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Joy Behar Page
The Dynamic Diane Keaton
Aired November 17, 2011 - 22:00 ET
THIS IS A RUSH TRANSCRIPT. THIS COPY MAY NOT BE IN ITS FINAL FORM AND MAY BE UPDATED.
UNIDENTIFIED MALE: Coming up on THE JOY BEHAR SHOW, Joy spends the full hour with the legendary quirky Diane Keaton. She`ll tell Joy about her struggle with bulimia. And she`ll dish on everything about her Hollywood love affairs, from Al Pacino`s nose to Woody Allen`s body.
(BEGIN VIDEO CLIP)
JOY BEHAR, HLN HOST: You write in the book that he had a fantastic body.
DIANE KEATON, ACTRESS: He did. You didn`t see him naked.
BEHAR: No, I never saw him naked but -- you know.
KEATON: I`m sorry, Joy.
(END VIDEO CLIP)
UNIDENTIFIED MALE And Joy will ask her about her memorable roles and iconic outfits.
That and more starting right now.
BEHAR: Diane Keaton has made over 40 movies including "The Godfather", my fave, of course; "Reds", "Annie Hall" another great, for which she won an Academy Award. Take a look.
(BEGIN VIDEO CLIP)
WOODY ALLEN, DIRECTOR: You`re driving a tad rapidly.
KEATON: Don`t worry, I`m a very good driver.
Hey you want some gum anyway?
ALLEN: No, no thanks.
KEATON: Where is it?
ALLEN: No, no, no. Watch the road. I`ll get your (INAUDIBLE)
KEATON: Listen, you drive?
ALLEN: Do I drive? No I have a problem with driving.
KEATON: Oh, you do.
ALLEN: I have a license, but I have too much hostility.
(END VIDEO CLIP)
BEHAR: But you know, more important than all that, she slept with Warren Beatty, Al Pacino and Woody Allen. Not all at the same time, but still. Her juicy new memoir is called, "Then Again". And tonight she`ll tell me everything because for the next hour she`s all mine.
KEATON: Ok. It`s a deal.
BEHAR: Thank you, Diane for coming here and talking to me for a whole hour. You know we love you here. Everyone is such a big fan.
KEATON: Are you sure?
BEHAR: Oh, yes.
KEATON: I see them out there.
BEHAR: They`re out there.
KEATON: They`re an attractive group.
BEHAR: They`re out there.
I mean you`re so funny in all those movies.
KEATON: I am?
BEHAR: Hilarious.
KEATON: Are you sure?
BEHAR: Are you kidding?
KEATON: I don`t get it myself.
BEHAR: What don`t you get?
KEATON: I don`t get where the funny thing is.
BEHAR: You don`t.
KEATON: No. See, I don`t have any sense of timing. And I was always told -- Woody always said to me, I`ll never give you a joke, because you don`t know how to tell a joke. He`s not wrong. But I`m good at reacting. That`s what I feel that I`ve done well at, is reacting.
BEHAR: Well, all that sort of giggling that you did in "Annie Hall" when he sees you in the gym there, that was all you. That was you. And that`s what you did funny.
KEATON: Yes, well that`s what he -- yes, exactly. It all came from his brain. All those ideas were his. Like, just be you, just relax, go buy your clothes. No big deal.
BEHAR: Buy your clothes?
KEATON: Buy your clothes, you know. Don`t have a designee -- you know, I just go out there and wear what you want to wear. I was going like I say what? I mean I`d never experienced anything like that before. So I did. I went out there with Ruth Morley (ph), who`s the costume designer and we bought clothes off the rack.
That was a first.
BEHAR: Yes.
KEATON: And then I got to wear that hat. That was fun.
BEHAR: But you knew -- you knew what you wanted to wear?
KEATON: Oh, sure.
BEHAR: No one told you what to do? You just went shopping.
KEATON: No, no. No, no. Yes, we went shopping.
