Who is Amy Landecker? Instagram, dating, bio

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


Landecker was born in the year 1969 on September 30th. He is 49 years old in 2018.


Landecker was born in Chicago, Illinois, to John Records Landecker, a Chicago radio personality. There isn’t much information about his family and siblings, if he has any.


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


Landecker earned her Screen Actors Guild membership by doing a voiceover for a Tampax commercial in which she echoed the actress’s voice in front of the camera, saying only the word ‘ballet’. He earned $ 10,000 in advertising residue. Landecker recalls: ‘I’ve never seen money like this in my life, and it didn’t even matter what I looked like! From then on I was hooked by [voiceover]! ‘Early in her career, Landecker focused primarily on theater work and decided to move to Los Angeles when she turned 38.

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

Landecker’s television credits include as a guest star on the TV series Law & Order: Special Victims Unit, Law & Order: Criminal Intent, NCIS, Curb Your Enthusiasm, Revenge, and many other series. In addition to her screen work, Landecker has also appeared in numerous 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 Amazon Studios’ comedy-drama series Transparent. He also starred in the Michael Bay Project Almanac-produced time travel thriller, which was released in January 2015.







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Life support


Untitled Schulman / Joost project


A child like Jake



Beatriz at dinner


The Hunter’s Prayer





Upside down

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Doctor Strange

Doctor Bruner


Project Almanac


Upside down

Everything is fine

Baby sitter


The Meddler



Everything shines


Enough said







The Twilight Zone


Grey’s Anatomy



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Sarah Pfefferman



Karen Schultz

Clear the history

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The Paul Reiser show




The protector

Arlene duncan

Happily divorced


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Landercker earned an estimated net worth of $ 14 million during her successful acting career.


Landecker played Ms. Samsky in the film A Serious Man in 2009. The film follows Larry Gopnik, a Midwestern physics teacher, as he watches his life unfold on multiple sudden incidents. It searches for meaning and answers amidst its turmoil, but it seems to continue to sink.


Landecker plays Dr. Bruner in the film Doctor Strange about a brilliant neurosurgeon who is on a journey of physical and spiritual healing. He is attracted to the world of mystical arts.


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


Landercker is not only a successful actress, she is also a dubbing artist. She played the famous actress Julia Roberts on The Late Late Show.


Landecker: We heard it! With every show, it is so difficult to maintain excellence. Our writers are great and it’s amazing how they can go even deeper. What I like about Season 3 is that there seems to be only one safe hand the whole time – everyone settled into the grooves and balanced the light and dark tones. You know you’ll cry one minute and laugh the next. And then maybe I gasp. It’s an intense journey, for sure, but I feel the pace this year is so great. I just watched the first three episodes on a big screen in Toronto, which is usually a horrible experience for me. [ Laughs ] But I managed to appreciate the storytelling and I felt a little flabbergasted to be in this amazing show.

It seems like this season she’s a little more comfortable with herself. The first two seasons had to do some explaining to address this important topic in a careful way. And the show, I think, played an important role in bringing awareness to the trans community.

Jill said it so well in Toronto: “Year one: we did it. Year two: he likes it! Year three: here we are, we’re out and about. ‘ I think there was a huge cloak to wear and deal with the subject well, and there was a lot of responsibility on everyone’s shoulders. In the second year, a lot of us were going through personal outbursts in response to the first year, and we all dealt with it during the second season – like, what just happened ?! It was a great first for many of us to be on a show that won a Golden Globe in just a few months, touring the country speaking at LGBTQ events, feeling like something had happened. This season we are all comfortable and can enjoy it.

I know you have a theatrical background. You’re working with a cast that seems very close – is doing a TV show about this family akin to working in the theater?

