Last Updated on 2 months by Admin

Marin Hinkle Biography

Marin Hinkle (Marin Elizabeth Hinkle) is an American actress well known for her many television and movie roles, she is also known for playing Judith Harper-Melnick on the CBS sitcom Two and a Half Men as well as Judy Brooks on the ABC television drama Once and Again and Rose Weissman in The Marvelous Mrs. Maisel. 

Marin Hinkle Age

Hinkle was born on 23rd of March in Dar es Salaam, Tanzania. She is 53 years old as of 2019.

Marin Hinkle Family

Hinkle was born to Rodney Hinkle (father), a college Dean and Margaret R. (Polga) Hinkle, (mother) a Judge at Massachusetts Superior Court. She was raised along with her a brother, Mark Hinkle who is 2 years younger to her. Her family relocated to Boston, Massachusetts, the USA when she was four months old.

Marin Hinkle Husband

Marin is married to Randall Sommer whom they met in 1992 and they got married in 1998. Her husband Randall Sommer is a New York theater Director and actor.

Marin Hinkle Children

The pair has one grown son, there is no much information about their son.

Marin Hinkle Education

She was enrolled and later graduated from Newton South High School. sh later joined New York University and Graduated from Acting Program and in 1991.

Marin Hinkle Career | Actor

Marin began her career with her first break in the soap opera ‘Another world’ on NBC. She later starred as Judy Brooks on ABC’s drama series ‘Once and again’. She has been featured as Judith in ‘Two and a Half Men’ on CBS, and as Samantha Bowers on ABC’s drama series ‘Deception’. She later got to be featured as Christine Lonas in the 2017 series Homeland. The same year she was featured in the T.V. series The Marvelous Mrs. Maisel.

Marin Hinkle Photo

Apart from the television series she has been featured in several movies throughout her professional career. She as well ben featured in significant and challenging roles in films. She made her film debut in the year 1994 portrayed the character of Young Joanne for the movie Angie. Breathing Room, I’m Not Rappaport, Frequency, Sam the Man, Quarantine, Imagine That, Weather Girl, Geography Club, Cowgirls ‘n Angels: Dakota’s Summer are some of the movies that she had played. She has continued to do television and also associated herself with theater. She has also been nominated for the Ensemble award in 2014 but could not win it.

Marin Hinkle Net Worth

Hinkle has an estimated net worth of $3 million dollars.

Marin Hinkle Law And Order

Hinkle played five different characters in Law & Order, Law & Order: Special Victims Unit, and Law & Order: Criminal Intent. Featured as Leslie Russo (L&O: “Grief”) Debbie Mason ( L&O: “Stiff”) Janice Whitlock ( SVU: “Raw”) Attorney Novelle ( L&O: “Reality Bites” as Moira Boyle
(CI: “Broad Channel”)

Marin Hinkle Two And A Half Men

Marin was featured as Judith Harper in Two And A Half Men, a movie based on Chiropractor and single father Alan Harper who lives in a beachfront house with divorced Internet billionaire Walden Schmidt, who bought the house following the untimely death of Alan’s brother, Charlie. As they acclimate to their living arrangement, the tightly wound Alan finds himself taking on a mentor role with Walden, whose lifelong dependence on being taken care of has left him a bit naive. Despite his unsuccessful romantic history, Alan also tries to help Walden overcome his limited experiences with dating. Berta, a sharp-tongued, unapologetic housekeeper, is also featured in the series.

Marin Hinkle Movies

Year	Title	Role
2017–present	The Marvelous Mrs. Maisel	Rose Weissman
2017	Homeland	Christine Lonas
2016–present	Speechless	Dr. Miller
2016	Castle	Dr. Rebecca Ellins
2014–15	Madam Secretary	Isabelle Barnes
2014–15	Red Band Society	Caroline Chota
2014	The Affair	Therapist
2013	Deception	Samantha Bowers
	Missing at 17	Callie
2012	Don’t Trust the B—- in Apartment 23	Karen
2010	Law & Order: Criminal Intent	Moira Boyle
	Army Wives	Suzanne
2009	Private Practice	Beverly
	Law & Order	Attorney Novelle
2008	My Own Worst Enemy	Elizabeth Q
2007–11	Brothers & Sisters	Courtney McCallister
2007–08	The Sarah Silverman Program	Rose Silverman
2006	The Book of Daniel	Nancy
	In Justice	Jane McDermott
2005	House	Naomi Randolph
	Law & Order: Special Victims Unit	Janice Whitlock
	Fielder’s Choice	Holly
2004	ER	Kathy
2003–15	Two and a Half Men	Judith Harper-Melnick
2002	Without a Trace	ADA Angela Buckman
2001	WW3	Judy Rosenberg
2000	Law & Order	Debbie Mason
1999–2002	Once and Again	Judy Brooks

