Amy Landecker Biography, Age, Family, Dating, Career, Movies, TV Series, Julia Roberts and Net Worth

BIOGRAPHY OF AMY LANDECKER

Amy Lauren Landecker is an American film, theater and television actress known for her supporting roles in the films Dan in Real Life released in 2007, A Serious Man in 2009, All Is Bright in 2013, Project Almanac in 2015 and Beatriz at Dinner in 2017 She started starring in the Amazon Studios comedy-drama Transparent as Sarah Pfefferman in 2014.

AMY LANDECKER AGE

Landecker was born on September 30, 1969. She turns 49 in 2018

AMY LANDECKER FAMILY

Landecker was born in Chicago, Illinois to John Records Landecker, a Chicago radio personality. There is not much information about her family and siblings if she has any.

DATING AMY LANDECKER

Landecker was married to American journalist Jackson Lynch for 9 years before divorcing. The two met in 2003 and after dating for two years, they got married in 2005. After 9 years of marriage, they divorced in 2013. In 2015, Landercker entered into a relationship with American actor Bradley Whitford. The two have been a couple for 4 years and got engaged in March 2018.

AMY LANDECKER’S CAREER

Landecker earned her Screen Actors Guild card by doing a voiceover for a Tampax commercial in which she echoed the voice of the actress on camera, saying only the word “ballet”. She made $10,000 from ad residuals. Landecker recalls, “I’ve never seen money like that in my life, and it didn’t matter what I looked like! I was addicted to [voiceover] from there! At the start of his career, Landecker focused mainly on stage work and decided to move to Los Angeles at the age of 38.

Since moving to Los Angeles, Landecker has landed various roles in movies and TV shows, including a supporting role as Mrs. Samsky in the Best Picture Oscar nominated film A Serious Man directed by the Coen brothers. . Her performance in this film received praise from many film critics, including Roger Ebert, who wrote, “Amy Landecker is also perfect as Mrs. Samsky. She makes the character sexy in a strictly logical sense, but any prudent man would know at first sight to keep it clear”. In 2011, Landecker became a regular cast member of The Paul Reiser Show on NBC, taking on the role of Claire, Paul Reiser’s wife.

Landecker’s television credits include guest appearances on the television series Law & Order: Special Victims Unit, Law & Order: Criminal Intent, NCIS, Curb Your Enthusiasm, Revenge, and many more series. Besides her on-screen work, Landecker has also appeared in a number of Off-Broadway theater productions, including Bug. In 2013 she starred in the films Clear History, All Is Bright and Enough Said and the following year she was cast alongside Jeffrey Tambor and Judith Light in the Amazon Studios comedy-drama series Transparent. She also starred in the time travel thriller Project Almanac, produced by Michael Bay, released in January 2015.

AMY LANDECKER MOVIES

AMY LANDECKER TV SERIES

AMY LANDECKER NET WORTH

Landercker has earned an estimated net worth of $14 million throughout her stellar acting career.

AMY LANDECKER A SERIOUS MAN

Landecker played Mrs. Samsky in the 2009 film A Serious Man. The film follows Larry Gopnik, a physics professor from the Midwest, who watches his life unfold through multiple sudden incidents. He searches for meaning and answers amidst his turmoil, but he seems to keep sinking.

AMY LANDECKER DOCTOR STRANGE

Landecker portrays Dr. Bruner in the film Doctor Strange about a brilliant neurosurgeon who embarks on a journey of physical and spiritual healing. He is drawn into the world of mystical arts.

AMY LANDECKER DAN IN REAL LIFE

Landercker stars as Cindy Lamson in Dan In Real Life about a widower who discovers the woman he fell in love with is his brother’s girlfriend.

AMY LANDECKERJULIA ROBERTS

Landercker is not only a successful actress, but she is also a voice-over artist. She impersonated famous actress Julia Roberts on The Late Late Show.

AMY LANDECKER ON TWITTER

AMY LANDECKER ON INSTAGRAM

https://www.instagram.com/p/BvsAiYgHm9n

AMY LANDECKER INTERVIEW

ESQ: Transparent Season 3 of this season feels like my favorite season so far.

Landecker: We heard that! On every show, it’s so hard to maintain excellence. Our writers are so great, and it’s amazing how they can go even further. What I love about season three is that I feel like there’s only one sure hand throughout – everyone settled into the grooves and balanced the light and dark tones. You know you’ll be crying one minute and laughing the next. And then maybe gasp. It’s an intense journey, of course, but I feel the pace this year is so good. I just saw the first three episodes on the big screen in Toronto, which is generally a horrible experience for me. [ laughs] But I managed to enjoy the narrative and feel a bit overwhelmed to be in this remarkable show.

It feels like this season is a bit more comfortable with itself. The first two seasons had to do a bit of explaining to approach this important topic in a careful way. And the show, I think, played a major role in raising awareness in the trans community.

