Deborah Ann Woll Biography
Deborah Ann Woll is an American actress known for her roles as the vampire Jessica Hamby on the HBO drama series True Blood and Karen Page in the Netflix shows Daredevil, The Defenders, and The Punisher.
Deborah Ann Woll Age
Deborah was born on the 7th of February 1985 in Brooklyn, New York. He is 34 years old as of 2019.
How Tall Is Deborah Ann Woll | Height | Body Weight
She stands at a height of 5 ft 10 in or 178 cm and the bodyweight of 58 kg or 128 lbs.
Deborah Ann Woll Family
She was born to her both parents, Cathy Wol (mother) a teacher at the Berkeley Carroll School. There is no much information about her family. She is of both German and Irish descent.
Deborah Ann Woll Husband
As of 2007, Deborah has been in a relationship with her long-time comedian boyfriend – Edward E.J. Scott. The pair met when Deborah was 23 and fresh out of the University. She was scrolling through a dating site and found his profile interesting. Edward thought she was pretty and nerdy, so he convinced her to go on a date with him. Edward suffers from a disease called Choroideremia.
This is a condition that slowly blinds its victims, mostly men. His maternal grandfather had the disease and once fell into a manhole. Edward hid his condition from Deborah and his honesty was what caught her attention in the first place. His vision presently has been compared to looking through a paper-towel tube. He got diagnosed at age 27 and was declared legally blind.
Deborah Ann Woll Children
There is no information about the pair having children.
Deborah Ann Woll Education
She got enrolled at the Packer Collegiate Institute for high school and He joined and later earned her her Bachelor of Fine Arts from USC School of Dramatic Arts at the University of Southern California, graduating in 2007. She has as well trained at the Royal Academy of Dramatic Arts in London.
Deborah Ann Woll Photo
Woll started off her career with guest-starring roles in several television series,they included Life in 2007, ER in 2008, CSI: Crime Scene Investigation in 2008, My Name Is Earl in 2008, and The Mentalist in 2008, and she had a supporting role in the Western action-adventure television film Aces ‘N’ Eights in 2008.
She was featured as Bill Compton’s vampire progeny, Jessica Hamby, in the HBO fantasy drama series True Blood. She had joined as a recurring character in the first season but was promoted to a regular cast member for the second season onwards in 2008. With her True Blood co-stars, they won the Satellite Award for Best Cast – Television Series at the 14th annual ceremony. She maintained the role of Jessica until the series’ ending in 2014. She guest appeared in an episode of Law & Order: Special Victims Unit, being featured as a woman who is found alive after being reported missing by her boyfriend.
She then her film debut in the psychological horror Mother’s Day. She as well starred in the supernatural thriller Little Murder, the sports drama Seven Days in Utopia, the action film Catch .44, and the comedy-drama Someday This Pain Will Be Useful to You. The following year after, she co-starred in the romantic comedy-drama film Ruby Sparks. She as well performed at the Wallis Annenberg Center for the Performing Arts in the play Parfumerie. over the same year, she joined the cast of the drama film The Automatic Hate.
She then starred in the independent romantic drama film Forever. In 2015, Woll has been featured as Karen Page in the Marvel Cinematic Universe series for Netflix, as the female lead in Daredevil, and as a recurring character in The Punisher and The Defenders.
She was also featured in the upcoming comedy film Silver Lake. She as well appeared in the action thriller film The Maze. She was featured in Dungeons & Dragons, appearing online in the series Force Grey in 2017, on the Stream of Many Eyes where she was the Dungeon Master for celebrity players in 2018 and as also a guest player on Critical Role. She then appeared on the Geek & Sundry produced the show, Relics, and Rarities, which uses a modified version of Dungeons and Dragons and starting in February 2019
Deborah Ann Woll Net Worth
Deborah has an estimated net worth of $2 million.
Deborah Ann Woll Escape Room
Deborah is featured in Escape Room, a six adventurous strangers travel to a mysterious building to experience the escape room a game where players compete to solve a series of puzzles to win $10,000. What starts out as seemingly innocent fun soon turns into a living nightmare as the four men and two women discover each room is an elaborate trap that’s part of a sadistic game of life or death.
Deborah Ann Woll D&D Show
Deborah is featured in D&D Show as the Dungeon Master and storyteller for Geek & Sundry ‘s weekly RPG series, Relics, and Rarities. It is based on Dungeons & Dragons, the episodic show is set in a world created by Woll. As she guides the story and takes a crew of bold players on a quest to stop prophecies that are not holy from coming to fruition. She is featured with a core cast including Julia Dennis, Tommy Walker, Xander Jeanneret, and Jasmine Bhullar, with surprise celebrity guests stopping in for each installment.
