methodist University in Dallas, Texas with the intention of studying geology, he was quickly drawn in to acting there. He later attended the University of Illinois for one year.

Tobolowsky worked primarily in theater during his early career, and wrote and directed a few plays including "Two Idiots in Hollywood" and "True Stories". His film career took off in the 1980s, though, thanks to roles in The Philadelphia Experiment (1984), Nobody's Fool (1986), Spaceballs (1987), and Mississippi Burning (1988). Since then, Tobolowsky has appeared in many popular movies including Bird on a Wire (1990), Basic Instinct (1992), Groundhog Day (1993), Radioland Murders (1994), Murder in the First (1995), Mr. Magoo (1997), The Insider (1999), Memento (2000), Freaky Friday (2003), Garfield: The Movie (2004) and Wild Hogs (2007). He has also done a substantial amount of voice work, most recently taking on the role of Uncle Ubb in The Lorax (2012).

Tobolowsky has been even more prolific in television over the past few decades. He's appeared on a diverse range of shows including Seinfeld (1989), Mad About You (1992), Chicago Hope (1994), The Practice (1997) and Curb Your Enthusiasm (2000), and has had recurring roles on CSI: Miami (2002), Deadwood (2004), Heroes (2006), Californication (2007) and Glee (2009).

Tobolowsky is married to fellow actor Ann Hearn.

Antoine Fuqua is an American film director, known for his work in the film Training Day as well as The Replacement Killers, Tears of the Sun, King Arthur, Shooter, Brooklyn's Finest, Olympus Has Fallen and The Equalizer.

He has directed music videos for such artists as Arrested Development, Prince, Stevie Wonder, Toni Braxton, Pras Michel and Usher. He was nominated for MTV's Best Rap Video for Heavy D & the Boyz. He also won two Music Video Production Awards: The Young Generators Award, for his work on Coolio's rap video "Gansta Paradise" and the Sinclair Tenebaum Olesiuk and Emanual Award for the trailer to the hit feature film Dangerous Minds (1995). Among his many commercial credits are Wings for Men, Big Star Jeans, Miller Genuine Draft, Reebok, Toyota, Armani and Stanley Tools.

Clint Walker was born Norman Eugene Walker in Hartford, southwestern Illinois, to Gladys Huldah (Schwanda), a Czech immigrant, and Paul Arnold Walker, who was from Arkansas. Walker almost single-handedly started the western craze on TV in the 1950s as Cheyenne Bodie in Cheyenne (1955). Growing up in the Depression era meant taking work wherever you could get it, and Walker found himself working at such jobs as Mississippi River boatman, carnival roustabout and golf caddy. He quit high school at 16 and at age 17 joined the Merchant Marine. After the war he worked his way cross country, including working in the oil fields in Brownwood, Texas, and wound up in California, where he worked as an undercover agent for a private detective agency on the Long Beach waterfront. After a while he took a job as a security officer at the Sands Hotel in Las Vegas. It was there that he met quite a few Hollywood people who told him that his size, physique and good looks would serve him well in Hollywood and that he should go to Los Angeles and give it a try. He met actor Henry Wilcoxon, who introduced him to director Cecil B. DeMille, and Walker found himself playing the part of a Captain of the Guard in The Ten Commandments (1956). Someone from Warner Bros. saw the film, found out that Walker was under contract to producer Hal B. Wallis, bought up Walker's contract and gave him the lead in "Cheyenne". The series was a huge hit and spawned countless other western series, from Warners and other studios. However, Walker was dissatisfied with the way Warners was handling his career -- they would let other contract players make films, for example, but he wasn't allowed to -- and that triggered a dispute which ended up with him taking a walk from the show. He and Warners eventually settled their disagreements. When the show ended Walker began to get supporting parts in features, his biggest and most successful one being The Dirty Dozen (1967). He starred in the well-received The Night of the Grizzly (1966) and the not-so-well received None But the Brave (1965), a WWII film that was Frank Sinatra's one and only stab at directing. He also played the lead in Baker's Hawk (1976), and turned in a good performance as a villain in the TV movie Scream of the Wolf (1974). Lately he and several of his colleagues from "The Dirty Dozen" provided the voices for the animated film Small Soldiers (1998).

Jenny Mollen was born in Phoenix, Arizona to a family of doctors. Her work in local theater led to experiences with The Old Globe in San Diego, California, The Idywild School, and the renowned Oregon Shakespeare Festival in Ashland, Oregon. For College Jenny attended UCLA's School of theater, film, and television. While at UCLA, she earned immediate industry attention for a one woman show she both wrote and produced entitled Not A Pretty Girl. Graduating with her degree in just three years, Jenny has also studied and lived in Paris, France and Heidelberg, Germany. She is fluent in both languages.

John Ross Bowie was born in New York City, New York, USA. He is an actor and writer, known for Speechless (2016), The Big Bang Theory (2007) and Childrens Hospital (2008). He has been married to Jamie Denbo since 5 June 2004. They have two children.