It actually does. I’ve never felt like this, I’ve never had a ‘prolonged run’, you could call it, with the people I’ve worked with. It has a lot to do with how we work on the show. The quote is: ‘We prefer emotions, not equipment’. Many camera shots are about lighting and camera shake. Jill focuses on people: every time spent is time devoted to emotional honesty, not where we are. The camera does not move unless there is an emotional change in the heartbeat. In a theatrical experience, words and sensations are the most important: the lights that turn on and off are the only equipment. So Transparentit feels like this: a sense of familiarity, and it’s as close to acting as I got in an experience in front of the camera. There is a flow going on: you can talk to each other, improvise. I can count on my hands how many times I have had to hit a mark. It’s very unusual.Our cinematographer Jim Frohna is the sweetest, some kind of shaman or something. It is this very emotionally present and kind being that manages the camera. Create this movement while shooting that you don’t even feel its presence. It allows you to do things you wouldn’t normally do and act like the character. You are completely comfortable and free. When people respond to the show and say, ‘He’s so real, he’s so brave’, it’s because of how that crew is part of our team. We all get together in the morning and have a moment of gratitude. Let’s talk about what’s going on in our lives: every level, every department. We have this kind of very kumbaya vibe. But everyone is very ironic and cynical: it works. [Laughs ] It’s a perfect combination for a really good storytelling and acts as a great balance for Hollywood’s narcissistic angst.

I saw you at a panel in New York last year, and during the Q&A period came the dreaded question from a guy in the back of the audience about unimaginable characters …

Yes, yes.

Jill Soloway gave a great answer, explaining that she was responding to the characters conveyed through the female gaze, and it seemed like a very diplomatic response – and then you absolutely railed at him. It was truly amazing. I was both deeply uncomfortable and delighted.

[ Laughs ] Here’s the theory I have. When we started, I’d say, look: the main character in Crazy 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’s in the mafia! But all these shows are slightly removed [from reality]. One is a vintage piece, one is an in-depth look at this dark world and then it’s about the mafia. You can distance yourself from the behavior and emotionally detach yourself from the narrative. Our story is very small and personal: you can see your shadow when you look at it. If you are angry, if you have mistreated someone, if you have ever thought only of yourself, these are things that all human beings struggle with and judge themselves for. There is a love / hate relationship for these characters, similarly, there is a love / hate relationship for our behaviors. I have a combination of self-love and self-loathing, just like most people.

I don’t mean it’s because we’re women, even though I think it’s part of it. Culture has a hard time allowing women to be truly sexual or unwanted by people. But that’s because it really triggers people’s reactions to themselves. I like Sarah, and I like playing her, I don’t judge her. I find myself laughing at the things he says and probably does too often. This is absurd! And I’m not much like her, I’m much more of a liking person. I would never do 90% of the things that woman does. It doesn’t come from that place; she comes from two narcissistic parents, and that’s how she grew up. I think it’s fun to play, and I think it’s trying – I think all Pfeffermans are trying. They are good people trapped in a narcissistic society. They are what most … are the Angelenos. [ Laughs ] Or at least most of the people in this industry.

There was a broader conversation about portrayal in movies and on television, sparked by Matt Bomer as a transgender woman in a new film. I know you don’t play a trans character, but do you feel you have a responsibility as a representative of your show?

I want! I’m very close to a number of trans and role-hungry actresses. I think when we chose Jeffrey [Tambor] … It looks like it might be the last time in history that anyone can get away with it. The problem I have with Matt and that project – and it’s not them personally – the problem is that people who have no relationship to the experience are writing the story. Jill got along better because it’s a personal story: it was her experience with a parent before the transition. That said, I think it was difficult and touchy. I also think that [when we started], the transaction community wasn’t integrated into the Hollywood community at all.

We have transformational action in every department – we have more trans people than any show in history, I have no doubts. We have the first trans staff writer, a trans male director. Jill really put her money where her mouth is. If you are going to do this, someone involved must be part of that community. Imagine a white actor, a white director, a white writer telling an African American story! Here’s what it feels like. I realized that Hollywood is all about money and bankability – I get it! But I don’t think it’s going well anymore.

It also appears that the film industry moves slower in terms of diversification and more authentic storytelling than TV.

It is all this with international markets. I think it’s money – I was told by the producers: ‘It’s about who can sell abroad.’ But at the same time, maybe you need to earn a little less to do something right.

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