Tess Frazer Biography, Age, Height,  IMDb, Image, Career, Movies And Tv Show And News - instantbios.com | instantbios.com Tess Frazer Biography, Age, Height,  IMDb, Image, Career, Movies And Tv Show And News - instantbios.com

Tess Frazer Biography, Age, Height,  IMDb, Image, Career, Movies And Tv Show And News

Tess Frazer Biography | Tess Frazer

Tess Frazer is an American actress from New York City is best known for playing Callie Dunne in the Emmy award-winning Netflix western TV miniseries Godless starring alongside Michelle Dockery, Merritt Wever, and Jeff Daniels.

Tess Frazer Age

Tess Frazer age is not known New York City

Tess Frazer Height

She has a height of  5’10” / 178cm tall, a Blonde hair and Green  eyes

Tess Frazer IMDb

Tess Frazer is an actress, known for Godless (2017), Café Society (2016) and Fan Girl(2015).

Tess Frazer Image

Tess Frazer Photo

Tess Frazer Career

A native New Yorker born into a family of actors, Tess has performed on stage in New York and beyond since she was a young child. Tess originated the role of Lorna in the world premiere of award-winning playwright Tracy Letts’s Mary Page Marlowe at the renowned Steppenwolf Theatre in Chicago. Directed by Tony Award-winning director Anna D. Shapiro, the play opened in April of 2016 to rave reviews. Tess later reprised her role in the recent revival at Second Stage Theater in New York City in the summer of 2018, directed by Lila Neugebauer.

She made her feature debut in Fan Girl opposite Meg Ryan and Kiernan Shipka playing Claire Bovary, a social media super-star who is as popular as she is kind. She next appeared alongside Jesse Eisenberg as Jane, a 1930’s Hollywood secretary to Steve Carell in Woody Allen’s Cafe Society. Previously she had appeared on TV in NBC’s limited series The Slap.

As a series regular in the Netflix western limited series Godless, Tess plays Callie Dunne, a former prostitute turned schoolteacher, starring alongside Michelle Dockery, Merritt Weaver, and Jeff Daniels.

She also appears opposite Emily Mortimer in the romantic comedy/heist film Write When You Get Work as Ashley Spradlin, a trusted and caring school administrator.

Tess Frazer is a graduate of the Fiorello H. LaGuardia High School of Music & Art and Performing Arts and trained at Maggie Flanigan Studio and Circle in the Square Theatre. She has studied and performed improv comedy at IO Theater in Chicago, The PIT, and Magnet in NYC.

Tess Frazer Movies And Tv Show

Year

Title

Role

2018

Paterno

Campus Interviewee

Write When You Get Work (film)

Ashley Spradlin

2017

Godless (TV Series)

Callie Dunne (7 episodes)

2016

Café Society

Phil’s Secretary

2015

Fan Girl (TV Movie)

Claire

The Slap (TV Series)

