Age, Biography and Wiki
Diane Keaton (née Hall) was born on January 5, 1946, making her 79 years old as of 2025. Her career spans over five decades, during which she has become one of Hollywood’s most respected and enduring talents. She first gained major recognition for her role in "The Godfather" (1972), but her portrayal of Annie Hall in the eponymous film (1977) won her an Academy Award and defined a generation.
| Occupation | Film Producer |
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| Date of Birth | 5 January 1946 |
| Age | 79 Years |
| Birth Place | Los Angeles, California, U.S. |
| Horoscope | Capricorn |
| Country | U.S |
Height, Weight & Measurements
Diane Keaton stands at a height of 5 feet 6.5 inches (approx. 169 cm). While official weight and body measurements are not publicly disclosed, Keaton is recognized for her timeless, elegant style and signature fashion choices.
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Dating & Relationship Status
Diane Keaton has always maintained a private personal life. Over the years, she has been linked to several high-profile partners, including Woody Allen, Warren Beatty, and Al Pacino. As of 2025, she is not married and has never publicly announced a long-term spouse. She is the mother of two adopted children: a daughter, Dexter, and a son, Duke.
She was further Oscar-nominated for her roles as activist Louise Bryant in Reds (1981), a leukemia patient in Marvin's Room (1996), and a dramatist in Something's Gotta Give (2003). She is known for her roles in dramatic films such as Looking for Mr. Goodbar (1977), Interiors (1978), and Crimes of the Heart (1986), as well as comedic roles in Manhattan (1979), Baby Boom (1987), Father of the Bride (1991), its 1995 sequel, Manhattan Murder Mystery (1993), The First Wives Club (1996), The Family Stone (2005), Finding Dory (2016), and Book Club (2018).
Her mother, Dorothy Deanne (née Keaton), was a homemaker and amateur photographer; her father, John Newton Ignatius "Jack" Hall, was a real estate broker and civil engineer, whose mother had come from Ireland. Keaton was raised a Free Methodist by her mother. Her mother won the "Mrs. 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 desire to work on stage. She has also credited Katharine Hepburn, whom she admires for playing strong and independent women, as one of her inspirations.
Keaton is a 1963 graduate of Santa Ana High School in Santa Ana, California. 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. Upon joining the Actors' Equity Association, she changed her surname to Keaton, which was her mother's maiden name, as there was already an actress registered under the name of Diane Hall. For a brief time she also moonlighted at nightclubs with a singing act. She revisited her nightclub act in Annie Hall (1977), And So It Goes (2014), and a cameo in Radio Days (1987).
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 1972 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 (Keaton claims that at the time she was commonly referred to as "the kooky actress" of the film industry). Her performance in the film was loosely based on her real-life experience of making the film, both of which she has described as being "the woman in a world of men." The Godfather was an unparalleled critical and financial success, becoming the highest-grossing film of the year and winning the 1972 Academy Award for Best Picture.
Two years later, she reprised her role as Kay Adams in The Godfather Part II. She was initially reluctant, saying, "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 film." In Part II, her character changed dramatically, becoming more embittered about her husband's criminal empire. Even though Keaton received widespread exposure from the films, some critics felt that her character's importance was minimal. Time wrote that she was "invisible in The Godfather and pallid in The Godfather Part II, but according to Empire magazine, Keaton "proves the quiet lynchpin which is no mean feat in [the] necessarily male dominated films."
In 1977, Keaton won the Academy Award for Best Actress for Allen's romantic comedy-drama Annie Hall, one of her most famous roles. Annie Hall, written by Allen and Marshall Brickman and directed by Allen, was believed by many to be an autobiographical exploration 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." ) Keaton has also said that Allen wrote the character as an "idealized version" of herself. The two starred as a frequently on-again, off-again couple living in New York City. Her acting was later summed up by CNN as "awkward, self-deprecating, speaking in endearing little whirlwinds of semi-logic", and by Allen as a "nervous breakdown in slow motion." Annie Hall emerged as a major critical and commercial success and won the Academy Award for Best Picture. Of Keaton's performance, feminist film critic Molly Haskell wrote, "Keaton took me by surprise in Annie Hall. Here she blossomed into something more than just another kooky dame—she put the finishing touches on a type, the anti-goddess, the golden shiksa from the provinces who looks cool and together, who looks as if she must have a date on Saturday night, but has only to open her mouth or gulp or dart spastically sideways to reveal herself as the insecure bungler she is, as complete a social disaster in her own way as Allen's horny West Side intellectual is in his." In 2006, Premiere magazine ranked Keaton in Annie Hall 60th on its list of the "100 Greatest Performances of All Time", and noted:
Her photo by Douglas Kirkland appeared on the cover of the September 26, 1977, issue of Time magazine, with the story dubbing her "the funniest woman now working in films." Later that year she departed from her usual lighthearted comic roles when she won the highly coveted lead role in the drama Looking for Mr. 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." The same issue of Time commended her role choice and criticized the restricted roles available for female actors in American films: "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. Goodbar. As Theresa Dunn, Keaton dominates this raunchy, risky, violent dramatization of Judith Rossner's 1975 novel about a schoolteacher who cruises singles bars."