Marin Hinkle Tv Shows

Year	Title	Role
2017	Jumanji: Welcome to the Jungle	Spencer’s Mom
2014	Cowgirls ‘n Angels: Dakota’s Summer	Clara
2013	Butterflies of Bill Baker	Emma
	Geography Club	Barbara Land
2012	My Eleventh
2009	Imagine That	Ms. Davis
	Weather Girl	Jane
2008	What Just Happened	Vanity Fair Coordinator
	Quarantine	Kathy
	The Haunting of Molly Hartley	Jane Hartley
	John’s Hand	Cynthia
2007	The Ex	Karen
	Cough Drop	Rebecca Dewey
	Turn the River	Ellen
	Rails & Ties	Renee
2006	Friends with Money	Maya
2005	Who’s the Top?	Alixe
2002	The Year That Trembled	Helen Kerrigan
	Dark Blue	Deena Schultz
2001	Final	Sherry
2001	The Next Big Thing	Shari Lampkin
2001	I Am Sam	Patricia
2000	Killing Cinderella	Karen
	Frequency	Sissy Clark
	Sam the Man	Shelly
1998	Chocolate for Breakfast	Amy
1998	Show & Tell	Pea
1996	Milk & Money	Carla
	Breathing Room	Larissa
	I’m Not Rappaport	Hannah
1994	Angie	Young Joanne

Marin Hinkle House

Marin Hinkle House

Marin Hinkle – Stars of “The Marvelous Mrs. Maisel”

 

Marin Hinkle Twitter

See more

Marin Hinkle Instagram

See more

Marin Hinkle French

Mrs. Maisel’s Marin Hinkle on Learning French, Filming in Paris, and Dancing With Tony Shalhoub

A few months before The Marvelous Mrs. Maisel went into production on its second season, Marin Hinkle got a call from a production coordinator who asked, “Hey, do you speak French?” Hinkle didn’t. The coordinator then told her, “You’re going to have some lessons and we’re going to Paris.”

The fact that Mrs. Maisel really did shoot in Paris was just one of the many surprises in store for Hinkle this season. Her character Rose Weissman, the perfectly coiffed, buttoned-up mother of the titular Miriam Maisel, abruptly leaves her husband and daughter behind in New York and moves to the City of Lights in the season premiere. Then, Midge and Abe try to rescue Rose from Paris, but are shocked to discover that she’s embraced a bohemian lifestyle (and even adopted a dog). The family eventually travels back to New York, but even there, Rose continues to reveal hidden sides of herself, as she’s set off balance by her daughter’s rebellions.

That story arc wasn’t what Hinkle expected, but she had a lot of fun as the writers kept throwing new ideas at her. “They surprise me, and they’re very surprising people,” Hinkle said of Mrs. Maisel executive producers Dan Palladino and Amy Sherman-Palladino. “I feel like they sometimes must come up with ideas, and then there might be a part of their brain that goes, Nah, and another part that goes, Yeah!” Vulture spoke to Hinkle about Rose’s most surprising decisions in the new season, how she learned to adapt to the Palladinos’ unsentimental writing, and what it’s like to dance along the Seine with Tony Shalhoub.

Rose has so much more to do this season, starting with her decision to leave Abe and Midge and go to Paris. What was your reaction to that?
She’s almost an unrecognizable person when you first see her in Paris. All the things that keep her structured are gone, and I love that she rediscovers some connection to her own youth. She has that amazing line when Miriam says, “You’ve gotta get home, Mama,” and I say, “Well, who’s talking?” That’s a great role reversal there, a mother calling a question to the daughter, because the daughter’s calling the question to the mother.

