Diane Keaton Poster


Jump to: Overview (4)  | Mini Bio (1)  | Family (1)  | Trade Mark (5)  | Trivia (52)  | Personal Quotes (28)  | Salary (11)

Overview (4)

Born in Los Angeles, California, USA
Birth NameDiane Hall
Nickname Annie
Height 5' 6½" (1.69 m)

Mini Bio (1)

Diane Keaton was born Diane Hall in Los Angeles, California, to Dorothy Deanne (Keaton), an amateur photographer, and John Newton Ignatius "Jack" Hall, a civil engineer and real estate broker. She studied Drama at Santa Ana College, before dropping out in favor of 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 1968, 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 involved with 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.

- IMDb Mini Biography By: Tony Fontana

Family (1)

Parents Keaton, Dorothy Deanne
Hall, John Newton

Trade Mark (5)

Frequently wears gloves
Frequently wears white
Known for playing eccentric, free-spirited, often independent-minded characters
Distinctive lilting way of speaking
Pioneering in starting the tendency of women to dress in traditionally male clothing

Trivia (52)

Chosen by Empire magazine as one of the "100 Sexiest Stars in Film History" (#46). [1995]
Has adult-onset asthma.
Born at 2:49 a.m. PST.
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."
She wanted to direct a remake of the film The Blue Angel (1930) (aka "The Blue Angel") with Madonna in the lead but the project was canceled.
Was nominated for Broadway's 1969 Tony Award as Best Supporting or Featured Actress (Drama) 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.
Two of her four Oscar-nominated roles were directed by her then boyfriends: Annie Hall (1977) (which won her an Oscar) was directed by Woody Allen and Reds (1981) was directed by Warren Beatty.
She and Woody Allen made 8 movies together: Play It Again, Sam (1972), Sleeper (1973), Love and Death (1975), Annie Hall (1977), Interiors (1978), Manhattan (1979), Radio Days (1987) and Manhattan Murder Mystery (1993).
Revived the fashion style created by Marlene Dietrich and Katharine Hepburn, when women all over the world started to wear suits and ties; first recognized by the public in Annie Hall (1977).
Woody Allen wrote her starring vehicle, Annie Hall (1977), with her in mind. Her real name is Diane Hall and her nickname is Annie.
Her performance as Annie Hall in Annie Hall (1977) is ranked #60 on Premiere Magazine's 100 Greatest Performances of All Time. [2006]
Born to Jack Hall (1921-1990), a civil engineer, and Dorothy Keaton (1921-2008), no profession.
She's the oldest of four children. Diane has a brother named Randy Hall (b. 1948) and two sisters named Robin Hall (b. 1951) and Dorrie Hall (b. 1953).
Had a 20-year intermittent relationship with Al Pacino.
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.
Favorite scene: reuniting with Beatty at the train station in Reds (1981).
Has two adopted children: a daughter Dexter Keaton (b. 1995) and a son Duke Keaton (b. 2000).
Revealed her secret skin cancer surgery. [November 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.
Received The Hollywood Reporter's 2012 Sherry Lansing Leadership Award on December 5, 2012.
She is of Irish, Northern Irish, English, Scottish, German, and distant Austrian, Dutch, and French, ancestry.
Is one of 3 actresses to have won the Best Actress Academy Award for their portrayal of a character named "Annie". The others are Anne Bancroft (for The Miracle Worker (1962)) and Kathy Bates (for Misery (1990)).
Appeared in a commercial for L'Oreal Paris' "Age Perfect" skin care makeup. [2010]
As of 2014, has appeared in five films that were nominated for the Best Picture Oscar: The Godfather (1972), The Godfather: Part II (1974), Annie Hall (1977), Reds (1981) and The Godfather: Part III (1990). Of those, The Godfather (1972), The Godfather: Part II (1974) and Annie Hall (1977) are winners in the category.
Was the 81st actress to receive an Academy Award; she won the Best Actress Oscar for Annie Hall (1977) at The 50th Annual Academy Awards (1978) on April 3, 1978.
Has a street named after her in front of Santa Ana High school in Santa Ana, California, of which she is an alumna.
Shares the same birthday with her The Godfather (1972) castmate, Robert Duvall, and The Other Sister (1999) castmate, Joe Flanigan.