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 1970s, she began exploring her avocation more seriously. "Rolling Stone had asked me to take photographs for them, and I thought, 'Wait a minute, what I'm really interested in is these lobbies, and these strange ballrooms in these old hotels.' So I began shooting them", she recalled in 2003. "These places were deserted, and I could just sneak in anytime and nobody cared. It was so easy and I could do it myself. It was an adventure for me." Reservations, her collection of photos of hotel interiors, was published in book form in 1980.
With Manhattan (1979), Keaton and Woody Allen ended their long working relationship; it was their last major collaboration until 1993. In 1978, she became romantically involved with Warren Beatty, and two years later he cast her opposite him in the epic historical drama Reds. In the film, she played Louise Bryant, a journalist and feminist, who flees her husband to work with radical journalist John Reed (Beatty) and later enters Russia to find him as he chronicles the Russian Civil War. 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 1977, and Keaton almost left the project when she believed it would never be produced. Filming finally began two years later. In a 2006 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." Assistant director Simon Relph later stated that Louise Bryant was one of Keaton's most difficult roles, and that " [she] almost got broken." Reds opened to widespread critical acclaim, and Keaton's performance was highly praised in particular. The New York Times wrote that Keaton was "nothing less than splendid as Louise Bryant– beautiful, selfish, funny and driven. It's the best work she has done to date." Roger Ebert called Keaton "a particular surprise. I had somehow gotten into the habit of expecting her to be a touchy New Yorker, sweet, scared, and intellectual. Here, she is just what she needs to be: plucky, healthy, exasperated, loyal, and funny." Keaton received her second Academy Award for Best Actress nomination for her performance.
1984 brought The Little Drummer Girl, Keaton's first excursion into the thriller and action genre. 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." But the same year, she received positive reviews for her performance in Mrs. 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. Keaton's performance was well received by critics, and Rita Kempley of The Washington Post wrote, "As the frumpy Lenny, Keaton eases smoothly from New York neurotic to southern eccentric, a reluctant wallflower stymied by, of all things, her shriveled ovary."
In 1987, Keaton starred in Baby Boom, her first of four collaborations with writer-producer Nancy Meyers. She played a Manhattan career woman who is suddenly forced to care for a toddler. A modest box-office success, Keaton's performance was singled out by Kael, who described it as "a glorious comedy performance that rides over many of the inanities in this picture. Keaton is smashing: the Tiger Lady's having all this drive is played for farce and Keaton keeps you alert to every shade of pride and panic the character feels. She's an ultra-feminine executive, a wide-eyed charmer, with a breathless ditziness that may remind you of Jean Arthur in The More The Merrier." That same year, Keaton made a cameo in Allen's film Radio Days as a nightclub singer. 1988's The Good Mother was a financial disappointment (according to Keaton, the film was "a Big Failure. Like, BIG failure"), and some critics panned her performance; according to The Washington Post, "her acting degenerates into hype—as if she's trying to sell an idea she can't fully believe in."
Keaton began the decade with The Lemon Sisters, a poorly-received comedy-drama that she starred in and produced, which was shelved for a year after its completion. In 1991 she starred with Steve Martin in the family comedy Father of the Bride. She was almost not cast in the film, as The Good Mother 's commercial failure had strained her relationship with Walt Disney Pictures, the studio of both films. Father of the Bride was Keaton's first major hit after four years of commercial disappointments. She 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 San Francisco Examiner review of the film was one of many in which Keaton was once again compared to Katharine Hepburn: "No longer relying on that stuttering uncertainty that seeped into all her characterizations of the 1970s, she has somehow become Katharine Hepburn with a deep maternal instinct, that is, she is a fine and intelligent actress who doesn't need to be tough and edgy in order to prove her feminism."