Mel Blanc, known as "The Man of Thousand Voices" is regarded as the most prolific actor to ever work in Hollywood with over a thousand screen credits. He developed and performed nearly 400 distinct character voices with precision and a uniquely expressive vocal range. The legendary specialist from radio programs, television series, cartoon shorts and movie was rarely seen by his audience but his voice characterizations were famous around the world.

Blanc under exclusive contract until 1960 to Warner Brothers voiced virtually every major character in the Warner Brothers' Looney Tunes and Merry Melodies cartoon pantheon. Characters including Porky Pig, Bugs Bunny, Daffy Duck, Elmer Fudd, Tweety Bird, Sylvester the Cat, Wile E. Coyote,The Roadrunner, Yosemite Sam, Sam the Sheepdog, Taz the Tazmanian Devil, Speedy Gonzales, Marvin the Martian, Foghorn Leghorn, Pepé la Pew, Charlie the Dog, Blacque Jacque Shellacque, Pussyfoot, Private Snafu among others were voiced by Blanc.

After 1960, Blanc continued to work for Warner Brothers but began to work for other companies once his exclusive contract ended. He worked for Hanna-Barbera voicing characters including Barney Rubble, Dino the Dinosaur, Cosmo Spacely, Secret Squirrel, Captain Caveman, Speed Buggy, Wally Gator among others. He provided vocal effects for Tom & Jerry in the mid 1960's working with fellow Warner Bros. alum, Chuck Jones at what would become MGM Animation. In the mid 1960's, Blanc originated and voiced Toucan Sam for the Kellogg's Fruit Loops commercials. He would later go to originate and voice Twiki for Buck Rogers and Heathcliff in the late 1970's and early 1980's.

Tadhg Murphy was born on 30 May 1979 in Dublin, Ireland. He is an actor, known for Boy Eats Girl (2005), The Northman (2022) and Wrath of Man (2021).

Tall, slim, remote and boyishly handsome, one of Keir Dullea's most arresting features is his pale blue eyes, which featured in a number of watershed films of the 1960s. His major breakthrough (providing him legendary status) was the starring role as astronaut Dave Bowman in Stanley Kubrick's 2001: A Space Odyssey. After that, he persevered quite well on T.V. and (especially) the stage in a career now surpassing five decades.

Dullea, who was born in Cleveland, Ohio, is the son of two book-store owners, and he was raised in New York's Greenwich Village section. He graduated from George School in Pennsylvania and attended both Rutgers and San Francisco State before deciding to pursue summer stock and regional theatre. Attending the Neighborhood Playhouse, he made his New York City acting debut in a production of "Sticks and Bones" in 1956. His first big break came with the pilot program of the Route 66 (1960) series, and he proceeded to find other TV roles in Naked City (1958), Checkmate (1960) and various dramatic programs.

Following stage work in "Season of Choice" (1959) and "A Short Happy Life" (1961), Dullea made an auspicious film debut in a leading role with The Hoodlum Priest (1961), playing a troubled street gang member who crosses paths with Don Murray's determined minister. The young actor's characters from then on seemed to walk a dangerous tight-rope of emotions, and his apparent versatility at such a young age led him to a number of other psychologically scarred portrayals. Tending to play men younger than he really was, none were more disturbed than his haphephobic adolescent David (Dullea was twenty-six at the time) in the deeply felt love story David and Lisa (1962). Paired beautifully with Janet Margolin's schizophrenic Lisa, Dullea won the Golden Globe Award for "Most Promising Male Newcomer."

In the World War II military drama The Thin Red Line (1964)he played an edgy, nervous-eyed private who is pushed to his murderous brink by a brutal sergeant on Guadacanal. In Bunny Lake Is Missing (1965) Dullea portrayed the incestuous brother of Carol Lynley, who may or may not figure into the disappearance of Lynley's child. Keir also costarred as the mysterious intruder who inserts an emotional wedge between gay lovers Anne Heywood and Sandy Dennis in the ground-breaking film about homosexuals, The Fox (1967).

Topping that off, Dullea played the salacious Marquis De Sade himself in a relatively tame, internationally flavored production of De Sade (1969). The apex of his film career, however, came with his lead role in Stanley Kubrick's epic science-fiction film, 2001: A Space Odyssey (1968), as the astronaut Dr. David Bowman.

In the realm of stage acting, Keir made his debut on Broadway in 1967 with "Dr. Cook's Garden" costarring Burl Ives, and Dullea won some "flower power" stardom two years later as a sensitive young blind man who attempted to wriggle free of his protective, overbearing mother. His character also pursues love with a free-spirited girl, played by Blythe Danner, in the play "Butterflies Are Free." By the time the movie of this story was released in 1972 both stars had been replaced by Goldie Hawn and Edward Albert.

Dullea next went abroad to seek film work in England and in Canada, but with lukewarm results. He continued to show his odd-man-out appeal on the Broadway stage as "Brick" in 1970, and in the Broadway revival of "Cat on a Hot Tin Roof" in 1974, acting along with Elizabeth Ashley as "Maggie," and in the black comedy "P.S. Your Cat Is Dead!" one year later.