Is one of 15 Oscar-winning actresses to have been born in the state of California. The others are Fay Bainter, Gloria Grahame, Jo Van Fleet, Liza Minnelli, Tatum O'Neal, Sally Field, Anjelica Huston, Cher, Jodie Foster, Helen Hunt, Gwyneth Paltrow, Angelina Jolie, Marcia Gay Harden and Brie Larson.
Is one of 14 actresses to have won both the Best Actress Academy Award and the Best Actress in a Comedy/Musical Golden Globe for the same performance; hers being for Annie Hall (1977). The others, in chronological order, are: Judy Holliday for Born Yesterday (1950), Julie Andrews for Mary Poppins (1964), Barbra Streisand for Funny Girl (1968), Liza Minnelli for Cabaret (1972), Glenda Jackson for A Touch of Class (1973), Sissy Spacek for Coal Miner's Daughter (1980), Cher for Moonstruck (1987), 'Jessica Tandy for Driving Miss Daisy (1989), Helen Hunt for As Good as It Gets (1997), Gwyneth Paltrow for Shakespeare in Love (1998), Reese Witherspoon for Walk the Line (2005), Marion Cotillard for La Vie en Rose (2007), and Jennifer Lawrence for Silver Linings Playbook (2012).
Is one of 12 actresses who won the Best Actress Oscar for a movie that also won the Best Picture Oscar (she won for Annie Hall (1977)). The others are Claudette Colbert for It Happened One Night (1934), Luise Rainer for The Great Ziegfeld (1936), Vivien Leigh for Gone with the Wind (1939), Greer Garson for Mrs. Miniver (1942), Louise Fletcher for One Flew Over the Cuckoo's Nest (1975), Shirley MacLaine for Terms of Endearment (1983), Jessica Tandy for Driving Miss Daisy (1989), Jodie Foster for The Silence of the Lambs (1991), Gwyneth Paltrow for Shakespeare in Love (1998), Hilary Swank for Million Dollar Baby (2004) and Frances McDormand for Nomadland (2020).
Shares the same birthday with eponymous television interviewer Charlie Rose (1991), with four years age difference between them, with Charlie Rose, being born January 5, 1942, and Diane's birthday being January 5, 1946, with Diane being an interview subject at Charlie's famous round oak table at least four times between 2003 and 2011.
Although she played Teresa Wright's granddaughter in The Good Mother (1988), she is only 27 years her junior in real life.
The American Film Institute bestowed upon her the 2017 AFI Life Achievement Award, which "honors an individual whose career in motion pictures or television has greatly contributed to the enrichment of American culture.".
Born in the Highland Park neighborhood of Los Angeles.
One of People Magazine's 50 Most Beautiful People (2004).
When Keaton was starting out as an actress, she very briefly used her sister's name, Dorrie Hall.
After ending their 2-year, supposedly monogamous romance in 1980, Keaton and Warren Beatty continued to see each other for some time on a nonexclusive basis. When Beatty started dating Mary Tyler Moore - who lived in the tower opposite Keaton's at Manhattan's famous San Remo high-rise - she'd reportedly spy on them with binoculars. Beatty never got a place of his own in NYC since he was shuttling between the two women.
Among the things she treasures is a tile from James Stewart 's house, which she took when it was being demolished.
Finally broke up with Al Pacino in 1991, after two decades of dating off and on, when she found out he'd fathered another woman's child.
In 2005 it was reported that Keanu Reeves had dumped his 28-year-old girlfriend Lynn Collins for Keaton, who was then 59.
Dated artist Edward Ruscha in the mid-1970s.
She and Tuesday Weld, who played her sister in Looking for Mr. Goodbar (1977), had intersecting, on-and-off-again romances with Al Pacino. Al was intermittently involved with Weld spanning roughly 1972 to 1982 and Diane from 1971 to 1991.
Revealed her younger brother, 71-year-old Randy Hall, has dementia. [May 2019]
Claims she hasn't dated anyone in 35 years. [July 2019]
She has appeared in four films that have been selected for the National Film Registry by the Library of Congress as being "culturally, historically or aesthetically" significant: The Godfather (1972), The Godfather: Part II (1974), Annie Hall (1977) and Manhattan (1979).
In Summer stock, after her training, she appeared in 'The Importance of Being Ernest' and 'Oh! What a Lovely War'among other productions and much later the stage production of 'Play It Again Sam'.