Jill said it so well in Toronto: “First year: we did it. Second year: they like it! Year Three: Here we go, we’re hanging out. “I think there was a huge role to play and to deal with the subject well, and there was a lot of responsibility on everyone’s shoulders. In year two, a lot of us experienced personal outbursts in response to year one, and we all dealt with that in season two – like, what just happened?! It was a big first for many of us to be on a show that won a Golden Globe within months, to travel the country speaking at LGBTQ events, to feel like something had happened. In this season,

I know you have a theater background. You work with a cast that seems very close – does making a TV show about this family feel like working in the theater?

It’s true, in fact. I never felt that – I never had an “extended run,” as you might call it, with the people I worked with. It has a lot to do with how we work on the show. The quote is: “We favor emotions, not equipment.” Many on-camera shots deal with lighting and camera movement. Jill is all about people – any time spent is time spent on emotional honesty, not where we are. The camera only moves if there is an emotional change of pace. In a theatrical experience, words and feelings are most important – lights that turn on and off are the only equipment. So Clearfeels like it – a sense of familiarity, and it’s as close to doing a play as I’ve gotten in an on-camera experience. There is a current: you are allowed to talk over each other, to improvise. I can count on my hands the number of times I had to hit a target. It’s very unusual. Our cinematographer Jim Frohna is the nicest – some kind of shaman or something. It is this very emotionally present and kind being who directs the camera. He creates this movement while filming so you don’t even feel his presence. It lets you do things you wouldn’t normally do and behave like the character. You are completely at ease and free. When people react to the show and say, ‘It’s so real, it’ is so brave’, it’s because of how this team is part of our team. We all meet in the morning and have a moment of gratitude. We talk about what’s going on in our lives – at every level, at every department. We have this kind of very kumbaya atmosphere. But everyone is very ironic and cynical – it works. [laughs ] It’s a perfect combination for really good storytelling and a great balance for Hollywood’s narcissistic angst.

I saw you at a panel in New York last year, and during Q&A there was the dreaded question from a guy behind the audience’s back about unlikable characters…

Yeah. Yeah.

Jill Soloway gave a really great answer, explaining to him that he was responding to the characters delivered through the female gaze, and that felt like a very diplomatic response – and then you absolutely insulted him. It was quite amazing. I was both deeply uncomfortable and thrilled.

[ laughs ] Here’s the theory I have. When we started, I would say, look: The main character of Mad Men sleeps with everyone and is a horrible person, and we still love him. Breaking Bad: The main character is a drug dealer, but we still love him. The Sopranos: He is in the mafia! But all of these shows are slightly off [from reality]. This is a period piece, an in-depth look into this dark underworld, and then the mafia. You can walk away from the behavior and emotionally detach from the narrative. Our story is very small and personal – you can see your own shadow when you look at it. If you’re angry, if you’ve mistreated someone, if you’ve only ever thought about yourself, these are things that all human beings struggle with and judge themselves for. There’s a love/hate relationship for these characters, the same way there’s a love/hate relationship for our own behaviors. I have a combination of self-love and self-loathing, like most people.

I don’t want to say it’s because we’re women – although I think that’s part of it. The culture has a hard time allowing women to be truly sexual or not people-pleasing. But that’s because it really triggers people’s reactions to themselves. I love Sarah, and I love playing with her – I don’t judge her. I find myself laughing at the things she probably says and does too often. She is absurd! And I’m not much like him – I’m much more of a people pleaser. I would never do 90% of the things a woman does. She’s not from this place; she comes from two narcissistic parents, and that’s how she grew up. I think it’s fun to play, and I think she tries – I think all Pfeffermans try. They are good people trapped in a narcissistic society. They are what most… Angelenos are. [laughs ] Or at least most people in this industry.

There’s been a larger conversation about representation in film and TV, sparked by Matt Bomer’s role as a transgender woman in a new movie. I know you’re not playing a trans character, but do you feel responsible as a representative of your show?

I do! I am very close to several trans actresses who are eager for roles. I think when we cast Jeffrey [Tambor]… It feels like maybe the last time in history anyone can get away with it. The problem I have with Matt and this project – and it’s not them personally – the problem is that people who have nothing to do with the experience are writing the story. Jill got away with it more because it’s a personal story – it was her experience with a pre-transition parent. That said, I think it was tricky and tricky. I also think that [when we started] the transacting community hadn’t been integrated into the Hollywood community at all.

We have transformative action in every department – ​​we have more trans people than any show in history, I’m sure. We have the first trans writer, a trans director. Jill really put her money where her mouth is. If you want to do it, someone involved has to be part of that community. Imagine a white actor, a white director, a white writer doing an African American story! That’s how it feels. I get that Hollywood is all about money and bankability – I get it! But I don’t think that’s OK anymore.

It also feels like the film industry is moving more slowly in terms of diversification and telling more authentic stories than television.

It’s all about international markets. I think it’s money – producers told me this: ‘It’s about who can sell overseas.’ But at the same time, you might need to make a little less money to do something good.