Born November 17, 1949 in Brooklyn. Director of "Up Close & Personal" (1996) and "The War" (1994). Producer of "Inspector Gadget" (1999), "George of the Jungle" (1997), "Miami Rhapsody" (1995) and "Tango & Cash" (1989).

Was trained at the American Academy of Dramatic Arts in New York. Hank Azaria attended Tufts University in Medford, Massachusetts, from 1981-1985, but did not receive his B.A. until he completed two courses in L.A. in 1987. Hank Azaria was given Tufts' Light on the Hill Award in 1999. A favorite of playwright Jenelle Riley, characters in her shows are frequently hybrids of his name with his "Simpsons" characters (i.e., Moe Azaria and Hank Wiggum).

Born in New York and raised in Los Angeles, Schwimmer was encouraged by a high school instructor to attend a summer program in acting at Northwestern University. Inspired by that experience, he returned to Northwestern where he received a bachelor's degree in speech/theater. In 1988, along with seven other Northwestern graduates, he co-founded Chicago's Looking glass Theatre Company.

This blond, blue-eyed, perpetually boyish-looking leading manwhose breakthrough role, in 1969's Midnight Cowboy was that of a male prostitute-helped define the "sensitive" man for American movie audiences of the 1970s and 1980s. Voight, the son of a Czechoslovakian-American golf pro, embraced the dramatic arts while still a teenager, and worked his way from highschool stages to Broadway while still in his 20s. His first film, a superhero satire titled Fearless Frank was made in 1965 but wasn't widely released until 1969, after his big splash (and Oscar nomination) as hick hustler Joe Buck in Cowboy Other early films include Hour of the Gun (1967) and Out of It (1969). Voight went on to appear in several "antiestablishment" films, including Mike Nichols' clumsy adaptation of Catch-22 and The Revolutionary (both 1970). He was also part of a superb ensemble cast in the harrowing thriller Deliverance (1972), which is still one of his best-remembered films. His over-the-top performance in the action/allegory Runaway Train (1985, from a story by Akira Kurosawa) was atypical, to say the least, but earned him a third Oscar nomination. He followed it with Desert Bloom (1986). Voight underwent a spiritual reawakening near the end of the 1980s, often exhorting puzzled interviewers of the need for man's transcendence of evil, while trying to get intellectually related film projects off the ground. Eternity a 1990 film he wrote and acted in, has not been widely seen, but sheds some light on his current worldview: it deals with a TV reporter, trying to uncover government corruption and falling for a model who's a tool of the very forces he's trying to expose. He has also been seen in the TV movies Chernobyl: The Final Warning (1991), The Last of His Tribe (1992), Rainbow Warrior (1993), the miniseries "Return to Lonesome Dove" (1993), taking over Tommy Lee Jones' part as Woodrow Call, and The Tin Soldier (1995), which he also directed.

Tall, lanky, and unusual looking to say the least, Sutherland took full advantage of the antiglamour backlash that swept Hollywood in the late 1960s and early 1970s. Which is not to say that his success was merely a matter of being in the right place at the right time; Sutherland is an extremely gifted, albeit occasionally eccentric performer. After studying at the Lon don Academy of Music and Dramatic Arts in the late 1950s, he knocked around Europe playing small roles (usually creepy types) in horror films and thrillers; he got a career boost as one of the second- tier Army misfits in the U.S./U.K. coproduction The Dirty Dozen (1967). It was in a radically different war movie that he stunned American audiences: Robert Altman's groundbreaking MASH (1970), in which he originated the role of iconoclastic surgeon Hawkeye Pierce. Immediately catapulted to stardom, the actor mixed mainstream successes with risky, sometimes politically volatile ventures; he costarred with Jane Fonda not only in the popular thriller Klute (1971), but also in the incendiary anti-Vietnam war film F.T.A (1972, which he also coproduced, cowrote, and codirected). Another daring move found Sutherland and Julie Christie enacting one of the most graphic love scenes depicted in a nonpornographic film in Nicolas Roeg's Don't Look Now (1973). Unlike many other stars, Sutherland wasn't afraid to play unattractive, even downright repulsive characters; his depictions of crazed brutishness in 1975's The Day of the Locust and 1977's 1900 are unforgettable if sometimes excessive. The 1970s was really Sutherland's decade; while he got the occasional juicy role in the 1980s (as the father in 1980's Ordinary People and a Nazi spy in 1981's Eye of the Needle in recent years he's lent star power to smaller productions in supporting roles or been reduced to playing the heavy in films of varying pedigree-as in Lock Up (1989) and Backdraft (1991). Sutherland's breathless turn in JFK (1991), playing an ex-soldierturned-informant, was a pivotal scene in that controversial movie. His son is actor Kiefer Sutherland.