Personal Quotes (28)

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.
Don't give up on yourself. So you make a mistake here and there; you do too much or you do too little. Just have fun. Smile. And keep putting on lipstick.
I don't think that because I'm not married it's made my life any less. That old maid myth is garbage.
When I find myself in the absurd position of sitting in the director's chair, I try to sit quietly. I try to leave the actors alone as much as possible. I try not to burden the atmosphere with a lot of talk. Talk is cheap. As Shirley Chisholm said, 'I am not interested in what people say. What I am interested in is what they do.' Sometimes language is used by both actors and directors to evade the moment of truth: action. The use of language to avoid acting is further complicated by the maze of lies we don't identify as lies, hiding our secret fears and insecurities. To me, endless self-involved talk kills impulse. I like to think that as a director I create an atmosphere of trust and, most important, play, in order to ease actors into the scary plunge of acting.
I'm not a natural-born director. Now that I'm actually doing it, I wonder why everybody wants to in the first place. You have to think of everything.
For a while you think, 'Oh, you have to have someone in your life to be fulfilled.' Now I don't feel that way for a second.
I didn't know my dad nearly as well as I know my mother. However, I felt a tremendous closeness to him regarding performing. My father was extraordinary, like a light, when he would come backstage. I had his attention in, yeah, oh boy, a big way. I'll never forget the first time--this is so stupid. I did 'Little Mary Sunshine' in high school. My father was radiant. I was shocked. I didn't know what I had done that made him so excited.
believe my job as the director is to listen, to laugh, to empathize, to encourage and to be deeply moved by what I hope will be deeply moving performances. My job is to know when the actors are telling the truth, feeling the truth, living the truth--their truth. My job is to make it clear how much I am rooting for them in their effort to find a way, a process, a skill, that unlocks and frees them into giving the audience all their accumulated experiences and insights and feelings in the service of the screenplay.
[about her initial brush with fame as a cast member of the original Broadway production of "Hair"] The cast went insane from the attention--people just didn't know how to handle it. I remember somebody had a baby while on LSD in the dressing room. I always sort of felt on the outside of the Tribe [as the cast was called]. It's my nature to be cautious and a little bit ... leery.
Actresses are constantly trying to please everyone, or at least I am. But I don't think plastic surgery solves your problem. I was definitely not going to have sex before I got married and that went out the window! So who knows?
How could I resent Annie Hall (1977), the thing that gave me all I have? I'd have to be a fool, a moron. Besides, good things don't come without problems: Yes, I got typecast, yes, I lost my privacy--but God, give me that again!
[on dating] Those days are over.
[asked whether men ask her out, InStyle magazine, July 2019] Never. All right? Let's just get that straight. That one's important. I haven't been on a date in, I would say, 35 years. No dates. I have a lot of male friends. I have a lot of friends, but no dates. No mwah-mwah.

Salary (11)

The Godfather (1972) $35,000
Annie Hall (1977) $250,000
Looking for Mr. Goodbar (1977) $50,000 + 10% net profits
Interiors (1978) $400,000
Manhattan (1979) $700,000
Reds (1981) $2,500,000
The Little Drummer Girl (1984) $1,000,000
Mrs. Soffel (1984) $2,000,000
Crimes of the Heart (1986) $2,000,000
Baby Boom (1987) $2,500,000
The Godfather Part III (1990) $1,700,000

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