BEHAR: Because I mean that was your signature look, and it caught fire.
KEATON: That was it. Oh, yes, and it was a fire blaze.
BEHAR: Later on I`m sure we have a picture of you at the Oscars. I don`t know if we have it now, but we have it in the show.
KEATON: Oh, no. That`s a scary shot.
BEHAR: That is a scary shot. Let`s show it now. Do we have it.
KEATON: Yes, yes, go ahead. Show it.
BEHAR: Show it. It`s hilarious.
I mean who dressed you there?
KEATON: Oh, there -- that was me. All me. I take all the credit for that.
BEHAR: And what`s with the hair.
KEATON: And I`m standing next to Helen Hayes. Seriously, I thought that was -- ok. What`s with the hair? I wanted to do it up, instead of wearing a hat, I figured the hat may be too much. But look what I`m wearing. I had on actually two skirts. I had pants underneath that. I had high heels and socks. And I think is there a dress there -- and how about the rose? That`s pathetic.
BEHAR: Why were you overdressed like that, was it a very cold day or something?
KEATON: No, that`s my idea of what`s looking good.
BEHAR: Why do you need pants and two skirts and socks and everything else.
KEATON: It was the layered look, don`t you remember? You didn`t buy into it?
BEHAR: Well, I did but not quite like that.
KEATON: No. Ok.
BEHAR: First of all, you were thin, so you know --
KEATON: I could wrap --
BEHAR: You could wrap yourself.
The thinness is a thing in the book that`s so interesting with you. Tell me about that, you had the part in "Hair", right your first thing.
KEATON: Yes.
BEHAR: You would have had to appear naked there?
KEATON: No, no, no, no, no.
BEHAR: No?
KEATON: No, I did not have to. No, the naked thing arose out of like -- this is an idea that came along with rehearsals and they thought this will really say what we need to say. And then they asked a few people if they might like to do it, and then nobody really wanted to do it. But then they said what about $50 every time you do it? And a few people started doing it.
But then the show became a big hit. And then people got into the whole concept of "my body is my body and it`s beautiful." And I remember I would be lying down under the (INAUDIBLE) looking at them all the time. And it will be, oh, there`s Ronnie Dyson.
BEHAR: From that angle.
KEATON: With no clothes on. Yes. It was very interesting.
BEHAR: But when you worked for the job, didn`t they tell you, you needed to lose weight?
KEATON: No, here`s the deal. I was in The Tribe. And my song was called "Black Boys are Delicious".
BEHAR: Yes.
KEATON: You know, there was an opportunity for me to have a better part. Lynn Kellogg was playing it. I remember that Michael Butler said to me, ok, Diane, we`d like you to do it, but it would be better if you lost a few pounds. We suggest that you see this doctor.
And this doctor was the man who gave you these vitamin shots. I don`t know I you`re familiar with them but at the time these vitamin shots were laced with amphetamines as well.
BEHAR: Right.
KEATON: So, you know, ok, I wanted the part, and the amphetamines did do the job. I did lose weight. But then I was anxious, like I feel right now. I was anxious. So what happened was, I had to get off. I didn`t want to feel like that, so I did, and I gained weight.
And -- but it was more than that. It was the atmosphere. I had just come out of acting school with Sandy Meisner, "The Neighborhood Playhouse". And suddenly now I was a hippie, and I felt kind of odd and then also my life was -- I had to take responsibility for myself. I no longer had the structure of the school to take care of me. And I bought my own place, it was this walk-up place.
And I kind of got lost. And what I hit was Tad`s Steak House. Tad`s Steak House for $1.29 you could eat all you wanted. Can you imagine?
BEHAR: But didn`t you develop -- I know, I remember. But didn`t you develop bulimia at that time?
KEATON: That`s what it was. It started because somebody said in the dressing, one of the girls said that there was this thing that you could do in order to lose weight, and it was regurgitation. And I remember, you know, my response was, that`s out. That is disgusting.