In the years since then, Dullea has acted steadily on the stage in New York City, and in U.S. regional theatres, in productions of "Sweet Prince," "The Seagull" and "The Little Foxes,"among others. His cinematic roles since 1970 have included another "mysterious stranger" in The Next One (1984), and he also reprised his "David Bowman" role in 2010: The Year We Make Contact (1984), the sequel to "2001: A Space Odyssey." Dullea has had four wives: his first was actress Margot Bennett, and he and his third wife, Susie Fuller (whom he met during the British performances of "Butterflies are Free" in London), cofounded the Theater Artists Workshop of Westport in 1983. Dullea, Fuller and her two children resided in London for quite a while. After Fuller's death in 1998, Dullea married for the fourth time in 1999 to actress Mia Dillon, who is best known for portraying the character "Babe" in in the play, "Crimes of the Heart" in New York City. Just a few weeks later they appeared together in the play "Deathtrap."

Into the millennium, Keir has been featured on film, including the sci-fi adventure Alien Hunter (2003); the senator in The Good Shepherd (2006), along with Matt Damon and Angelina Jolie, which was directed by Robert De Niro; the romantic comedy The Accidental Husband (2008) starring Uma Thurman; the touching Mark Ruffalo social drama Infinitely Polar Bear (2014); and a prime role in the romantic mystery April Flowers (2017). On TV he was seen in such popular programs as "Law & Order," "Castle" and "Damages." and was seen in the recurring role of a religious cult leader in the fascinating series The Path (2016).

Cherubic, wispy-haired looks made his typecasting as impish or eccentric characters somehow inevitable. The pint-sized Michael J. Pollard was born the son of a bar manager of Polish ancestry in Passaic (New Jersey). He studied drama at the Actor's Studio (with a young Marilyn Monroe in the same class) and made his theatrical debut in November 1958 on Broadway in "Comes the Day," with George C. Scott and Judith Anderson. He received excellent critical notices the following year for his performance in William Inge's play "A Loss of Roses" and thereby came to the attention of Hollywood. On the small screen, Pollard enjoyed a measure of early success in anthology television. He then had a brief stint as Bob Denver's cousin Jerome Krebs in a couple of episodes of The Many Loves of Dobie Gillis (1959). His chief contribution to cult sci-fi consisted of appearances in Lost in Space (1965) and Star Trek (1966), his baby-faced appearance enabling him to essay characters who were considerably younger than his actual age. True to form, he also portrayed the bowler-hat wearing, leprechaun-like trickster Mister Mxyzptlk in Superboy (1988), based on the DC comic strips. Pollard had his fair share of exposure to mainstream TV dramas as well, popping up in series like Gunsmoke (1955), The Virginian (1962), and I Spy (1965). For the most part, his screen personae were simple country folk, sometimes evil, often mischievous, nervous or downright weird.

Pollard's big break (and his critically most acclaimed role) was as the loyal, but inarticulate and child-like garage mechanic turned get-away driver C.W. Moss in Arthur Penn's gangster epic Bonnie and Clyde (1967). On the heels of his Oscar-nomination for Best Supporting Actor came offers for other high-profile off-beat character roles, though he was never truly regarded as star material. He gave a good account of himself as Packy, leader of a group of partisans joining Hannibal Brooks (1969) and his POWs in their escape from the Nazis across the Alps to Switzerland. Perhaps best of all post-Bonnie and Clyde impersonations was his powerful portrayal of the outlaw Henry McCarty (aka William H. Bonney) as a demented, twitching psychopath in Dirty Little Billy (1972) (a rare starring role which also marked the screen debut of actor Nick Nolte). By the 1980s, Pollard had recovered from a period of alcohol and drug abuse, but by then his name had slipped down the list of credits and he was now reduced to minor support in films like Roxanne (1987), American Gothic (1987), Dick Tracy (1990), and Rob Zombie's debut cult-horror House of 1000 Corpses (2003).

Pollard died of cardiac arrest on November 20, 2019 in Los Angeles at the age of 80.

Duncan Jones was born on 30 May 1971 in Bromley, Kent, England, UK. He is a director and writer, known for Moon (2009), Source Code (2011) and Mute (2018). He has been married to Rodene Ronquillo since 6 November 2012. They have two children.

Jared Gilmore was born on 30 May 2000 in San Diego, California, USA. He is an actor, known for Once Upon a Time (2011), Mad Men (2007) and The Back-up Plan (2010).

One of the household names in the Asia-Pacific region, Im Yoon-ah, known in the media as Yoona, is a South Korean a South Korean idol singer, actress, dancer, model, spokesmodel, and member of the South Korean girl group girl group Girls' Generation.

After training for five years, the group debuted in August 2007 and went on to become one of the best-selling artists in South Korea and one of South Korea's most popular girl groups worldwide. Apart from her group's activities, Yoona has participated in various television dramas, notably, 'You Are My Destiny (2008)', which marked her career breakthrough and earned her the Best New Actress awards at the 23rd KBS Drama Awards and the 45th Baeksang Arts Awards.

