Amy Landecker Biography, Age, Family, Dating, Career, Movies, TV Shows, Julia Roberts And Net Worth

Amy Landecker Biography

Amy Lauren Landecker is an American film, stage and television actress known for her supporting roles in 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 critically acclaimed comedy-drama Transparent as Sarah Pfefferman in 2014.

Amy Landecker Age

Landecker was born in the year 1969 September 30th. She is 49 years old as of 2018.

Amy Landecker Family

Landecker was born in Chicago, Illinois to John Records Landecker a Chicago radio personality. There is no much information about her family and siblings if she has any.

Amy Landecker Dating

Landecker was married to American Journalist Jackson Lynch for 9 years before they divorced. 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 got into a relationship with American Actor Bradley Whitford. The two have been in a relationship for 4 years and got engaged in 2018 March.

Amy Landercker And Bradley Whitford Photo
Amy Landercker And Bradley Whitford Photo

Amy Landecker Career

Landecker earned her Screen Actors Guild card doing a voiceover for a Tampax commercial in which she echoed the voice of the on-camera actress, saying only the word “ballet”. She made $10,000 in residuals from the commercial. Landecker recalls, “I never saw money like that in my life, and it didn’t even matter what I looked like! I was hooked on [voiceover] from then on!” At the beginning of her career, Landecker primarily focused on stage work and decided to move to Los Angeles when she reached 38 years old.

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

Landecker’s television credits include guest starring in the TV series Law & Order: Special Victims Unit, Law & Order: Criminal Intent, NCIS, Curb Your Enthusiasm, Revenge, and many more series. Apart from her on-screen work, Landecker has also appeared in a number of Off-Broadway theatrical productions, including Bug. In 2013, she co-starred in 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 co-starred in the Michael Bay-produced time travel thriller Project Almanac, which was released in January 2015.

Amy Landecker Movies





Life Support


Untitled Schulman/Joost project


A Kid Like Jake



Beatriz at Dinner


The Hunter’s Prayer







Doctor Strange

Dr. Bruner


Project Almanac






The Meddler



All Is Bright


Enough Said


Amy Landecker TV Shows





The Twilight Zone


Grey’s Anatomy



Room 104

Joan Teakins


People of Earth

Debbie Schultz


Barbara Lake (voice)



Sarah Pfefferman



Karen Schultz

Clear History

Nathan’s Wife


House of Lies

Janelle Winter

Private Practice


Retired at 35




Dr. Michelle Banks



Dr. Ellen Gracey

The Paul Reiser Show




The Protector

Arlene Duncan

Happily Divorced


Curb Your Enthusiasm

Jane Cohen

Prime Suspect

Alice Paget



Sandra/Louie’s Mother

Amy Landecker Net Worth

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

Amy Landecker A Serious Man

Landecker played Mrs. Samsky in the film A Serious Man in 2009. The film follows Larry Gopnik, a Midwestern physics teacher, who watches his life unravel over multiple sudden incidents. He seeks the meaning and answers amidst his turmoils, but he seems to keep sinking.

Amy Landecker Doctor Strange

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

Amy Landecker Dan In Real Life

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

Amy Landecker Julia Roberts

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

Amy Landecker Twitter

Amy Landecker Instagram

Amy Landecker Interview

Source: Esquire

ESQ: Transparent‘s third season feels like my favourite season so far.

Landecker: We’ve been hearing that! With every show, it’s so hard to keep up the excellence. Our writers are so great, and it’s amazing how they can go even deeper. What I love about Season Three is that it feels like there’s just a sure hand throughout—everyone has settled into the grooves of it and balanced the light and dark tones. You know you’ll cry one minute and laugh the next. And then maybe gasp. It’s an intense journey, for sure, but I feel like the rhythm this year feels so great. I just saw the first three episodes on a big screen in Toronto, which is usually a horrific experience for me. [Laughs] But I managed to appreciate the narrative and feel a little blown away that I’m in this remarkable show.

It feels like this season is a little more comfortable with itself. The first two seasons had to do a little bit of explaining to tackle this important subject matter in careful ways. And the show, I think, has played a major role in bringing awareness to the trans community.