BEHAR: It is disgusting.
KEATON: I will never do that. And, of course, I did. That`s sort of like the way I felt about intercourse before marriage. And that would have been a loss.
BEHAR: What did you tell --
(CROSSTALK)
KEATON: Well, that was a thing you would never do before you married?
BEHAR: You were a good Catholic girl, right?
KEATON: I was a good Christian person. And I, that was just -- I said I would never have intercourse before I married. Like I say, that would have been a loss. That would have been a big loss for me.
And so whenever I have these very strong feelings, you know, I should just forget saying these things, because obviously what happened was, then I became a person who had these three unordinary meals a day, which ate up a lot of time, which isolated me, which stunted my growth.
BEHAR: The bulimia did?
KEATON: Yes, it was a real addiction.
BEHAR: So I guess when you knew that you could puke it up, you ate even more, because you knew it was going to come out?
KEATON: Oh, yes. Yes, I mean it became an obsession. And it was not a good time.
BEHAR: It was not good.
KEATON: It was a very bad time. It`s also gluttonous. There`s a kind of predatory nature to it.
BEHAR: I thought it was interesting in the book, where you say that you were working with Woody at the time.
KEATON: After, yes. (INAUDIBLE) then Woody, yes.
BEHAR: And you were bulimic during the time with Woody and he had no clue?
KEATON: Not a clue.
BEHAR: Well, it so fascinated me because he would have been so nauseous from it.
KEATON: I think he`ll be repulsed by me. I think he already is repulsed now, now that he`s known me for so long. But then he would have - - I wouldn`t have even -- no.
BEHAR: He would have thought you were slinky or what have you?
KEATON: You know what I mean? Yes, he would. The fantasies, can you imagine? That`s not attractive.
BEHAR: But you were smart not to tell him.
KEATON: No, no. Look, I`m great at hiding.
BEHAR: Yes.
KEATON: I was very good at hiding. I managed that very well, and keeping secrets. So you can trust me.
BEHAR: Yes, I believe you.
KEATON: Do you have some secrets you want to tell me?
BEHAR: No, I don`t have secrets. I`m not that fascinating.
KEATON: I don`t know about that. I don`t know. I`m going to do what they always do on these shows -- I have to drink water.
BEHAR: So how did you cure the bulimia?
KEATON: It was a long, long time with it. Woody realized that there was a chance that I might be neurotic.
BEHAR: What was his first clue?
KEATON: I was always sad about something or worried that I wasn`t good enough. And it was like torture, a certain form of torture to be around me most of the time. He suggested that I see a psychoanalyst and I did. And so after about three years, I started seeing this woman named Felicia Lydia Landau (ph) and she helped me.
BEHAR: She did?
KEATON: Because I talked. I spoke it out. I said my thoughts and feelings. And I feel like, once you do that, you own it as opposed to, if you don`t talk about it, it becomes very abstract. It becomes this fantasy and you really have no way out of your dilemma. So that`s what I did, and that`s what helped me, the talking cure.
BEHAR: I agree with that. I had a lot of analysis myself. I agree with that. And Woody certainly does.
KEATON: Yes.
BEHAR: Is he still going by the way? You`re in touch with him. Does he still go to a shrink?
KEATON: You know, I don`t know if he goes to a shrink.
BEHAR: It`s been like 70 years now.
KEATON: That`s not a bad idea. He`s done very well. He`s been making a picture a year for 40 years.
BEHAR: He`s one of the most productive people working.
KEATON: He`s amazing.
BEHAR: Oh he is, he is.
KEATON: He is honest and there is no one like him. People work for him, huge stars for no money. The guy is astonishing.
BEHAR: Everybody works for free for Woody.
KEATON: Because it`s -- you know you`re working with a great artist.
BEHAR: You are who would -- who would say no to that. I didn`t. I was in a movie with you.
KEATON: I know.