Yoona has since achieved further public attention and acting acclaim with a variety of role types such as 'Love Rain', 'Prime Minister & I', 'The K2', 'The King in Love', and 'King the Land'. Her film work includes 'Confidential Assignment (2017)', 'Exit (2019)', and her first leading role 'Confidential Assignment 2: International (2022)', all of which are among the highest-grossing films in South Korea. On May 30, 2019, Yoona released her debut extended play A Walk to Remember, charting at number three on South Korea's Gaon Album Chart. The success of Yoona's music and acting careers have led her to various CF deals, notably long-term collaborator Innisfree, and have established her as a top idol-actress of Hallyu.

Jake Short was born on 30 May 1997 in Indianapolis, Indiana, USA. He is an actor, known for A.N.T. Farm (2011), The First Team (2020) and Dexter (2006).

Charlie Hall was born on 30 May 1997 in Los Angeles, California, USA. He is an actor and writer, known for The Sex Lives of College Girls (2021), Single Drunk Female (2022) and Bel-Air (2022).

What do the classic films Scarface (1932), Twentieth Century (1934), Bringing Up Baby (1938), Only Angels Have Wings (1939), His Girl Friday (1940), Sergeant York (1941), To Have and Have Not (1944), The Big Sleep (1946), Red River (1948) Gentlemen Prefer Blondes (1953) and Rio Bravo (1959) have in common? Aside from their displays of great craftsmanship, the answer is director Howard Hawks, one of the most celebrated of American filmmakers, who ironically, was little celebrated by his peers in the Academy of Motion Picture Arts and Sciences during his career.

Although John Ford--his friend, contemporary and the director arguably closest to him in terms of his talent and output--told him that it was he, and not Ford, who should have won the 1941 Best Director Academy Award (for Sergeant York (1941)), the great Hawks never won an Oscar in competition and was nominated for Best Director only that one time, despite making some of the best films in the Hollywood canon. The Academy eventually made up for the oversight in 1974 by voting him an honorary Academy Award, in the midst of a two-decade-long critical revival that has gone on for yet another two decades. To many cineastes, Hawks is one of the faces of American film and would be carved on any film pantheon's Mt. Rushmore honoring America's greatest directors, beside his friend Ford and Orson Welles (the other great director who Ford beat out for the 1941 Oscar). It took the French "Cahiers du Cinema" critics to teach America to appreciate one of its own masters, and it was to the Academy's credit that it recognized the great Hawks in his lifetime.

Hawks' career spanned the freewheeling days of the original independents in the 1910s, through the studio system in Hollywood from the silent era through the talkies, lasting into the early 1970s with the death of the studios and the emergence of the director as auteur, the latter a phenomenon that Hawks himself directly influenced. He was the most versatile of American directors, and before his late career critical revival he earned himself a reputation as a first-rate craftsman and consummate Hollywood professional who just happened, in a medium that is an industrial process, to have made some great movies. Recognition as an influential artist would come later, but it would come to him before his death.

He was born Howard Winchester Hawks in Goshen, Indiana, on Decoration Day, May 30, 1896, the first child of Franklin Winchester Hawks and his wife, the former Helen Brown Howard. The day of his birth the local sheriff killed a brawler at the town saloon; the young Hawks was not born on the wild side of town, though, but with the proverbial silver spoon firmly clenched in his young mouth. His wealthy father was a member of Goshen's most prominent family, owners of the Goshen Milling Co. and many other businesses, and his maternal grandfather was one of Wisconsin's leading industrialists. His father's family had arrived in America in 1630, while his mother's father, C.W. Howard, who was born in Maine in 1845 to parents who emigrated to the U.S. from the Isle of Man, made his fortune in the paper industry with his Howard Paper Co. Ironically, almost a half-year after Howard's birth, the first motion picture was shown in Goshen, just before Christmas on December 10, 1896. Billed as "the scientific wonder of the world," the movie played to a sold-out crowd at the Irwin Theater. However, it disappointed the audience, and attendance fell off at subsequent showings. The interest of the boy raised a Presbyterian would not be piqued again until his family moved to southern California.

Before that move came to pass, though, the Hawks family relocated from Goshen to Neenah, Wisconsin, when Howard's father was appointed secretary/treasurer of the Howard Paper Co. in 1898. Howard grew up a coddled and spoiled child in Goshen, but in Neenah he was treated like a young prince. His maternal grandfather C.W. lavished his grandson with expensive toys. C.W. had been an indulgent father, encouraging the independence and adventurousness of his two daughters, Helen and Bernice, who were the first girls in Neenah to drive automobiles. Bernice even went for an airplane ride (the two sisters, Hawks' mother and aunt, likely were the first models for what became known as "the Hawksian women" when he became a director). Brother Kenneth Hawks was born in 1898, and was looked after by young Howard. However, Howard resented the birth of the family's next son, William B. Hawks, in 1902, and offered to sell him to a family friend for ten cents. A sister, Grace, followed William. Childbirth took a heavy toll on Howard's mother, and she never quite recovered after delivering her fifth child, Helen, in 1906. In order to aid her recovery, the family moved to the more salubrious climate of Pasadena, California, northeast of Los Angeles, for the winter of 1906-07. The family returned to Wisconsin for the summers, but by 1910 they permanently resettled in California, as grandfather C.W. himself took to wintering in Pasadena. He eventually sold his paper company and retired. He continued to indulge his grandson Howard, though, buying him whatever he fancied, including a race car when the lad was barely old enough to drive legally. C.W. also arranged for Howard to take flying lessons so he could qualify for a pilot's license, an example followed by Kenneth.