Jill said it so well in Toronto: “Year one: We did it. Year two: They like it! Year three: Here we are, we’re hanging out.” I think there was a huge mantle to carry and to treat the subject matter well, and there was a lot of responsibility on everyone’s shoulders. In the second year, a lot of us were going through personal explosions in response to the first year, and we all dealt with that during the second season—like, what just happened?! It was a big first for a lot of us to be on a show that within a few months won a Golden Globe, to be going around the country speaking at LGBTQ events, to feel like something had happened. In this season, we’re all at our most comfortable, and we can enjoy it.

I know you have a theatre background. You’re working with a cast that seems very close—does doing a television show about this family feel similar at all to working in the theatre?

It does, actually. I never felt that way—I never had an “extended run,” you could call it, with the people I’ve worked with. It has a lot to do with the way we work on the show. The quote is, “We favour the emotions, not the equipment.” A lot of on-camera shoots deal with lighting and camera movement. Jill focuses on the people—any time spent is time spent on the emotional honesty, not where we’re standing. The camera doesn’t move unless there’s an emotional beat change. In a theatre experience, the words and the feelings are the most important—the lights coming on and off are the only equipment. So Transparent feels like that—a sense of familiarity, and it’s as close to doing a play as I’ve had in an on-camera experience. There’s a flow going—you’re allowed to talk over each other, improvise. I can count on my hands how many times I’ve had to hit a mark. It’s very unusual.Our director of photography Jim Frohna is the sweetest—some kind of shaman or something. He’s this very emotionally present, kind being who runs the camera. He creates this movement while he’s shooting that you don’t even feel his presence. It allows you to do things you normally wouldn’t and behave like the character. You’re completely comfortable and free. When people respond to the show and say, “It’s so real, it’s so courageous,” it’s because of how that crew is a part of our team. We all get together in the morning and have a gratitude moment. We talk about what’s going on in our lives—every level, every department. We have this very kumbaya kind of vibe. But everyone is very ironic and cynical—it works. [Laughs] It’s a perfect combination for really good storytelling and serves as a great balance for the narcissistic angst of Hollywood.

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

Yeeeah. Yep.

Jill Soloway gave a very good answer, explaining to him that he was responding to characters delivered through the female gaze, and it felt like a very diplomatic response—and then you absolutely railed on him. It was kind of amazing. I was both deeply uncomfortable and overjoyed.

[Laughs] Here’s the theory I have. When we started, I’d say, look: The lead character in Mad Men sleeps with everyone and is a horrible person, and we still love him. Breaking Bad: The lead character is a drug dealer, but we still love him. The Sopranos: He’s in the mafia! But all of those shows are slightly removed [from reality]. One’s a period piece, one’s a heightened look at this dark underworld, and then one’s about the mafia. You can distance yourself from the behaviour and emotionally detach from the narrative. Our story is very small and personal—you can see your own shadow when you watch it. If you’ve raged, if you’ve mistreated somebody, if you’ve ever thought only about yourself—these are things that all human beings struggle with and judge themselves for. There’s a love/hate relationship for these characters, in the same way, there’s a love/hate relationship for our own behaviors. I have a combination of self-love and self-loathing, just like most people.

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

There’s been a larger conversation happening about representation in film and in television, triggered by Matt Bomer being cast as a transgender woman in a new movie. I know you don’t play a trans character, but do you feel like you have a responsibility as a representative of your show?

I do! I am very close to a number of actresses who are trans and hungry for parts. I think when we cast Jeffrey [Tambor]… It feels like it might be the last time in history someone 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 away with more because it’s a personal story—it was her experience with a pre-transition parent. That said, I think it’s been tricky and touchy. I also think [when we started], the transacting community hadn’t been integrated at all within the Hollywood community.

We have transformative action in every department—we have more trans people than any show in history, I have no doubt. We have the first trans staff writer, a trans male director. Jill has really put her money where her mouth is. If you’re gonna do it, someone involved has to be a part of that community. Imagine a white actor, a white director, a white writer doing an African-American story! That’s what it feels like. I get Hollywood is all about money and bankability—I get it! But I don’t think it’s OK anymore.

It also feels like the film industry moves slower in terms of diversifying and telling more authentic stories than TV.

It’s this whole thing with the international markets. I think it’s money—I’ve been told this by producers: “It’s about who can sell abroad.” But at the same time, maybe you need to make a little less money to do something right.