BEHAR: We`ll talk about that. Stay right there.
KEATON: Do you have a clip of us together?
BEHAR: We do, we have a clip.
KEATON: Oh good.
BEHAR: I`m going to also ask Diane what it was like to be Woody Allen`s muse and girlfriend.
KEATON: Yes.
BEHAR: She was his girlfriend.
KEATON: I was. I was.
BEHAR: When we come back.
(COMMERCIAL BREAK)
(BEGIN VIDEO CLIP)
KEATON: You don`t want me to live with you.
ALLEN: I don`t want you to live with me? Who`s idea was it?
KEATON: Mine.
ALLEN: Yes.
It was yours actually, but I approved immediately.
KEATON: I guess you think that I talked you into something?
ALLEN: No. What`s your -- I -- we live together. We sleep together, we eat together. Jesus, you don`t want it to be like we`re married do you?
KEATON: And how is it any different?
ALLEN: It`s different because you keep your own apartment. Because you know it`s there. We don`t have to go to it. We don`t have to deal with it, but it`s like a free floating life raft.
(END VIDEO CLIP)
BEHAR: That was a look at the classic movie "Annie Hall" starring my guest, Diane Keaton whose real name happens to be Diane Hall.
KEATON: That`s right.
BEHAR: So this movie was in a way a lot about you wasn`t it?
KEATON: It was.
BEHAR: Yes.
KEATON: It really was when you look back at it I mean, who are we kidding?
BEHAR: He stole the whole thing from you.
KEATON: But how did he -- but did he got the voice right though, he broke that. It`s not -- I didn`t ad lib any of that he understood how I spoke.
BEHAR: Yes.
KEATON: And he got the rhythm. He`s very good at that.
BEHAR: Oh I know.
KEATON: I mean, he`s so gifted.
BEHAR: So gifted.
KEATON: Like "Husbands and Wives". Remember Judy Davis?
BEHAR: Oh yes.
KEATON: That was insane. The fantasies -- the sexual fantasies she would be having while having sex with her husband.
BEHAR: Oh that one.
KEATON: Remember that voice? Yes oh wasn`t that fabulous? It`s too brilliant.
(CROSSTALK)
BEHAR: It`s too brilliant.
KEATON: Yes. Kind of not fair.
BEHAR: But the book that you wrote here, there`s a lot about your mother. And I was fascinated to read the part where your mother who wrote a lot of journals.
KEATON: Yes.
BEHAR: And she saw the movie, and Colleen Dumhurst basically was playing her.
KEATON: Yes was playing her. Colleen Dumhurst is beautiful.
BEHAR: She was a great --
KEATON: Yes.
BEHAR: And she was a beautiful woman.
KEATON: I know. I know.
BEHAR: So this is what you wrote, that your mother wrote.
KEATON: Right.
BEHAR: "Colleen Dumhurst as me was not a high spot. The audience loved it, though."
KEATON: Yes.
BEHAR: "They were clapping and laughing the whole way. This will be a very popular movie." So she didn`t really appreciate the depiction, did she?
KEATON: No, no she did not.
BEHAR: Why not?
KEATON: I think she probably wanted a better part. Because you know frankly, Colleen was only in it for a few scenes. I thought Colleen was great. I think she didn`t like the depiction of the whole family in general. They were a joke, it was a gag.
BEHAR: Right.
KEATON: It had nothing to do with my family at all. And Grammy Hall was completely misrepresented.
BEHAR: Yes.
KEATON: I mean Grammy Hall was -- you know she was a businesswoman. She was a gambler.
BEHAR: The real Grammy Hall.
KEATON: Yes.
BEHAR: Yes.
KEATON: She was the person who said after, you know, we won the Academy Award, that she couldn`t figure out why that little guy wrote all that crap. She didn`t understand any of that; to her it was just a bunch of bunk.
BEHAR: Well it made the family look like a bunch of nut jobs.
