Actress who all played rough gal Marion Ravenwood in Indiana Jones as well as the Raiders from the Shed Ark. Her various other credits are the Sandlot, Poster Boy, AN IDEAL Surprise, and Cruising. She became a member of a Shakespeare Movie theater Firm in Massachusetts. She voiced the type Paula in this year’s 2009 film A PUPPY Year. She wedded Kale Browne in 1988, as well as the few had a kid in 1990 and divorced in 1998. She starred contrary Harrison Ford in Indiana Jones as well as the Raiders from the Shed Ark.
Full Name Karen Allen
Date Of Birth October 5, 1951
Place Of Birth Carrolton, IL
Height 1.7 m
Profession Movie Actress
Education George Washington University, Fashion Institute of Technology, DuVal High School, Lee Strasberg Theatre and Film Institute, University of Maryland, College Park
Spouse Kale Browne
Children Nicholas Browne
Parents Patricia Howell Allen, Carroll Thompson Allen
Nominations Independent Spirit Award for Best Supporting Female
Movies Raiders of the Lost Ark, Indiana Jones and the Kingdom of the Crystal Skull, Animal House, Starman, Scrooged, The Perfect Storm, The Wanderers, The Sandlot, Until September, Bad Hurt, Year By The Sea, White Irish Drinkers, A Small Circle of Friends, In the Bedroom, Shoot the Moon, Cruising, Ghost in the Machine, Poster Boy, Malcolm X, Split Image, Manhattan, The Basket, King of the Hill, When Will I Be Loved, The Glass Menagerie, November Christmas, 'Til There Was You, Briar Patch, Sweet Talker, Falling Sky, Shaka Zulu: The Last Great Warrior, All the Winters that Have Been, World Traveler, My Horrible Year!, Animal Behavior, Hostile Advances, The Turning, A Dog Year, Challenger, The Sandlot 2, Backfire, Terminus, Voyage, Wind River, Secret Weapon, Where Are They Now?: A Delta Alumni Update, A Tree A Rock A Cloud, Rapture
TV Shows The Road Home, East of Eden, Shaka Zulu: The Citadel
Star Sign Libra
She was considered for the role of Dorothy Valance in Blue Velvet (1986).
She auditioned for the role of Elvira Hancock in Scarface (1983).
She teaches yoga.
An accomplished hand knitting fanatic, Karen runs her own knitwear design studio, "Karen Allen Fibre Arts". [November 2004]
Academy of Science Fiction, Fantasy & Horror Films, USA
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I just felt like I had to create a life for myself where I was more independent. Where what I was doing in my life was so interesting I could literally put my whole acting life on the back burner because I was so fascinated by what was right in front of me. And that was the only thing that felt healthy to me. Short of that, I felt like somebody who was waiting for the phone to ring.
I'm from a generation of fantastic actresses. It's a big pool of really wonderful actresses, and so many of them we never even get to see on the screen anymore.
(On ageing) I was in that kind of real weird transitional period there. I was in my late 40s, early 50s, and it's a strange little place that you can fall into. These days all somebody has to do is Google you and they know how old you are. I would show up for roles that were written for somebody in their early 50s, and people would say, 'You can't do that, you look too young,' but if I showed up for a role for somebody in their early 40s then the people would say, 'Well, but she's 50.'
(Asked if she had any disagreements with Richard Donner on Scrooged (1988)) Only a few. Every single minute of the day. That could have been a really, really great movie. The script was so good. There's maybe one take in the final cut movie that is mine. We made it so fast, it was like doing a movie live. He kept telling me to do things louder, louder, louder. I think he was deaf.
(On John Carpenter) John is a really nice guy. The people working with him have a really nice thing going. They've developed this strong support system. He has chosen a good group of people. They stay with him film after film. They can bounce things off of each other in order to get the film made. I had a good time making Starman (1984).
(How she got Raiders of the Lost Ark (1981)) I was working on a television miniseries of East of Eden, and we were up somewhere in Napa. And he sent a courier to my hotel room, who had to sit in my room the whole time I read the script, and then took the script away.
I get recognized for Animal House (1978) a lot. That film is huge, too. That film has aged very well. People are still watching that film. I saw it not that long ago. It's just one of those films that seems as much fun now as when we made it. There's a whole huge Starman (1984) contingent as well. Believe it or not, there are people who have a little obsession with Starman (1984).
(On Steven Spielberg) He thought, 'She's such a nice person, I have to toughen her up." And I think he often, from my perspective, was not very nice to me, and I think there was a method in his madness.
(On Steven Spielberg') I didn't quite get all the time what he was going for in certain ways, and he didn't quite get me, how I worked. I was kind of a much more internally oriented actor, and at times he wanted me to be much more external than I was being.
(On The Wanderers (1979)) I love that picture. It's not my book, and I don't care. The spirit is right, and the way Phil Kaufman directed it showed me another way of looking at my own book.
(On her diagnosis with EKC) I didn't know whether I was going to get my eyesight back, and I was pretty frightened.
(On Animal House (1978)) I think I auditioned five times for that role. And nobody but John Landis and the casting directors wanted me. Well, I think Harold Ramis liked me, too. But nobody at Universal wanted me because they wanted someone with more experience, someone who had more credits. Someone they could point to as more of a star.
(On whether she was considered for Princess Leia in Star Wars: Episode IV - A New Hope (1977)) I think that's not true. I don't know where that ever came from. Because when Star Wars was being made I had never done a film in my life. I was either still living in Washington, D.C., working in the theater or had just moved to New York and working in theater there, too. I had heard that rumour but I just can't imagine anybody knew who I was.
(On Donald Sutherland and her nude scene in Animal House (1978)) I thought he was so sweet to do that, so I sort of let go of my objections and said, 'Okay, if Donald Sutherland is going to bare his bottom, by golly, I'll bare mine too!'
When one film is enormously successful, you get so identified with that film until you're in another film that is equally successful or more successful. Well, it's pretty difficult to make a film that's going to be more successful than Raiders of the Lost Ark (1981).
I've always done things the hard way. I was born like a piece of tangled yarn. The job is trying to untangle it, and I'll probably go on doing it for the rest of my life.
As far as acting in films, there is not much out there that is very interesting to do. The ones that are interesting to me are independent films and they have trouble raising money. With people putting their money into blockbusters, there is not much left for the independents.
It's a very instinctual relationship, a reaction to something in the script. I read a script and ask myself, "Is this a story I want to tell?" An actor is really a storyteller and sometimes the story being told is as important as the character in the story. Sometimes, I look at a character and say, "I don't know the first thing about this person, who she is and where she's coming from." That fascinates me. I know in order to get there I have to do my work, to think through in psychological terms who this person is and examine her whole thinking process. Sometimes you recognize certain elements of yourself that you didn't know were there. I also write biographies of my characters ever since Animal House (1978). I even do some research into the background if it's important. I create the character's history, who's her family and other things. It really does help.
I don't know if I've ever played a character who's close to me. There have been some elements of myself in different roles. Sometimes, I show one side of myself and then completely conceal the other.
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