Pretty Girl

Tess Frazer Talks The Relationship Between Maggie & Callie On Godless

Netflix’s Godless is a western turned slightly topsy-turvy. Much of it takes place in La Belle, New Mexico, a town populated almost entirely by women. The men of the town died in a tragic mining accident, leaving Scott Frank, the writer, with a handy ability for this western to pass the Bechdel test. The women of La Belle are still women in the fabled “wild west” — i.e., they are sometimes just damsels in distress — but they get the opportunity to be more than just male-adjacent accessories. Tess Frazer plays Callie Dunn, a sex worker who turns to school teaching after the accident. Without men, there isn’t much use for the brothel in town, so Callie co-opts the space for the children’s school. Despite her career, she’s one of the two most powerful women in La Belle. As she proudly tells her lover Mary Agnes (Merritt Wever), she is sitting pretty on $20,000 of cash. (That’s almost half a million in today’s dollars.) You can make a lot of money in the lawless west through sex work, it turns out.
For Frazer, the show presented a similar opportunity: She could be a fully-realized woman character in a western, hang out with a stellar cast of women, all while learning to do traditionally “masculine” stunts like shoot and ride horses. And, Frazer enjoys the show’s most optimistic storyline. While people die around them, Callie Dunne and Mary Agnes, two women left widowed after the accident, fall in love. Refinery29 spoke to Frazer just before the show came out about Callie, the rules of the Godless world, and what she calls “cowgirl camp.”
Refinery29: Callie Dunne is obviously the richest person in town. Do you think this makes her the most powerful as well? I think of her as almost the de facto mayor.
Tess Frazer: “Well I would say Mary Agnes is the mayor of the town. She’s in charge. And I think Callie is actually happy to have had some peace in a way when all the men died and people stopped visiting [La Belle]. She did give up her life of being a prostitute and opened up a school, which was kind of a positive outcome out of a horrible thing that happened. So, it’s an interesting journey that I think she’s gone through. She has found a more quiet life after not [being a sex worker] anymore. And she always knew Mary Agnes, but they only recently started developing this relationship when the show starts.”
She’s just the wealthiest woman in town.
“Yes, from prostituting. She did what she had to do, and she was very successful at it. I don’t think she’s making any money from the school.”
PHOTO: COURTESY OF NETFLIX.
Pictured: Tess Frazer as Callie Dunne in Netflix’s “Godless.”
What was it like, training for a western in an all-women town?
“We had so much fun. We girls became such friends. It was a blast. And the guys were there, too, because there are a lot of scenes where we shoot the guys! Well, we’re in a battle with them. We called it Cowgirl camp. Horseback riding, shooting.”
You get to play out one of the sweeter storylines in the show — it just so happens to be a gay romance.
“It’s really awesome because obviously there were homosexual relationships going back to the beginning of humans. And we just haven’t seen them in westerns before this because those western films were made in the 1950s! Of course, they wouldn’t show that. So I think that it is progressive to have it in our show, but at the same time, I think it’s truthful because I’m sure that it did happen in many instances. And I think it’s cool that it’s being shown and it’s this real, romantic relationship that happens to be between two women. It’s also historically accurate that there were obstacles in the 1880s. But our relationship didn’t come about until the town was so abandoned and all the men are gone — what are the rules anymore? Might as well live our lives.”
Yes, it’s a unique move to have all the men die.
“That was something Scott [Frank, the writer] said really did happen in history, too, which hasn’t been shown in a western film before this. Those mining accidents were sadly pretty common. “
Do you think Callie approached Mary Agnes or Mary Agnes approached Callie?
Good question. I think it developed over furtive glances across a room. And probably Callie was the aggressor.”
Do you think she sidled up to her in the saloon?
“Oh, yeah.”
Do you think the relationship with Mary Agnes was something that Callie anticipated, pre-accident?
“Well, a theme that kept coming up that I wanted to honor was that these women may have a positive outlook, and may be strong, but there’s no way you can come out of that profession completely unchanged or unscathed. And I think that has been with so many men might have an effect psychologically, or even sexually. It might have been a really nice change to be with a woman after all that. There’s something safe about it.
I do think that Callie really loves Mary Agnes. But she might not have anticipated being gay. “
Obviously, “godless” means there are outlaws and evil men like Frank Griffin (Jeff Daniels), but it seems as if the benefit of a godless world is that there aren’t any laws to cast moral judgment.
“Exactly! Because back then you would have thought you were definitely going to hell [if you were gay]. But then, they think, ‘Why not? Let’s just be together.'”
This story has been edited and condensed for clarity. Godless is now streaming on Netflix.