KEATON: Yes.
BEHAR: You know Christopher Walken as your brother.
KEATON: All right, yes.
BEHAR: Who was having fantasies of driving so fast, hilarious. And then there was this anti-Semitic thing going on, of course she`s not going to be happy with that.
KEATON: Yes, no of course not.
BEHAR: She passed away only a couple years ago, right?
KEATON: She pass away in 2008. Yes.
BEHAR: Alzheimer`s I heard.
KEATON: Yes that`s right.
BEHAR: That`s a sad disease, boy.
KEATON: It`s the worst.
BEHAR: It`s the worst.
KEATON: She had it for a very long time, 15 years.
BEHAR: Oh my God.
KEATON: Slow, slow. She was independent up until like the last three years. Pretty good. She handled it quite well.
BEHAR: Poor girl. But just to know that it`s coming.
KEATON: No. It`s just the worst thing ever.
BEHAR: It`s a cruel thing to happen to somebody. But, you know, so let`s get back to your career, because --
KEATON: Yes.
BEHAR: You and I -- you and I were in a movie together.
KEATON: That`s some career.
BEHAR: I only have -- I only had a few little parts in the movies. So whenever one comes up, we push it.
KEATON: Yes, go for it let`s see it. Is it a clip?
BEHAR: We were in "Manhattan Murder Mystery" together. And this is where I met you and Alan Alda and Ron Rifkin and Angelica Houston.
KEATON: Yes, Angelica Houston.
BEHAR: And Woody. We did a scene at Elaine`s.
KEATON: Yes.
BEHAR: The fabulous Elaine`s place and maybe we have a (INAUDIBLE) as you can actually see it. There we are. There I am, there I am.
And I have to tell you, that was an interesting period in history. Because Woody was going through that whole scandal of his. And we would be in the dress -- in the make-up room and you were there. And no one would say anything. And then he just acted like it wasn`t happening, you know?
And he would come into the make-up room there, and only talk to you. He never talked to anybody else in the make-up room. Just Diane.
KEATON: Yes.
BEHAR: And he would whisper in your ear and you would be laughing hysterically.
KEATON: Because he`s hilarious. I know he`s not what you would call a very social person.
BEHAR: No he`s not.
KEATON: Not at all. But I was an old friend and former, you know, lover of his.
BEHAR: He was in love with you?
KEATON: At a point, yes. But not now, though.
BEHAR: He`s not?
KEATON: No he`s not really interested in me now.
BEHAR: Well but let`s talk about the period when he was in love with you.
KEATON: Yes. Yes.
BEHAR: You know I mean, he -- first of all you write in a book that he had a fantastic body.
KEATON: He did.
BEHAR: I don`t think people realized that somebody that like Woody --
(CROSSTALK)
KEATON: He has a fantastic body.
BEHAR: He what?
KEATON: He has a fantastic body, yes. Don`t you think so, I mean, he wore clothes great. You didn`t see him naked.
BEHAR: I never saw him naked but, no, I didn`t saw him naked but even though.
KEATON: I`m sorry, Joy.
BEHAR: I would have enjoyed it, why not.
KEATON: Yes, I`m sure of course.
BEHAR: But he had a beautiful body, huh?
KEATON: Yes he did and a great face. Don`t you find him attractive?
BEHAR: Well, he`s interesting.
KEATON: I don`t understand how people like -- don`t you think those glasses and his face? He looks like Lesley Howard. Do you remember Lesley Howard the actor, the English actor?
BEHAR: Yes.
KEATON: He`s very attractive.
BEHAR: He doesn`t look like Lesley Howard.
KEATON: He does too?
BEHAR: Diane, you know what. Love is blind and here you have it.
KEATON: I thought he did.
BEHAR: Look, he has sex appeal, I`ll give you that.
KEATON: Sure well --
(CROSSTALK)
BEHAR: Because he`s brilliant.
KEATON: Yes.
