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She began her career on stage and made her screen debut in Her first major film role was as Kay Adams-Corleone in The Godfather , but the films that shaped her early career were those with director and co-star Woody Allen , beginning with Play It Again, Sam in Her next two films with Allen, Sleeper and Love and Death , established her as a comic actor.

Keaton subsequently expanded her range to avoid becoming typecast as her Annie Hall persona. She became an accomplished dramatic performer, starring in Looking for Mr. Los Angeles" pageant for homemakers; Keaton has said that the theatricality of the event inspired her first impulse to be an actress, and led to her wanting to work on stage.

During her time there, she participated in singing and acting clubs at school, and starred as Blanche DuBois in a school production of A Streetcar Named Desire. After graduation, she attended Santa Ana College , and later Orange Coast College as an acting student, but dropped out after a year to pursue an entertainment career in Manhattan.

She has described her acting technique as, "[being] only as good as the person you're acting with As opposed to going it on my own and forging my path to create a wonderful performance without the help of anyone. I always need the help of everyone! In , Keaton became a member of the "Tribe" and understudy to Sheila in the original Broadway production of Hair. Between films, Keaton appeared in a series of deodorant commercials.

Keaton's breakthrough role came two years later when she was cast as Kay Adams , the girlfriend and eventual wife of Michael Corleone played by Al Pacino in Francis Ford Coppola 's film The Godfather. Coppola noted that he first noticed Keaton in Lovers and Other Strangers , and cast her because of her reputation for eccentricity that he wanted her to bring to the role [19] Keaton claims that at the time she was commonly referred to as "the kooky actress" of the film industry.

She was initially reluctant, stating that, "At first, I was skeptical about playing Kay again in the Godfather sequel. But when I read the script, the character seemed much more substantial than in the first movie.

Even though Keaton received widespread exposure from the films, her character's importance was minimal. Keaton's other notable films of the s included many collaborations with Woody Allen; although by the time they made films together, their romantic involvement had ended.

Allen has credited Keaton as his muse during his early film career. In , Keaton starred with Allen in the romantic comedy Annie Hall , one of her most famous roles. Annie Hall , written by Allen and Marshall Brickman and directed by Allen, was believed to be autobiographical of his relationship with Keaton. Allen based the character of Annie Hall loosely on Keaton "Annie" is a nickname of hers, and "Hall" is her original surname. Many of Keaton's mannerisms and her self-deprecating sense of humor were added into the role by Allen.

Director Nancy Meyers has claimed "Diane's the most self-deprecating person alive. Her acting was later summed up by CNN as "awkward, self-deprecating, speaking in endearing little whirlwinds of semi-logic", [24] and by Allen as a "nervous breakdown in slow motion.

Keaton's performance also won the Academy Award for Best Actress. It's hard to play ditzy. The genius of Annie is that despite her loopy backhand, awful driving, and nervous tics, she's also a complicated, intelligent woman.

Keaton brilliantly displays this dichotomy of her character, especially when she yammers away on a first date with Alvy Woody Allen , while the subtitle reads, 'He probably thinks I'm a yoyo. Keaton's eccentric wardrobe in Annie Hall , which consisted mainly of vintage men's clothing, including neckties, vests, baggy pants, and fedora hats, made her an unlikely fashion icon of the late s. A small amount of the clothing seen in the film came from Keaton herself, who was already known for her tomboyish clothing style years before Annie Hall , and Ruth Morley designed the movie's costumes.

A profile in the San Francisco Chronicle described her as "easy to find. Look for the only woman in sight dressed in a turtleneck on a degree afternoon in Pasadena. Her photo by Douglas Kirkland appeared on the cover of the September 26, , issue of Time magazine, with the story dubbing her "the funniest woman now working in films.

Goodbar , based on the novel by Judith Rossner. In the film, she played a Catholic schoolteacher for deaf children, who lives a double life, spending nights frequenting singles bars and engaging in promiscuous sex. Keaton became interested in the role after seeing it as a "psychological case history. A male actor can fly a plane, fight a war, shoot a badman, pull off a sting, impersonate a big cheese in business or politics.

Men are presumed to be interesting. A female can play a wife, play a whore, get pregnant, lose her baby, and, um, let's see Women are presumed to be dull. Now a determined trend spotter can point to a handful of new films whose makers think that women can bear the dramatic weight of a production alone, or virtually so. Then there is Diane Keaton in Looking for Mr. As Theresa Dunn, Keaton dominates this raunchy, risky, violent dramatization of Judith Rossner's novel about a schoolteacher who cruises singles bars.

In addition to acting, Keaton has stated that "[I] had a lifelong ambition to be a singer. Her first record was an original cast recording of Hair , in In , she began recording tracks for a solo album, but the finished record never materialized.