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Published: 24 November 2018

Stacy Cochran on Emily Mortimer, Rachel Keller and Finn Wittrock in Write When You Get Work

by Anne-Katrin Titze

Tess Frazer joined Stacy Cochran for the opening night Write When You Get Work Q&A, moderated by Anne-Katrin Titze at Village East Cinema Photo: Anne-Katrin Titze

In the final instalment of my conversation with Write When You Get Work director/screenwriter Stacy Cochran, we go into the nature of the characters, played by Finn Wittrock, Rachel Keller, and Emily Mortimer, and touch on Alfred Hitchcock’s Rear Window, Michael Powell’s Peeping Tom, Ernst Lubitsch’s Trouble In Paradise, and Hirokazu Kore-eda’s Shoplifters.

Jonny (Wittrock) and Ruth (Keller), the couple at the heart of Write When You Get Work, struggle on their own until the death of an important person for both of them encourages Jonny to take audacious steps to enter back into her life. Ruth has moved on to a position at a private girls school on Manhattan’s Upper East Side, run by an over-confident Guy Brinckerhoff (Scott Cohen).

Finn Wittrock as Jonny has a David Lynch eeriness element in his performance.

When Jonny finds out, he invades her space and sees an opportunity to move forward, after encountering a distraught Nan Noble (Mortimer) who has a child enrolled where Ruth is now interim head of admissions.

Anne-Katrin Titze: The moment when we first see Ruth [Rachel Keller] in her apartment, that’s your take on Rear Window and Peeping Tom?

Stacy Cochran: We did mention Rear Window and Peeping Tom. But not like, let’s make it look like this.

AKT: No, it’s nice, not pretentious at all. It has a lightness. But what comes as a surprise is when she [Ruth] finds someone, Jonny [Finn Wittrock], in her apartment that was locked. She doesn’t seem to be all too surprised by it. It startled me.

SC: I hope so. I mean I would want it to startle you more than it startles her. I’m stumbling, because I want to say one more thing about the Rear Window thing.

AKT: Go, go!

SC: In the script, it’s written like “If you were to be standing across the street, here’s what you would see in her window.” It was also a real time saver, writing it that way, because, once we were there, we didn’t say, okay, she’s getting dressed for work, what should we do?

Stacy Cochran on Rachel Keller as Ruth when Jonny appears: “She kind of has a little moment but she keeps going. You know, it’s really private, she startles.”

Should we go inside or outside? No, the script says, you’re across the street. You are you, whoever the audience is. That was part of why we were able to do it so quickly, I think.

AKT: What about the break-in?

SC: I was really stubborn about not shooting too many options. So as not to be confusing with too many options. I really didn’t want one where she jumped out of her skin because someone was standing behind her.

I just love the idea on one level, if it’s his voice, it transcends the fact that she hasn’t heard his voice in eight or nine years. I thought more important than the startle was the idea that this is very familiar to her. And even though he’s never exactly done this …

AKT: … this is what he does?

SC: This is what he does. That was really something that was important to convey – more than the jump. She kind of has a little moment but she keeps going. You know, it’s really private, she startles.

AKT: The eeriness has a David Lynch “I’m here right now” element to it.

SC (laughing happily): That’s a compliment!

Emily Mortimer as Nan Noble with her husband Steven (James Ransone): “‘I have people but I’m alone’.”

AKT: There is a slight sense of horror in there, isn’t there? That’s uncanny. No horror without it being in the home.

SC: That’s funny, maybe that’s true. I’m not an expert on horror and how it’s built but there’s the other side. I felt that from the first frame they’re in love; they’re in love at the beginning and the end and they’re in love in the middle. It’s just if they’re willing to acknowledge that and they can get all the other noise out of the way.

I didn’t want you to know if they loved each other or hated each other and that was the fun of it. But to me, privately, as the person who is making the movie, they are always in love. Especially when they hate each other. On some molecular level, she loves him.

AKT: What he does to her door! And he gets away with it!

SC: That was probably the toughest thing to pull off.

AKT: Did you ever see somebody do this?