BEHAR: It`s like Albert Schweizer and Albert Einstein and all the Alberts -- brilliant. You know and they`re sexy. But -- but who is the great love, it wasn`t him?
KEATON: How can you say that?
BEHAR: Of your life, who was the great love? Come on --
(CROSSTALK)
KEATON: No there were the unattainable greats. Is that`s what they really were, they were unattainable all of them.
BEHAR: All of them.
KEATON: Yes.
BEHAR: Well, Warren Beatty. Anybody who thinks you can lasso Warren Beatty, you have to know he`s unattainable. Although he`s with Annette Bening now for a long time.
KEATON: Yes, that`s right. He found the right woman.
BEHAR: Well, he was also over 65 at the time wasn`t he?
KEATON: When they got married?
BEHAR: Well, when he -- I mean when he`s ready to settle down. Hello.
KEATON: Yes. What do you think about that? It seems ok to me. If he wants to find that woman that`s a little younger.
BEHAR: Good for him, I`m happy.
KEATON: Good for him. I like the idea.
BEHAR: Yes. I mean I`m happy for him, I`m happy for Annette.
KEATON: Yes. I`m happy for her.
BEHAR: I want to find out who the real love was when we come back.
KEATON: You think there was a real love?
BEHAR: I know who it is.
KEATON: You think, Joy.
BEHAR: I do.
KEATON: Ok.
BEHAR: We know.
KEATON: I had one, at least.
BEHAR: You did.
(COMMERCIAL BREAK)
BEHAR: I`m back with Academy Award-winning actress Diane Keaton. You have had great work in your career, Diane.
KEATON: Do you think?
BEHAR: Oh, yes.
KEATON: What was good?
BEHAR: You had. And you know -- and you put yourself down. You say that if you didn`t have great writers and directors, you would have been a mediocre movie star.
KEATON: Well, they -- look I think people are fascinating. These reality shows, everybody, if you just put a camera on someone long enough, they become really fascinating characters.
BEHAR: Yes.
KEATON: Yes. I mean what are we talking about?
BEHAR: No, but every actor could say if it wasn`t for the great director, the great script.
KEATON: Well, it`s true.
BEHAR: Well --
KEATON: Well, not every actress. I mean like -- ok, there`s some people who qualify as the kind of actress that we`ve come to recognize as great actresses. That would be Meryl Streep.
BEHAR: Yes.
KEATON: You know. And because she really is -- can do anything as an actress. I`m limited in my appeal. I mean I have a broad range of feelings, but I don`t have a broad range of technical skills or the ability to really throw myself into another person`s life literally.
That`s just astonishing. That`s a different talent entirely. But I think that there`s some people you like to watch. For some reason you`ll go through life with them for a while, you`ll see them on their ups and their downs. Those people are interesting as well. And they kind of last.
But that doesn`t -- I don`t know what that says about them, there`s something about them that kind of has an appeal, a universal appeal.
BEHAR: Well, there`s a certain charismatic quality to those people too.
KEATON: Yes, I suppose. Yes.
BEHAR: Yes. But like Cary Grant he always was -- he rose above every movie.
KEATON: Absolutely.
BEHAR: Some people --
KEATON: But he was always Cary Grant.
BEHAR: Yes.
KEATON: Do you know what I mean?
He wasn`t immersed in somebody else, he was Cary Grant.
BEHAR: No. But it`s not easy to be yourself.
KEATON: No, it`s not easy.
BEHAR: People tell you -- they always say that. You know, I`ve studied acting and you still have to take those lines off the page and make them real. That`s acting, whether you`re a new character or you`re not a new character.
KEATON: I think acting has changed, though, now. Now, with the advent of the Internet, YouTube and all I think that there are many, many, many different ways of telling stories. And they`re frequently with real people and real situations. Not just documentaries but reality television.
BEHAR: Yes.