In 1995, Keaton directed Unstrung Heroes, her first theatrically released narrative film. The film, adapted from Franz Lidz's memoir, starred Nathan Watt as a boy in the 1960s whose mother (Andie MacDowell) is diagnosed 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). Keaton switched 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. In an essay for The New York Times, Lidz said that the cinematic Selma had died not of cancer, but of "Old Movie Disease". "Someday somebody may find a cure for cancer, but the terminal sappiness of cancer movies is probably beyond remedy." Unstrung Heroes played in a relatively limited release and made little impression at the box office, but the film and its direction were generally well-received critically.
Keaton's first film of 2000 was Hanging Up, with Meg Ryan and Lisa Kudrow. She directed the film, despite claiming in a 1996 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." A drama about three sisters coping with the senility and eventual death of their elderly father (Walter Matthau), Hanging Up rated poorly with critics and grossed a modest US$36million at the North American box office.
In 2001, Keaton co-starred with Beatty in Town & Country, a critical and financial fiasco. Budgeted at an estimated US$90million, the film opened to little notice and grossed only US$7million in its North American theatrical run. Peter Travers of Rolling Stone wrote that Town & Country was "less deserving of a review than it is an obituary....The corpse took with it the reputations of its starry cast, including Beatty and Keaton." In 2001 and 2002, Keaton starred in four low-budget television films. She played a fanatical nun in the religious drama Sister Mary Explains It All, an impoverished mother in the drama On Thin Ice, and a bookkeeper in the mob comedy Plan B. In Crossed Over, she played Beverly Lowry, a woman who forms an unusual friendship with the only woman executed while on death row in Texas, Karla Faye Tucker. Keaton's first major hit since 1996 came in 2003's romantic comedy Something's Gotta Give, directed by Nancy Meyers and co-starring Jack Nicholson. Nicholson and Keaton, aged 65 and 56 respectively, were seen as bold casting choices for leads in a romantic comedy. Twentieth Century Fox, the film's original studio, reportedly declined to produce the film, fearing that the lead characters were too old to be bankable. Keaton told Ladies' Home Journal, "Let's face it, people my age and Jack's age are much deeper, much more soulful, because they've seen a lot of life. They have a great deal of passion and hope—why shouldn't they fall in love? Why shouldn't movies show that?" Keaton played a middle-aged playwright who falls in love with her daughter's much older boyfriend. The film was a major success at the box office, grossing US$125million in North America. Roger Ebert wrote, "Keaton and Nicholson bring so much experience, knowledge and humor to their characters that the film works in ways the screenplay might not have even hoped for." Keaton received her fourth Academy Award nomination for her performance.
Keaton's only film between 2004 and 2006 was the comedy The Family Stone (2005), starring an ensemble cast. In the film, scripted and directed by Thomas Bezucha, Keaton played a breast cancer survivor and matriarch of a big New England family that reunites at the parents' home for its annual Christmas holidays. The film released to moderate critical and commercial success, and earned US$92.2million worldwide. Keaton received her second Satellite Award nomination for her performance, of which Peter Travers of Rolling Stone wrote, "Keaton, a sorceress at blending humor and heartbreak, honors the film with a grace that makes it stick in the memory."
In 2007, Keaton starred in both Because I Said So and Mama's Boy. In the romantic comedy Because I Said So, directed by Michael Lehmann, Keaton played a long-divorced mother of three daughters, determined to pair off her only single daughter, Milly (Mandy Moore). Also starring Stephen Collins and Gabriel Macht, the project opened to overwhelmingly negative reviews, with Wesley Morris of The Boston Globe calling it "a sloppily made bowl of reheated chick-flick cliches", and was ranked among the worst-reviewed films of the year. The following year Keaton received her first and only Golden Raspberry Award nomination to date for the film. In Mama's Boy, director Tim Hamilton's feature film debut, Keaton starred as the mother of a self-absorbed 29-year-old (Jon Heder) whose world turns upside down when she starts dating and considers kicking him out of the house. Distributed for a limited release to certain parts of the United States only, the independent comedy garnered largely negative reviews.