Deborah Ann Woll Punisher
Deborah is featured as Karen page in the Marvel Cinematic Universe, first as the main character in Daredevil, and later as a main cast member in The Punisher and a recurring character in The Defenders.
She is hired as the secretary by Foggy Nelson for the new law firm Nelson and Murdock. She got infatuated with Matt Murdock from the time they meet. Matt introduces her to the adventuring, wisecracking aspect of his personality, in the guise of his “twin brother” Mike, she finds herself equally charmed by this side of Murdock.
‘Daredevil’s’ Deborah Ann Woll Dives into Karen’s Tragic Past
Karen Page’s backstory has been a very long time coming. Unhappy home life and dark past have been hinted at throughout the run of Daredevil, but the 10th episode of season three, “Karen,” finally delves deep into that history.
The episode opens on a flashback to an indeterminate past and finds a seemingly carefree and reckless young Karen (Deborah Ann Woll) selling drugs at a college party in her Vermont hometown. But the scene isn’t exactly what it appears. After her mother’s recent death, Karen has become the caretaker for her family, putting off college to work at her family’s dinner, trying to manage her father’s impulsive spending and doing whatever’s necessary to make ends meet — up to and including selling drugs with her no-good boyfriend. The diner is slowly going under despite Karen’s best efforts, and the mounting pressure on her soon comes to a head.
The episode culminates on a terrible night that begins with a vicious family argument and ends with Karen crashing her car while high on drugs, killing her beloved younger brother in the passenger seat. Her father, who was already emotionally distant before the accident, has never forgiven Karen, and earlier in the season can barely bring himself to speak to her when she calls. It’s a brutal origin story that explains a lot about Karen’s loner tendencies and reluctance to open up.
Woll spoke to The Hollywood Reporter about shooting the long-awaited backstory episode, the masks Karen wears to survive and where the character might go in the future.
The last time we saw Karen was right at the end of a very intense sequence in The Punisher. Given that, what’s her state of mind at the beginning of this season?
I tend to think of Karen as being quite lonely. Coming out of The Defenders, Matt’s [Charlie Cox] potentially dead and Foggy [Elden Henson] has this new job and girlfriend and is living his life. Then coming out of The Punisher, Frank [Jon Bernthal] basically says to me, “You can’t be part of my life, and I can’t be part of your life,” and I have to watch him just leave and go continue to be a fugitive. So coming into Daredevil season three, it really feels like there are no connections, there’s no one to turn to or to call home. I think that’s why in the beginning, there’s this denial about whether Matt is dead or not, when everyone else is sort of accepting it. I can’t, because if he’s gone, then I’m really loving every thread that keeps me tethered to this world.
What kinds of conversations did you have with showrunner Erik Oleson about Karen’s backstory?
We talked a lot, because we’ve had two showrunners before him, and they’ve both had different ideas about what that backstory would be for Karen. The main thing I wanted to express to him was that this was not a story about misplaced guilt. It’s not, “I did something bad for the greater good,” it’s not, “No one would blame you, Karen!” This was a story about atonement, a story about someone who made a terrible, fatal mistake and had to learn how to accept that and forgive themselves for it. Having been through what she has with her family, and being rejected after [the crash], Karen’s assumption is that anyone else who knows me at that level will also reject me. So I have to hide. I can’t fully share myself with anyone in my life, because then there will be no one.
Is the opening of the episode, where Karen is working for this college party and selling drugs, a reference to Karen’s comic-book storyline involving porn and drugs?
Yeah, I think they did a really great job of nodding to some of the themes of that story, without going fully to that trope. This felt grounded, and it felt like a story that probably many women could tell about their lives: having no way out, feeling like everything’s on your shoulders, and having to make controversial decisions about how you take care of your own, while also feeling resentful of them for making you do that. That episode was so wonderful and complicated and hard, and we talked a lot about the intense slow-burn sadness of it. Even in the lighting and the way we shot it, it’s very different than the world of Daredevil. It’s these grays and blues, and there’s kind of no color in Karen’s life. She had all this promise, and it was just kind of tucked away from her, and now it’s, “I have to be here, I know I have to do the right thing, but I’m not getting the help I that I deserve as a kid.”