The young Howard Hawks grew accustomed to getting what he wanted and believed his grandfather when C.W. told him he was the best and that he could do anything. Howard also likely inherited C.W.'s propensity for telling whopping lies with a straight face, a trait that has bedeviled many film historians ever since. C.W. also was involved in amateur theatrics and Howard's mother Helen was interested in music, though no one in the Hawks-Howard family ever was involved in the arts until Howard went to work in the film industry.

Hawks was sent to Philips Exeter Academy in Exeter, New Hampshire, for his education, and upon graduation attended Cornell University, where he majored in mechanical engineering. In both his personal and professional lives Hawks was a risk-taker and enjoyed racing airplanes and automobiles, two sports that he first indulged in his teens with his grandfather's blessing.

The Los Angeles area quickly evolved into the center of the American film industry when studios began relocating their production facilities from the New York City area to southern California in the middle of the 1910s. During one summer vacation while Howard was matriculating at Cornell, a friend got him a job as a prop man at Famous Players-Lasky (later to become Paramount Pictures), and he quickly rose trough the ranks. Hawks recalled, "It all started with Douglas Fairbanks, who was off on location for some picture and phoned in to say they wanted a modern set. There was only one art director . . . and he was away on another location. I said, 'Well, I can build a modern set.' I'd had a few years of architectural training at school. So I did, and Fairbanks was pleased with it. We became friends, and that was really the start."

During other summer vacations from Cornell, Hawks continued to work in the movies. One story Hawks tells is that the director of a Mary Pickford film Hawks was working on, A Little Princess (1917), became too inebriated to continue working, so Hawks volunteered to direct a few scenes himself. However, it's not known whether his offer was taken up, or whether this was just one more of his tall tales. During World War I Hawks served as a lieutenant in the Signal Corps and later joined the Army Air Corps, serving in France. After the Armistice he indulged in his love of risk, working as an aviator and a professional racing car driver. Drawing on his engineering experience, Hawks designed racing cars, and one of his cars won the Indianapolis 500. These early war and work experiences proved invaluable to the future filmmaker.

He eventually decided on a career in Hollywood and was employed in a variety of production jobs, including assistant director, casting director, script supervisor, editor and producer. He and his brother Kenneth shot aerial footage for motion pictures, but Kenneth tragically was killed during a crash while filming. Howard was hired as a screenwriter by Paramount in 1922 and was tasked with writing 40 story lines for new films in 60 days. He bought the rights for works by such established authors as Joseph Conrad and worked, mostly uncredited, on the scripts for approximately 60 films. Hawks wanted to direct, but Paramount refused to indulge his ambition. A Fox executive did, however, and Hawks directed his first film, The Road to Glory (1926) in 1926, also doubling as the screenwriter.

Hawks made a name for himself by directing eight silent films in the 1920s, His facility for language helped him to thrive with the dawn of talking pictures, and he really established himself with his first talkie in 1930, the classic World War I aviation drama The Dawn Patrol (1930). His arrival as a major director, however, was marked by 1932's controversial and highly popular gangster picture Scarface (1932), a thinly disguised bio of Chicago gangster Al Capone, which was made for producer Howard Hughes. His first great movie, it catapulted him into the front rank of directors and remained Hawks' favorite film. Unnder the aegis of the eccentric multi-millionaire Hughes, it was the only movie he ever made in which he did not have to deal with studio meddling. It leavened its ultra-violence with comedy in a potent brew that has often been imitated by other directors.

Though always involved in the development of the scripts of his films, Hawks was lucky to have worked with some of the best writers in the business, including his friend and fellow aviator William Faulkner. Screenwriters he collaborated with on his films included Leigh Brackett, Ben Hecht, John Huston and Billy Wilder. Hawks often recycled story lines from previous films, such as when he jettisoned the shooting script on El Dorado (1966) during production and reworked the film-in-progress into a remake of Rio Bravo (1959).

The success of his films was partly rooted in his using first-rate writers. Hawks viewed a good writer as a sort of insurance policy, saying, "I'm such a coward that unless I get a good writer, I don't want to make a picture." Though he won himself a reputation as one of Hollywood's supreme storytellers, he came to the conclusion that the story was not what made a good film. After making and then remaking the confusing The Big Sleep (1946) (1945 and 1946) from a Raymond Chandler detective novel, Hawks came to believe that a good film consisted of at least three good scenes and no bad ones--at least not a scene that could irritate and alienate the audience. He said, "As long as you make good scenes you have a good picture--it doesn't matter if it isn't much of a story."

