Diane Keaton was a California native who studied Drama at Santa Ana College before dropping out to study at the Neighborhood Playhouse in New York. After appearing in summer stock for several months, she got her first major stage role in the Broadway rock musical "Hair". As understudy to the lead, she gained attention by not removing any of her clothing. In 1970, Woody Allen cast her in his Broadway play "Play It Again, Sam", which had a successful run. It was during this time that she became involved with Allen and appeared in a number of his films. The first one was Play It Again, Sam (1972), the screen adaptation of the stage play. That same year Francis Ford Coppola cast her as Kay in the Oscar-winning The Godfather (1972) and she was on her way to stardom. She reprized that role in the film's first sequel, The Godfather: Part II (1974). She then appeared with Allen again in Sleeper (1973) and Love and Death (1975).
In 1977 she broke away from her comedy image to appear in the chilling Looking for Mr. Goodbar (1977), which won her a Golden Globe nomination. It was the same year that she appeared in what many regard as her best performance, in the title role of Annie Hall (1977), which Allen wrote specifically for her (her real last name is Hall, and her nickname is Annie), and what an impact she made. She won the Oscar and the British Award for Best Actress and Allen won the Directors Award from the DGA. She started a fashion trend with her unisex clothes and was the poster girl for a lot of young males. Her mannerisms and awkward speech became almost a national craze. The question being asked, though, was, "Is she just a lightweight playing herself, or is there more depth to her personality?". For whatever reason, she appeared in but one film a year for the next two years and those films were by Allen. When they broke up she was next involved with Warren Beatty and appeared in his film Reds (1981), as the bohemian female journalist Louise Bryant. For her performance she received nominations for the Academy Award and the Golden Globe. For the rest of the 1980s she appeared infrequently in films, but won nominations in three of them. Attempting to break the typecasting she had fallen into, she took on the role of a confused, somewhat naive woman who becomes the tool of Middle Eastern terrorists in The Little Drummer Girl (1984). To offset her lack of movie work, Diane began directing. She directed the documentary Heaven (1987), as well as some music videos. For television she directed an episode of the popular, but strange, "Twin Peaks" (1990).
In the 1990s she began to get more mature roles, though she reprized the role of Kay Corleone in the third "Godfather" epic, The Godfather: Part III (1990). She appeared as the wife of Steve Martin in the hit Father of the Bride (1991) and again in Father of the Bride Part II (1995). In 1993 she once again teamed with Woody Allen in Manhattan Murder Mystery (1993), which was well received. In 1995 she received high marks for Unstrung Heroes (1995), her first major feature as a director.
Frequently wears gloves
Frequently wears white
Known for playing eccentric free spirited characters
Distinctive lilting way of speaking
Considered pioneering in starting the tendency of women to dress in men's clothes
1995: Chosen by Empire magazine as one of the "100 Sexiest Stars in Film History" (#46).
Has adult-onset asthma.
Born at 2:49 a.m. PST.
Has never married.
She is not related to Michael Keaton, as her birth name is Diane Hall. She changed her last name to her mother's maiden name as a result of a Diane Hall already being in the Actors Guild. According to her, Michael Keaton had a similar problem with his natural name when entering the Guild (his birth name is Michael Douglas!), though he picked "Keaton" because he liked Diane's name.
Was part of the original cast of the Broadway musical "Hair" (1968).
Woody Allen said of her, "In real life, Keaton believes in God. But she also believes that the radio works because there are tiny people inside it."
Was nominated for Broadway's 1969 Tony Award as Best Supporting or Featured Actress (Dramatic) for "Play It Again, Sam," a performance she recreated in the film version with the same title, Play It Again, Sam (1972).
In both her 1977 films, Annie Hall (1977) and Looking for Mr. Goodbar (1977), The Godfather (1972) is referenced. In "Annie Hall," Woody Allen mentions the film as two men bother him for an autograph outside a movie theater. In "Goodbar", Theresa (Keaton) is seen reading Mario Puzo's "The Godfather" at a bar counter when Richard Gere approaches her.
She and Woody Allen made 8 movies together: Annie Hall (1977), Love and Death (1975), Manhattan (1979), Manhattan Murder Mystery (1993), Radio Days (1987), Play It Again, Sam (1972), Interiors (1978) and Sleeper (1973)
Created a new fashion style in the 1970s, when women all over the world started to copy her style of wearing suits and ties, first recognized by the public in Annie Hall (1977).
2006: Her performance as Annie Hall in Annie Hall (1977) is ranked #60 on Premiere Magazine's 100 Greatest Performances of All Time.