In 2008, Keaton starred alongside Dax Shepard and Liv Tyler in Vince Di Meglio's dramedy Smother, playing the overbearing mother of an unemployed therapist, who decides to move in with him and his girlfriend after breaking up with her husband (Ken Howard). As with Mama's Boy, the film received a limited release only, resulting in a gross of US$1.8million worldwide. Critical reaction to the film was generally unfavorable. Also in 2008, Keaton appeared alongside Katie Holmes and Queen Latifah in the crime-comedy film Mad Money, directed by Callie Khouri. Based on the British television drama Hot Money (2001), the film revolves around three female employees of the Federal Reserve who scheme to steal money that is about to be destroyed.
In fall 2010, Keaton joined the production of the comedy-drama Darling Companion by Lawrence Kasdan, which was released in 2012. Co-starring Kevin Kline and Dianne Wiest and set in Telluride, Colorado, the film follows a woman, played by Keaton, whose husband loses her much-beloved dog at a wedding held at their vacation home in the Rocky Mountains, resulting in a search party to find the pet. Kasdan's first film in nine years, the film bombed at the US box office, where it scored about US$790,000 throughout its entire theatrical run. Critics dismissed the film as "an overwritten, underplotted vanity project" but applauded Keaton's performance. Ty Burr of The Boston Globe wrote that the film "would be instantly forgettable if not for Keaton, who imbues [her role] with a sorrow, warmth, wisdom, and rage that feel earned [...] Her performance here is an extension of worn, resilient grace."
Also in 2011, Keaton began production on Justin Zackham's 2013 ensemble family comedy The Big Wedding, a remake of the 2006 French film Mon frère se marie in which she, along with Robert De Niro, played a long-divorced couple who, for the sake of their adopted son's wedding and his very religious biological mother, pretend they are still married. The film received largely negative reviews.
Keaton voiced amnesiac fish Dory's mother in Disney and Pixar's Finding Dory (2016), the sequel to the 2003 Pixar animated film Finding Nemo. The film was a critical and commercial success, grossing over US$1billion worldwide, the second Pixar film to cross this mark after Toy Story 3 (2010). It also set numerous records, including the biggest animated opening of all time in North America, emerging as the biggest animated film of all time in the US. Keaton's other project of 2016 was the HBO eight-part series The Young Pope, in which she plays a nun who raised the newly elected Pope (Jude Law) and helped him reach the papacy. The miniseries received two nominations for the 69th Primetime Creative Arts Emmy Awards, becoming the first Italian TV series to be nominated for Primetime Emmy Awards.
Keaton has had romantic associations with several high-profile entertainment industry personalities, starting with Woody Allen during her role in the 1969 Broadway production of Play It Again, Sam that he had written. Their relationship turned romantic following a dinner after a late-night rehearsal. It was her sense of humor that attracted Allen. They briefly lived together during the production, but by the time of the film release of the same name in 1972, their living arrangement became informal. They worked together on eight films between 1971 and 1993, and Keaton has said that Allen remains one of her closest friends.
Keaton also had a relationship with her Godfather Trilogy costar Al Pacino. Their on-again, off-again relationship ended after the filming of The Godfather Part III. Keaton said of Pacino, "Al was simply the most entertaining man... To me, that's, that is the most beautiful face. I think Warren [Beatty] was gorgeous, very pretty, but Al's face is like whoa. Killer, killer face."
Keaton was already dating Warren Beatty in 1979 when they co-starred in the film Reds (1981). Beatty was a regular subject in tabloid magazines and media coverage, and Keaton became included, much to her bewilderment. In 1985, Vanity Fair called her "the most reclusive star since Garbo." This relationship ended shortly after Reds wrapped. Troubles with the production are thought to have strained the relationship, including numerous financial and scheduling problems. Keaton remains friends with Beatty.
In July 2001, Keaton said of being older and unmarried, "I don't think that because I'm not married it's made my life any less. That old maid myth is garbage." Keaton has two adopted children. Her father's death made mortality more apparent to her, and she decided to become a mother at age 50. She later said of having children, "Motherhood has completely changed me. It's just about like the most completely humbling experience that I've ever had."
Keaton wrote her first memoir, Then Again, for Random House in November 2011. Much of it relies on her mother's private journals, which include the line "Diane...is a mystery...At times, she's so basic, at others so wise, it frightens me." In 2012, Keaton's audiobook recording of Joan Didion's Slouching Towards Bethlehem was released on Audible.com. Her performance was nominated for a 2013 Audie Award in the Short Stories/Collections category.