It was Hawks' directorial skills, his ability to ensure that the audience was not aware of the twice-told nature of his films, through his engendering of a high-octane, heady energy that made his films move and made them classics at best and extremely enjoyable entertainments at their "worst." Hawks' genius as a director also manifested itself in his direction of his actors, his molding of their line-readings going a long way toward making his films outstanding. The dialog in his films often was delivered at a staccato pace, and characters' lines frequently overlapped, a Hawks trademark. The spontaneous feeling of his films and the naturalness of the interrelationships between characters were enhanced by his habit of encouraging his actors to improvise. Unlike Alfred Hitchcock, Hawks saw his lead actors as collaborators and encouraged them to be part of the creative process. He had an excellent eye for talent, and was responsible for giving the first major breaks to a roster of stars, including Paul Muni, Carole Lombard (his cousin), Lauren Bacall, Montgomery Clift and James Caan. It was Hawks, and not John Ford, who turned John Wayne into a superstar, with Red River (1948) (shot in 1946, but not released until 1948). He proceeded to give Wayne some of his best roles in the cavalry trilogy of Fort Apache (1948), She Wore a Yellow Ribbon (1949) and Rio Grande (1950), in which Payne played a broad range of diverse characters.

During the 1930s Hawks moved from hit to hit, becoming one of the most respected directors in the business. As his fame waxed, Hawks' image replaced the older, jodhpurs-and-megaphone image of the Hollywood director epitomized by Cecil B. DeMille. The new paradigm of the Hollywood director in the public eye was, like Hawks himself, tall and silver-haired, a Hemingwayesque man of action who was a thorough professional and did not fail his muse or falter in his mastery of the medium while on the job. The image of Hawks as the ultimate Hollywood professional persists to this day in Hollywood, and he continues to be a major influence on many of today's filmmakers. Among the directors influenced by Hawks are Robert Altman, who used Hawksian overlapping dialog and improvisation in M*A*S*H (1970) and other films. Peter Bogdanovich, who wrote a book about Hawks, essentially remade Bringing Up Baby (1938) as What's Up, Doc? (1972). Brian De Palma remade "Scarface" (Scarface (1983)). Other directors directly indebted to Hawks are John Carpenter and Walter Hill.

Hawks was unique and uniquely modern in that, despite experiencing his career peak in an era dominated by studios and the producer system in which most directors were simply hired hands brought in to shoot a picture, he also served as a producer and developed the scripts for his films. He was determined to remain independent and refused to attach himself to a studio, or to a particular genre, for an extended period of time. His work ethic allowed him to fit in with the production paradigms of the studio system, and he eventually worked for all eight of the major studios. He proved himself to be, in effect, an independent filmmaker, and thus was a model for other director-writer-producers who would arise with the breakdown of the studio system in the 1950s and 1960s and the rise of the director as auteur in the early 1970s. Hawks did it first, though, in an environment that ruined or compromised many another filmmaker.

Hawks was not interested in creating a didactic cinema but simply wanted to tell, give the public, a good story in a well-crafted, entertaining picture. Like Ernest Hemingway, Hawks did have a philosophy of life, but the characters in his films were never intended to be role models. Hawks' protagonists are not necessarily moral people but tend to play fair, according to a personal or professional code. A Hawks film typically focuses on a tightly bound group of professionals, often isolated from society at large, who must work together as a team if they are to survive, let alone triumph. His movies emphasize such traits as loyalty and self-respect. Air Force (1943), one of the finest propaganda films to emerge from World War II, is such a picture, in which a unit bonds aboard a B-17 bomber and the group is more than the sum of the individuals.

Aside from his interest in elucidating human relationships, Hawks' main theme is Hemingwayesque: the execution of one's job or duty to the best of one's ability in the face of overwhelming odds that would make an average person balk. The main characters in a Hawks film typically are people who take their jobs with the utmost seriousness, as their self-respect is rooted in their work. Though often outsiders or loners, Hawksian characters work within a system, albeit a relatively closed system, in which they can ultimately triumph by being loyal to their personal and professional codes. That thematic paradigm has been seen by some critics and cinema historians as being a metaphor for the film industry itself, and of Hawks' place within it.