SC: No, but in the very first apartment I lived in New York – and I married my college boyfriend, so we were together from the minute we got here. So that was the kind of lock. It’s called a police lock. I had lived with one like that and he [Jonny] just used a broomstick version [in Write When You Get Work].

Write When You Get Work on the Village East Cinema marquee in New York Photo: Anne-Katrin Titze

AKT: It’s fascinating and something I have never seen. It looks so violent.

SC: Oh, that makes me so happy. It was meant to be as violent as possible. And it’s also an attempt to protect her.

AKT: Emily Mortimer is great in your film [as Nan Noble]. She has some of the most fantastic lines. My favorite is: “When the tide goes out, you don’t leave your best fish to die on the shore.” Wow, that is such a ridiculous sentence!

SC: Oh, my gosh, that’s the nicest thing you could have said. I did hear someone say that, about 15 years ago, I think. And I thought I will never forget that and someday I will do something about the class of people who feel that they’re entitled to the world, and I’m not going to ever forget that line.

AKT: It’s absurd and crazy and she is in her tennis gear when she says it and Emily is perfect in her delivery.

SC: Oh my god, I just love her.

AKT: At Eye For Film we have the Nivola Files – I did a lot of features with her husband Alessandro.

SC: Oh, how nice! They are both just wonderful.

AKT: Yes, they are. Another line Emily says in your film that says a lot about friendship is “I have people but I’m alone.”

Anne-Katrin Titze with Write When You Get Work director Stacy Cochran at the theatrical première Q&A Photo: Tess Frazer

SC: Gosh, I’m so thrilled that you even noticed that, much less say it back to me. I mean, there was a challenge in the story to make something, I guess, believable between Jonny and Nan. It was tricky, I didn’t want you to say, why in the world would she ever trust him with anything, let alone all of her belongings.

That line was crucial that she not only genuinely shared things that are hard for her with Jonny but to convey how badly she needed to convey that to someone. And I feel despite what he is doing at her, he really hears her.

AKT: The idea of stealing things, taking things – did you see Shoplifters? The Kore-a film that won the Palme d’Or at Cannes this year?

SC: As a matter of fact, I didn’t. I’d like to.

AKT: I was at the press screening recently. It is a very interesting take on makeshift families and stealing. There are some parallels.

SC: I’ve heard really good things about it. I have seen Trouble In Paradise, though, which is about crooks.

AKT: So, is it important that they are crooks?

SC: I think so. Crooks and frauds. Everyone is. Even Guy Brinckerhoff [Scott Cohen] who is the Chairman of the Board of the school, he actually launders money in order to make what he wants to work.

Write When You Get Work poster at Village East Cinema Photo: Anne-Katrin Titze

AKT: Any new projects coming up?

SC: There’s a few. One where the script is pretty much ready. It’s about hockey.

AKT: Hockey?

SC: Shall I tell you about it?

AKT: Yes.

SC: It’s set in 1969. There’s a book by Jerry Eskenazi, called A Year On Ice. He wrote it in real time. As the season was going, he was writing the book, as he was assigned to do by the publisher. And so it’s completely fictionalized. It follows the season authentically, but they’re not called the [New York] Rangers because there’s a kind of Hitchcock story on top of it.

AKT: It’s not ’69 but 1968, but I just did an introduction at the Goethe-Institut of Margarethe von Trotta’s series Anniversaries, based on the novel by Uwe Johnson. Each chapter is a day from August ’67 to August ’68.

A mother is telling her daughter about her past. There are three levels – one of them is the daily headlines of The New York Times. It is one of the great New York novels.

SC: I don’t know it at all! Wow.

AKT: The full translation was just published. You should take a look.

SC: I definitely will. It sounds great.

Read what Stacy Cochran had to say on cinematographer Robert Elswit, costume designer Samantha Hawkins, camouflage, and the visual storytelling in Write When You Get Work.

Rachel Keller and Finn Wittrock will join Stacy Cochran for a post-screening Q&A in Los Angeles on December 7.