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Net Worth and Salary
Diane Keaton’s net worth is estimated to be between $32 million and $100 million as of 2025, with most reputable sources citing the higher figure. Her substantial wealth comes from her extensive film career, directing and producing ventures, and especially her successful forays into high-end real estate. Reports suggest she earns millions per film project and has profited handsomely from flipping luxury properties.
In 1968, Keaton became an understudy for the part of Sheila in the original Broadway production of Hair. She gained some notoriety for her refusal to disrobe at the end of Act I when the cast performs nude, even though nudity in the production was optional for actors (those who performed nude received a $50 bonus). After acting in Hair for nine months, she auditioned for a part in Woody Allen's production of Play It Again, Sam. After nearly being passed over for being too tall (at 5 ft, she is 2 in taller than Allen), she won the part. She went on to receive a Tony Award nomination for a Best Featured Actress in a Play for her performance in Play It Again, Sam.
Real Estate and Business
Keaton is well-known for her passion for architecture and real estate. She has renovated and flipped high-value properties, notably her Brentwood mansion in Los Angeles. Purchased in 2009 for $4.7 million, the estate—after extensive, personal renovations—is now valued between $20 million and $30 million. This side business has significantly contributed to her overall net worth.
Diane Keaton (née Hall; born January 5, 1946) is an American actress. She has received various accolades throughout her career spanning over five decades, including an Academy Award, a BAFTA Award, and two Golden Globe Awards, in addition to nominations for two Emmy Awards, and a Tony Award. She was honored with the Film Society of Lincoln Center Gala Tribute in 2007 and an AFI Life Achievement Award in 2017.
Keaton's career began on stage when she appeared in the original 1968 Broadway production of the musical Hair. The next year she was nominated for a Tony Award for Best Featured Actress in a Play for her performance in Woody Allen's comic play Play It Again, Sam. She then made her screen debut in a small role in Lovers and Other Strangers (1970), before rising to prominence with her first major film role as Kay Adams-Corleone in Francis Ford Coppola's The Godfather (1972), a role she reprised in its sequels Part II (1974) and Part III (1990). She has frequently collaborated with Woody Allen, beginning with the film adaptation of Play It Again, Sam (1972). Her next two films with him, Sleeper (1973) and Love and Death (1975), established her as a comic actress, while her fourth, Annie Hall (1977), won her the Academy Award for Best Actress.
Keaton's other notable films of the 1970s included many collaborations with Woody Allen. She played many eccentric characters in several of his comic and dramatic films, including Sleeper, Love and Death, Interiors, Manhattan, Manhattan Murder Mystery and the film version of Play It Again, Sam, directed by Herbert Ross. Allen has credited Keaton as his muse during his early film career.
In addition to acting, Keaton has said she "had a lifelong ambition to be a singer." She had a brief, unrealized career as a recording artist in the 1970s. Her first record was an original cast recording of Hair, in 1971. In 1977 she began recording tracks for a solo album, but the finished record never materialized.
Keaton's most successful film of the decade was the 1996 comedy The First Wives Club. She starred with Goldie Hawn and Bette Midler as a trio of "first wives": middle-aged women who had been divorced by their husbands in favor of younger women. Keaton claimed that making the film "saved [her] life." The film was a major success, grossing US$105million at the North American box office, and it developed a cult following among middle-aged women. Its reviews were generally positive for Keaton and her co-stars, and The San Francisco Chronicle called her "probably [one of] the best comic film actresses alive." In 1997 Keaton, Hawn and Midler received the Women in Film Crystal Award, which honors "outstanding women who, through their endurance and the excellence of their work, have helped to expand the role of women within the entertainment industry."
Keaton has also been a real estate developer. She has resold several mansions in Southern California after renovating and redesigning them. One of her clients was Madonna, who purchased a $6.5million Beverly Hills mansion from Keaton in 2003.
Social Network
Diane Keaton is active on social media, particularly Instagram, where she shares glimpses of her life, projects, and passion for design and architecture. Her posts often highlight her unique style and real estate ventures, engaging a wide audience of fans and industry professionals.
Keaton began studying acting at the Neighborhood Playhouse in New York City. She initially studied acting under the Meisner technique, an ensemble acting technique first evolved in the 1930s by Sanford Meisner, a New York stage actor/acting coach/director who had been a member of The Group Theater (1931–1940). She describes 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!" According to fellow actor Jack Nicholson, "She approaches a script sort of like a play in that she has the entire script memorized before you start doing the movie, which I don't know any other actors doing that."