In a sense, Hawks' oeuvre can be boiled down to two categories: the action-adventure films and the comedies. In his action-adventure movies, such as Only Angels Have Wings (1939), the male protagonist, played by Cary Grant (a favorite actor of his who frequently starred in his films between 1947 and 1950), is both a hero and the top dog in his social group. In the comedies, such as Bringing Up Baby (1938), the male protagonist (again played by Grant) is no hero but rather a victim of women and society. Women have only a tangential role in Hawks' action films, whereas they are the dominant figures in his comedies. In the action-adventure films society at large often is far away and the male professionals exist in an almost hermetically sealed world, whereas in the comedies are rooted in society and its mores. Men are constantly humiliated in the comedies, or are subject to role reversals (the man as the romantically hunted prey in "Baby," or the even more dramatic role reversal, including Cary Grant in drag, in I Was a Male War Bride (1949)). In the action-adventure films in which women are marginalized, they are forced to undergo elaborate courting rituals to attract their man, who they cannot get until they prove themselves as tough as men. There is an undercurrent of homo-eroticism to the Hawks action films, and Hawks himself termed his A Girl in Every Port (1928) "a love story between two men." This homo-erotic leitmotif is most prominent in The Big Sky (1952).

By the time he made "Rio Bravo," over 30 years since he first directed a film, Hawks not only was consciously moving towards parody but was in the process of revising his "closed circle of professionals" credo toward the belief that, by the time of its loose remake, "El Dorado" in 1966, he was stressing the superiority of family loyalties to any professional ethic. In "Rio Bravo" the motley group inside the jailhouse eventually forms into a family in which the stoical code of conduct of previous Hawksian groups is replaced by something akin to a family bond. The new "family" celebrates its unity with the final shootout, which is a virtual fireworks display due to the use of dynamite to overcome the villains who threaten the family's survival. The affection of the group members for each other is best summed up in the scene where the great character actor Walter Brennan, playing Wayne's deputy Stumpy, facetiously tells Wayne that he'll have tears in his eyes until he gets back to the jailhouse. The ability to razz Wayne is indicative of the bond between the two men.

The sprawl of Hawks' oeuvre over multiple genres, and their existence as high-energy examples of film as its purest, emphasizing action rather than reflection, led serious critics before the 1970s to discount Hawks as a director. They generally ignored the themes that run through his body of work, such the dynamics of the group, male friendship, professionalism, and women as a threat to the independence of men. Granted, the cinematic world limned by Hawks was limited when compared to that of John Ford, the poet of the American screen, which was richer and more complex. However, Hawks' straightforward style that emphasized human relationships undoubtedly yielded one of the greatest crops of outstanding motion pictures that can be attributed to one director. Hawks' movies not only span a wide variety of genres, but frequently rank with the best in those genres, whether the war film ("The Dawn Patrol"), gangster film ("Scarface"), the screwball comedy (His Girl Friday (1940)), the action-adventure movie ("Only Angels Have Wings"), the noir (The Big Sleep (1946)), the Western ("Red River") and "Rio Bravo"), the musical-comedy (Gentlemen Prefer Blondes (1953)) and the historical epic (Land of the Pharaohs (1955)). He even had a hand in creating one of the classic science-fiction films, The Thing from Another World (1951), which was produced by Hawks but directed by Christian Nyby, who had edited multiple Hawks films and who, in his sole directorial effort, essentially created a Hawks film (though rumors have long circulated that Hawks actually directed the film rather than Nyby, that has been discounted by such cast members as Kenneth Tobey and James Arness, who have both stated unequivocally that it was Nyby alone who directed the picture).

Though Howard Hawks created some of the most memorable moments in the history of American film a half-century ago, serious critics generally eschewed his work, as they did not believe there was a controlling intelligence behind them. Seen as the consummate professional director in the industrial process that was the studio film, serious critics believed that the great moments of Hawks' films were simply accidents that accrued from working in Hollywood with other professionals. In his 1948 book "The Film Till Now," Richard Griffin summed this feeling up with "Hawks is a very good all rounder."

Serious critics at the time attributed the mantle of "artist" to a director only when they could discern artistic aspirations, a personal visual style, or serious thematic intent. Hawks seemed to them an unambitious director who, unlike D.W. Griffith or the early Cecil B. DeMille, had not made a major contribution to American film, and was not responsible for any major cinematic innovations. He lacked the personal touch of a Charles Chaplin, a Hitchcock or a Welles, did not have the painterly sensibility of a John Ford and had never matured into the master craftsman who tackled heavy themes like the failure of the American dream or racism, like George Stevens. Hawks was seen as a commercial Hollywood director who was good enough to turn out first-rate entertainments in a wide variety of genre films in a time in which genre films such as the melodrama, the war picture and the gangster picture were treated with a lack of respect.

One of the central ideas behind the modernist novel that dominated the first half of the 20th-century artistic consciousness (when the novel and the novelist were still considered the ultimate arbiters of culture in the Anglo-American world) was that the author should begin something new with each book, rather than repeating him-/herself as the 19th century novelists had done. This paradigm can be seen most spectacularly in the work of James Joyce. Of course, it is easy to see this thrust for "something new" in the works of D.W. Griffith and C.B. DeMille, the fathers of the narrative film, working as they were in a new medium. In the post-studio era, a Stanley Kubrick (through Barry Lyndon (1975), at least) and Lars von Trier can be seen as embarking on revolutionary breaks with their past. Howard Hawks was not like this, and, in fact, the latter Hawks constantly recycled not just themes but plots (so that his last great film, "Rio Bravo," essentially was remade as "El Dorado (1966)" and Rio Lobo (1970)). He did not fit the "modernist" paradigm of an artist.