Keaton met with more success in the medium of still photography. Like her character in Annie Hall , Keaton had long relished photography as a favorite hobby, an interest she picked up as a teenager from her mother. While traveling in the late s, she began exploring her avocation more seriously.

It was so easy and I could do it myself. It was an adventure for me. In Manhattan in , Keaton and Woody Allen ended their long working relationship; the film would be their last major collaboration until In , she became romantically involved with Warren Beatty , and two years later he cast her to play opposite him in Reds.

In the film, she played Louise Bryant , a journalist and feminist, who flees from her husband to work with radical journalist John Reed Beatty , and later enters Russia to locate him as he chronicles the Russian Civil War. It's the best work she has done to date. Beatty cast Keaton after seeing her in Annie Hall , as he wanted to bring her natural nervousness and insecure attitude to the role. The production of Reds was delayed several times following its conception in , and Keaton almost left the project when she believed it would never be produced.

Filming finally began two years later. In a Vanity Fair story, Keaton described her role as "the everyman of that piece, as someone who wanted to be extraordinary but was probably more ordinary I knew what it felt like to be extremely insecure. The Little Drummer Girl was both a financial and critical failure, with critics claiming that Keaton was miscast for the genre, such as one review from The New Republic claiming that "the title role, the pivotal role, is played by Diane Keaton, and around her the picture collapses in tatters.

She is so feeble, so inappropriate. Soffel , a film based on the true story of a repressed prison warden's wife who falls in love with a convicted murderer and arranges for his escape. Two years later she starred with Jessica Lange and Sissy Spacek in Crimes of the Heart , adapted from Beth Henley 's Pulitzer Prize-winning play into a moderately successful screen comedy.

In , she starred in Baby Boom , her first of four collaborations with writer-producer Nancy Meyers. In Baby Boom , Keaton starred as a Manhattan career woman who is suddenly forced to care for a toddler. That same year she made a cameo in Allen's film Radio Days as a nightclub singer. The film was a financial disappointment according to Keaton, the film was "a Big Failure. In , Keaton directed and edited her first feature film, a documentary named Heaven about the possibility of an afterlife.

Heaven met with mixed critical reaction, with The New York Times likening it to "a conceit imposed on its subjects. By the s, Keaton had established herself as one of the most popular and versatile actors in Hollywood.

She shifted to more mature roles, frequently playing matriarchs of middle-class families. Of her role choices and avoidance of becoming typecast , she said: You have loads of offers, all of them for similar roles I have tried to break away from the usual roles and have tried my hand at several things. She was almost not cast in the film, as the commercial failure of The Good Mother had strained her relationship with Walt Disney Pictures , the studio of both films.

Keaton reprised her role four years later in the sequel, as a woman who becomes pregnant in middle age at the same time as her daughter. A review of the film for The San Francisco Examiner was one of many in which Keaton once again received comparison to Katharine Hepburn: Criticism of the film and Keaton again centered on her character's unimportance in the film.

The Washington Post wrote: Her part was originally intended for Mia Farrow , but Farrow dropped out of the project after her split with Allen. In , Keaton directed Unstrung Heroes , her first theatrically released narrative film. The movie, adapted from Franz Lidz 's memoir, starred Nathan Watt as a boy in s whose mother Andie MacDowell becomes ill with cancer. As her sickness advances and his inventor father John Turturro grows increasingly distant, the boy is sent to live with his two eccentric uncles Maury Chaykin and Michael Richards.

In a geographic switch, Keaton shifted the story's setting from the New York of Lidz's book to the Southern California of her own childhood. And the four mad uncles were reduced to a whimsical odd couple. Keaton's most successful film of the decade was the comedy The First Wives Club.

She starred with Goldie Hawn and Bette Midler as a trio of "first wives": Keaton claimed that making the film "saved [her] life. Meryl Streep played her estranged sister Lee, and had also initially been considered for the role of Bessie.

The film also starred a young Leonardo DiCaprio as Lee's rebellious son. Roger Ebert stated that "Streep and Keaton, in their different styles, find ways to make Lee and Bessie into much more than the expression of their problems.

Keaton said that the biggest challenge of the role was understanding the mentality of a person with a terminal illness. In , Keaton narrated the one-hour public-radio documentary "If I Get Out Alive", the first to focus on the conditions and brutality faced by young people in the adult correctional system. Keaton also directed the film, despite claiming in a interview that she would never direct herself in a film, saying "as a director, you automatically have different goals.

I can't think about directing when I'm acting. The corpse took with it the reputations of its starry cast, including Warren Beatty and Diane Keaton.

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