We talked a lot about the masks that we wear, and that in some ways I think Karen wears a mask as much as Daredevil does, for different reasons. There’s a “party girl” mask that I have to put on in order to make that money and get the boys to buy the drugs from me, and then there’s the “dutiful daughter” mask that pops up at the diner and takes care of the family. And maybe the only place she can kind of take that mask off and be herself is with the boyfriend, but then that turns so starkly on its head at the end that it makes it hard to trust, and hard to open up and remove that mask for anyone ever again.
Was the episode as exhausting to film as it looked?
It was two of the most fun weeks of my career, bar none. They gave over 40 minutes of an episode to that story, and I was so grateful for that. We took the whole crew upstate for a week, and we shot in the snow and did these incredible stunts, and they flipped a car. … It was hard and long, and it was freezing cold, but I’m so proud of what we brought out of it, especially to highlight a complicated female story that isn’t about Betty or Veronica. You can’t pigeonhole Karen.
Karen strikes me as someone who deals with a lot of anxiety. Is that something you’re actively playing?
Yeah, I have anxiety, and I think whether I want it to or not, that pops up in my roles. The admirable thing about Karen is that she keeps pushing through. No matter how scared she is, no matter how much she wants to let that feeling swallow her, she lets that motivate her, and I am inspired by that. I hope not to look at my anxiety, or any person’s anxiety, as a weakness, so much as a motivation to say, “I’m really scared, and I don’t know how to handle this situation, but that doesn’t mean that I can’t.” Which makes you all the more courageous.
Confronting Fisk one-on-one might be the ballsiest thing she’s ever done.
Oh my God, I love that scene so much. Vincent [D’Onofrio] and I have really been champing at the bit to get there because we have these old resentments: He killed Ben, who was an extremely important part of my life when I first came to the city, and I killed Wesley, who was a very important part of his life. We’ve been at odds, but at this weird distance. What you see in that scene is that they’re a very capable match, actually, and that Karen poses a significant threat to him, because she is not afraid of him the way that others are. She will put herself at risk in a lot of ways, the way that Matt will, in order to take him down.
Where does this season leave Karen emotionally?
She’s confessed a lot. There’s that scene in the crypt with Matt [in episode 10], and when I first read it I was like, [laughs] “OK, wait a minute. You want me to confess to … two murders? In the span of five minutes. All right!” I went home and worked on it for a solid three or four days, and I came back to them and was like, “I think I can do this, I’ve found a way in if you don’t mind me just shifting the order of things a little bit.” In my mind, the logical process of that confession comes out of that sense of atonement. If I’m responsible for the death of my brother and the dissolution of my family, then every single step I made after that had to be about making up for it. How do I prove to the world and to myself that that’s not what defines me? Flash-forward to that night in the church and another person dies because of me. That’s what brings back those memories for her.
It’s also looking at Matt, and seeing him about to take this step [of killing Fisk], and caring for him so much, and I don’t want his life to be like mine. I don’t want him to spend the rest of his life feeling like he’s a shameful person who isn’t deserving of love or good things. And I don’t want him to cross that line without knowing what it means. So it’s offering up this truth about myself, fully expecting to be rejected. I hope, selflessly, so that he knows and can make the right decision where I made the wrong one. So that’s what gave me the window into how to play “Karen confesses to two murders.” It was nice also just to be back working with Charlie because I hadn’t seen him a ton during the season and didn’t work with him much on Defenders or even the end of Daredevil season two. It had been a long time since I’d actually got to be in a scene with Charlie and explore that relationship.
The finale ends with Matt, Karen and Foggy reunited and about to start Nelson Murdock Page, where Karen would no longer be a journalist but still an investigator. Does that feel fitting to you?
Yeah, just tireless pursuit of the truth. I love that we see her in the stacks of the Bulletin going through old articles, and there’s a line about going down to the county clerk’s office and looking something up. If you’re willing to do the legwork, you can find the truth! We see that so much today, there are all of these secrets and you just have to keep pushing, and it is often these journalists that are just dogged, that will not give up on a story, and will find that tiny scrap of paper that confirms something so that it’s no longer a rumor. I so admire that drive, and I do think that ultimately what Karen wants to do is what Matt wants to do, which is save Hell’s Kitchen. If the press was one way to do that, another way to do it would be to help them legitimately take down the bad guys. I’m excited about that future. I don’t know exactly what it’ll mean, but I’m glad we’re all together again.
Adopted from: https://www.hollywoodreporter.com