The critical perception of Hawks began to change when the auteur theory--the idea that one intelligence was responsible for the creation of superior films regardless of their designation as "commercial" or "art house"--began to influence American movie criticism. Commenting on Hawks' facility to make films in a wide variety of genres, critic Andrew Sarris, who introduced the auteur theory to American movie criticism, said of Hawks, "For a major director, there are no minor genres." A Hawks genre picture is rooted in the conventions and audience expectations typical of the Hollywood genre. The Hawks genre picture does not radically challenge, undermine or overthrow either the conventions of the genre or the audience expectations of the genre film, but expands it the genre by revivifying it with new energy. As Robert Altman said about his own McCabe & Mrs. Miller (1971), he fully played on the conventions and audience expectations of the Western genre and, in fact, did nothing to challenge them as he was relying on the audience being lulled into a comfort zone by the genre. What Altman wanted to do was to indulge his own artistry by painting at and filling in the edges of his canvas. Thus, Altman needed the audience's complicity through the genre conventions to accomplish this.

As a genre director, Hawks used his audience's comfort with the genre to expound his philosophy on male bonding and male-female relationships. His movies have a great deal of energy, invested in them by the master craftsman, which made them into great popular entertainments. That Hawks was a commercial filmmaker who was also a first-rate craftsman was not the sum total of his achievement as a director, but was the means by which he communicated with his audience.

While many during his life-time would not have called Hawks an artist, Robin Wood compared Hawks to William Shakespeare and Wolfgang Amadeus Mozart, both of whom created popular entertainments that could also appeal to elites. According to Wood, "The originality of their works lay not in the evolution of a completely new language, but in the artist's use and development of an already existing one; hence, there was common ground from the outset between artist and audience, and 'entertainment' could happen spontaneously without the intervention of a lengthy period of assimilation."

The great French filmmaker Jean-Luc Godard, who began his cinema career as a critic, wrote about Hawks, "The great filmmakers always tie themselves down by complying with the rules of the game . . . Take, for example, the films of Howard Hawks, and in particular 'Rio Bravo'. That is a work of extraordinary psychological insight and aesthetic perception, but Hawks has made his film so that the insight can pass unnoticed without disturbing the audience that has come to see a Western like all the others. Hawks is the greater because he has succeeded in fitting all that he holds most dear into a well-worn subject."

A decade before Godard's insight on Hawks, in the early 1950s, the French-language critics who wrote for the cinema journal "Cahiers du Cinema" (many of whom would go on to become directors themselves) elevated Howard Hawks into the pantheon of great directors (the appreciation of Hawks in France, according to Cinématheque Francaise founder Henri Langlois, began with the French release of "Only Angels Have Wings." The Swiss Éric Rohmer, who would one day become a great director himself, in a 1952 review of Hawks' "The Big Sky" declared, "If one does not love the films of Howard Hawks, one cannot love cinema." Rohmer was joined in his enthusiasm for Hawks by such fellow French cineastes as Claude Chabrol, François Truffaut and Jacques Rivette. The Cahiers critics claimed that a handful of commercial Hollywood directors like Hawks and Alfred Hitchcock had created films as artful and fulfilling as the masterpieces of the art cinema. André Bazin gave these critics the moniker "Hitchcocko-Hawksians".

Rivette wrote in his 1953 essay, "The Genius of Howard Hawks," that "each shot has a functional beauty, like a neck or an ankle. The smooth, orderly succession of shots has a rhythm like the pulsing of blood, and the whole film is like a beautiful body, kept alive by deep, resilient breathing." Hawks, however, considered himself an entertainer, not an "artist." His definition of a good director was simply "someone who doesn't annoy you." He was never considered an artist until the French New Wave critics crowned him one, as serious critics had ignored his oeuvre. He found the adulation amusing, and once told his admirers, "You guys know my films better than I do."

Commenting on this phenomenon, Sarris' wife Molly Haskell said, "Critics will spend hours with divining rods over the obviously hermetic mindscape of [Ingmar Bergman], [Michelangelo Antonioni], etc., giving them the benefit of every passing doubt. But they will scorn similar excursions into the genuinely cryptic, richer, and more organic terrain of home-grown talents."

Hawks' visual aesthetic eschews formalism, trick photography or narrative gimmicks. There are no flashbacks or ellipses in his films, and his pictures are usually framed as eye-level medium shots. The films themselves are precisely structured, so much so that Langlois compared Hawks to the great modernist architect Walter Gropius. Hawks strikes one as an Intuitive, unselfconscious filmmaker.

Hawks' definition of a good director was "someone who doesn't annoy you." When Hawks was awarded his lifetime achievement Academy Award, the citation referred to the director as "a giant of the American cinema whose pictures, taken as a whole, represent one of the most consistent, vivid, and varied bodies of work in world cinema." It is a fitting epitaph for one of the greatest directors in the history of American, and world cinema.