Why do you think Rose decided to leave? It seems like she knows Miriam is up to something and reacted to that, even if she doesn’t know it’s a career in comedy.
When you have a dear friend that’s going through something, suddenly it makes you wonder about yourself too. I do think that the demise of Miriam’s relationship makes both Abe and I have unsettledness in our own marriage. To have that episode where you saw me scream and yell in a temple at my daughter and say, “Where the fuck have you gotten this coat?” I think Rose became unhinged. I think her way of finding strength again is to remove herself from what made her feel betrayed. I think you’re right that she can’t put her finger on why she and her daughter are not gelling, but somehow by going away, it’s going to allow the two of them to heal a little bit.

What did you think when you found out you were filming in Paris?
It’s so delightful the way it happened. I got a phone call in late winter, early spring — we were going to start up again in mid-spring — and it was a production coordinator saying, “Hey, do you speak French?” I was like, “Uh, well…” and he said, “Well, you’re going to have some lessons and we’re going to Paris.” I didn’t get the script until the night before, so it was a comedy learning all the verb conjugations, which weren’t necessarily so helpful.

Are there people from your own life that you thought of as models for Rose? Women of that era who were very well-educated, very competent, but couldn’t figure out why they weren’t happy?
I’m fortunate that my mother is an incredible role model for me. She’d been thinking of being a doctor, lawyer, or teacher, and she ended up teaching, but when she had kids it was a little bit less so. When I was in elementary school, she was like, What am I doing not doing this?, so she ended up going to law school and becoming a lawyer and subsequently a judge.

But there are women in my life who are just what you said. They read so much, they’re more intellectual than their spouses all put together, and yet they don’t always have a place where they’re actively connecting with people intellectually. I’m thinking of two women in particular. There’s one who was the woman who ran NYU’s graduate acting program, Zelda Fichandler. She would dress to the acting classes and her hair had just looked like it was styled, and she was wearing these special leather pants and the perfect scarf. I would look at her like, You are so brilliant. Thank God she had become a leader in her field, but the classiness of who she was and her sense of purpose and strength was very much Rose.

Then I had a few ballet teachers that could come across as judgmental, and I guess they were, but it was because they were so strong in what they believed that they were unapologetic. That’s Rose. People think she’s nasty or cruel to her granddaughter because she doesn’t look pretty and has a big head, but she’s worried about whether or not she’s going to have a good life, because it’s harder to not be pretty in Rose’s mind.

There’s a telling scene after Rose comes back from Paris, where she talks the college girls out of taking art classes because they won’t find husbands that way. What did you think about that?
Sometimes you don’t get the episodes until right before you’re shooting and you can’t talk to your writers or directors, so you have to come up with the answer. I wanted to jump up and go, “How could you steer me towards Paris and then have me say to those women, You should go meet a guy in the business school?” That’s human nature. Rose does want to explode as an independent thinker, but when she comes back and sees these women in the class, she can’t help but say, “You know, it’s easier if you meet somebody rather than spend all your money on these classes.” I don’t think she’s being manipulative. I think she’s being helpful.

Are there things you find yourself wanting for Rose? Or that you advocate for when you talk to the writers?
I think that it would be interesting to have Rose learn from Susie, to find some part in the future where something that Susie does or says actually resonates for Rose. They seem to come from such different walks of life and also have different philosophies.

The Palladinos have such a distinctive style, sensibility, and even rhythm of dialogue. Do you have to adjust your acting style to match it?
Amy and Dan are never going to slow down to make sure an audience gets something. They’re not going to ever spoon-feed. They’re not going to ever be sentimental. They’re never going to say, “Oh, we want the audience to feel this way.” In any kind of emotional moment — even the moment where I say, “I missed me, too” [to Miriam in Paris] — they choose the take that tends to be the least sentimental. Their characters are so brazen that one thing I’ve learned is to just go forth without question. I have to be brave and obviously speedy, and not think too hard.

Still, the scenes where Rose and Abe reconcile in Paris are poignant. What’s it like to approach them with Tony Shalhoub?
We had this little dance scene along the Seine that actually took hours and hours and hours of work, and we got to rehearse with a dance choreographer that spoke very little English. Tony and I aren’t necessarily the best dancers, but it was one of my most favorite nights of my life. It was my birthday that night, and so the clock struck midnight and they brought out little bits of Champagne. It was so beautiful, so beautiful. And when I saw [the scene], it was like, Oh, it’s only one moment! One second! But it took a lot

(Adopted from:https://www.vulture.com)