Parents: Dorothy Keaton (b.1921, d.2008), a housewife, and Jack Hall (b.1921, d.1990), a civil engineer.
She's the oldest of four children. Diane has a brother named Randy Hall (b.March 21th 1948) and two sisters named Robin Hall (b.March 27th 1951) and Dorrie Hall (b. April 1st 1953).
Diane Keaton was nominated for the 1969 Tony Award (New York City) for Supporting or Features Actress in a Drama for "Play It Again Sam" and recreated her role in the movie.
Had an on-off relationship with Al Pacino in the '70s and '80s.
Was cited as one of the most promising movie personalities of 1973 in John Willis' 1974 Film Annual "Screen World" book.
Studied acting under the legendary acting teacher, Sanford Meisner, at NYC's prestigious Neighborhood Playhouse.
Is of Irish Descent.
Favorite movie: Something's Gotta Give (2003).
Has two adopted children - a daughter Dexter Keaton (b.1995) and a son Duke Keaton (b.2000).
Had skin cancer, which she overcame [November 21, 2011].
Warren Beatty originally offered Keaton Julie Christie's part in Heaven Can Wait (1978), but decided against it to do the more challenging role in Looking for Mr. Goodbar (1977). She did however take the role of Louise Bryant in Reds (1981), a role which Beatty originally offered to Christie.
Will receive The Hollywood Reporter's 2012 Sherry Lansing Leadership Award on December 5, 2012.
Took her stage name from Buster Keaton, of whom she is a fan.
I think that people who are famous tend to be underdeveloped in their humanity skills.
[on her nude scene in Something's Gotta Give (2003)] At this point, does it really matter? Nobody is looking at me the way I once imagined people would look at me, like with deviant thoughts. I think they just go, "Huh. There it is. Intact."
I find the same thing sexy in a man now as I always have: humor. I love it when they are funny. It's to die for.
Of course I recognized myself in the roles [Woody Allen] wrote. I mean, in Annie Hall (1977) particularly. I was this sort of novice who had lots of feelings but didn't know how to express herself, and I see that in Annie. I think Woody used a kind of essential quality that he found in me at that time, and I'm glad he did because it worked really well in the movie.
I build a wall around myself. I'm hard to get to know. Any trait you have, it gets worse as you go along.
I think about dying every single day. I've lost lots of friends, and they die in the most bizarre ways. It's like, "That can't possibly be! How could that have happened?" And all I can think is, "That could have been me."
It's kind of true, you do disappear off the planet if you are a middle-aged woman, but that has some advantages as well. Because too much of my life was spent waiting to be seen. Hoping to be seen, hoping to be picked. Once you realize that you aren't looked at that way any more, other things start to happen and you have to depend on other things to get by.
I had a career and I came to motherhood late and am not married and have never had such a trusting relationship with a man - and trust is where the real power of love comes from.
When I was younger I had these enormous vanities about what I expected from myself. I'm glad to have a comfortable and fascinating life, but now I see it for what it is, so I can be braver and more spontaneous and say to myself, "Oh, screw it, just go out there and do it."
I'm limited, so, I kind of know where I fit as an actress. I kind of get it now, finally, after all of these years of trying to be a dramatic actress. I kind of think that'd I'd like to continue dealing with these things in a funny, lighter vein, but also truthful and honest.
I just have to keep going back to the core and think that we're all afraid of it and when we're afraid of it, you run to something much easier, something that looks like candy.
[Regarding getting drug shots before each performance of the 1968 rock musical, "Hair"] At the time it was astonishing to have a job. It was odd. Before the show opened we got a shot by a doctor Bishop. A vitamin shot, only it was not vitamins. It was like methamphetamines. You were flying. A lot of people got addicted.
The idea of speaking your thoughts out loud is so important. It's been downplayed recently because now we have medication to help people in situations. But I think it's important to talk your thoughts out loud, because you don't really own them until you do that.
When I first got to know Woody and I was going out with him, I noticed that people never wanted to hear anything that I had to say at all. They just wanted to be in the shadow of his light and I remember really having a hard time with that.
I would audition for the talent show when I was in junior high school, and I was going to sing All I Want For Christmas Is My Two Front Teeth. But it was my mother's idea that I black out my teeth at the tryout, and that of course secured my position on the list of people who would be in the talent show.
When I was little, we'd get in the station wagon and go all over California. Childhood memories can really dominate your life.
|The Godfather (1972)||$35,000|
|The Godfather: Part III (1990)||$1,500,000|
(2010) Appeared in a commercial for L'Oreal Paris' "Age Perfect" skin care makeup.
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