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 1970s. 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 film's costumes. Soon after the film's release, men's clothing and pantsuits became popular attire for women. She is known to favor men's vintage clothing, and usually appears in public wearing gloves and conservative attire. (A 2005 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 90-degree afternoon in Pasadena.")
In 2017, Keaton appeared opposite Brendan Gleeson in the British dramedy film Hampstead. Based on the life of Harry Hallowes, it depicts an American widow (Keaton) who helps a local man defending his ramshackle hut and the life he has been leading on Hampstead Heath for 17 years. The specialty release had a mixed reception from critics, who were unimpressed by the film's "deeply mediocre story", but became a minor commercial success. Keaton's only project of 2018 was Book Club, in which she, Jane Fonda, Candice Bergen, and Mary Steenburgen play four friends who read Fifty Shades of Grey as part of their monthly book club and subsequently begin to change how they view their personal relationships. The romantic comedy received mixed reviews from critics, who felt that Book Club only "intermittently rises to the level of its impressive veteran cast," but with a worldwide gross of over $100 million, became Keaton's biggest commercial success in a non-voice role since 2003's Something's Gotta Give. In 2019, Keaton starred in the comedy Poms as a woman dying of cancer who starts a cheerleading squad with other female residents of a retirement home. The film was a box office disappointment and was negatively received by critics.
Keaton has been a vegetarian since around 1995. She has continued to pursue photography. In 1987, she told Vanity Fair, "I have amassed a huge library of images—kissing scenes from movies, pictures I like. Visual things are really key for me." She has published several collections of her photographs and served as an editor of collections of vintage photography. Works she has edited include a book of photographs by paparazzo Ron Galella, an anthology of reproductions of clown paintings, and a collection of photos of California's Spanish-Colonial-style houses.
Since 2005, Keaton has been a contributing blogger at The Huffington Post. Since 2006, she has been the face of L'Oréal. In 2007, Keaton received the Film Society of Lincoln Center's Gala Tribute. She opposes plastic surgery. She told More magazine in 2004, "I'm stuck in this idea that I need to be authentic ... My face needs to look the way I feel."
Keaton has been called "one of the great American actresses from the heyday of the 1970s", a style icon and a "treasure" with a personal and professional style that is "difficult to explicate and impossible to duplicate." Many critics have pointed to her versatility in starring in both light comedies and acclaimed dramas. The New York Times described Keaton as "remarkably skilled" at portraying Woody Allen's "darling flustered muse" in his comedies, as well as "shy, self-conscious women overcome by the power of their own awakened eroticism" in dramatic films like Looking for Mr. Goodbar, Reds, Shoot the Moon and Mrs. Soffel. It also noted Keaton's ability to consistently reinvent and challenge herself on screen, having transitioned from "Allen's ditzy foil" to a "gifted and erotically nuanced character actress" and later "an appealing maternal figure... a woman's woman with a sexy edge."
Literary critic Daphne Merkin argued that Keaton remained more popular with audiences than her contemporaries because of her "friendly accessibility" and "charmingly self-effacing" persona, calling Keaton's most "steadfastly glamorous" asset her "megawatt personality, bursting out of her like an uncontrollable force of nature, a geyser of quirkily entertaining traits that fall on the air and lend everything around her a momentary sparkle." In New York magazine, Peter Rainer wrote, "In her Annie Hall days, [Keaton] was famed for her thrown-together fashion sense, and her approach to acting is, in the best way, thrown-together, too. Audiences love her because they identify with the women she plays, who are never all of a piece. Nobody can be grave and goofy all at once like Diane Keaton. In these fractious times, it's the perfect combo for a modern heroine." Famously self-deprecating, Keaton has been noted for her "wry sense of humor" and "eccentric gender-bending style."
Education
Diane Keaton attended Santa Ana College, where she studied drama before transferring to the Neighborhood Playhouse School of the Theatre in New York City. Her education laid the groundwork for her successful acting career.
By the 1990s, 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: "Most often a particular role does you some good and Bang! 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."
Keaton has served as a producer on films and television series. She produced the Fox series Pasadena, which was canceled after airing only four episodes in 2001 but completed its run on cable in 2005. In 2003, she produced the Gus Van Sant drama Elephant, about a school shooting. Of why she produced the film, she said, "It really makes me think about my responsibilities as an adult to try and understand what's going on with young people."