KEATON: We have to say that`s a force to be reckoned with. And it`s created massive stars. People are interested in a variety of kinds of behaviors now, and it`s opened up like the possibility of a different way of telling stories. Don`t you think?
BEHAR: Yes. I guess so. But I mean it doesn`t bother you that these people are famous for just being famous?
KEATON: It doesn`t bother me because they`re still performing. They`re still out there giving people a lot to think about, or respond to, or compare their lives with theirs or see the intimate ways and the complexities that these people have.
BEHAR: That`s true. You`ve given me a whole new reason to watch these dumb shows.
KEATON: Ok.
BEHAR: But I already teased -- I was going say the love of your life, but I`m not up to that yet.
KEATON: No, it`s too much, isn`t it.
BEHAR: I`m going to do that in the next segment.
KEATON: Ok. That`s fine with me.
BEHAR: But in this one, I just want to say to you when I say Warren Beatty, what word comes to your mind?
KEATON: The pro.
BEHAR: The pro?
KEATON: That`s what he was called. He was always called the pro.
BEHAR: Was that about his prowess in bed because pro, prowess?
KEATON: No, no, no. You`re insane woman. I`m concerned about your sex life now because you have a vivid imagination.
BEHAR: I just got married.
KEATON: You`re married.
BEHAR: And the sex never stops, Diane. It`s all day and night. I run home from this show. We do it in the afternoon, before lunch, before breakfast, constantly.
KEATON: I`m getting nervous, now you`re making me really nervous.
BEHAR: Wait a minute. We`ll come back, and you`ll tell me the answer to that question. In a minute.
KEATON: All right.
BEHAR: I`m just teasing everything.
(COMMERCIAL BREAK)
(BEGIN VIDEO CLIP)
KEATON: There`s something I have to tell you.
WARREN BEATTY, ACTOR: You don`t have to tell me anything.
KEATON: No?
BEATTY: No. You want to get married?
(END VIDEO CLIP)
BEHAR: That was one of the unforgettable scenes between Diane Keaton and Warren Beatty in "Reds." I`m happy to have Diane Keaton with me for the entire hour. We still have more time. You`re dying to leave.
KEATON: No, not at all. Not at all.
BEHAR: You`re just nervous about whatever. OK. So let`s get back to the loves of your lives. You`re basically -- we`re talking about three of the most famous American actor/directors in the world, and you slept with all three of them.
KEATON: That`s one way of putting it, yes, I did.
BEHAR: You had relationships with all three too.
KEATON: Yes.
BEHAR: Well, the sleeping part is the one--
KEATON: The sleeping --
BEHAR: I mean, I`m fascinated.
KEATON: I`d be like this -- yes, no, you`re fascinated with what?
BEHAR: I`m fascinated for example--
(CROSSTALK)
BEHAR: -- that you went from Woody Allen to Warren Beatty. I think they are opposites in type.
KEATON: Yes, that`s true.
BEHAR: Right?
KEATON: That`s true. They are very, very, very different.
BEHAR: What was different? What did you see in Warren?
KEATON: What did I see in Warren? I mean, when I was a kid, I was a -- you know, I worked at this movie theater, the Broadway Movie Theater, and I remember seeing "Splendor in the Grass."
BEHAR: Oh, yes.
KEATON: And it was like I just saw this thing in front of me. I mean, he wasn`t a human, he was like to die for. That was the first like real romance that I had ever seen on screen. And Natalie Wood, oh, my God, she was so wonderful in that part. And of course their love was ill-fated, and oh God, I couldn`t stand it. And I never could talk to my mother about this. I talk to my mother about everything in my life. But I could not talk about this Warren Beatty person.
BEHAR: Why not?
KEATON: Because that had to do with fantasies of another nature.
BEHAR: Sexual fantasies?
KEATON: That`s correct. That`s what it felt like.
BEHAR: Yes.
KEATON: And so you could imagine my surprise actually meeting him 20 years later.
BEHAR: Yes.
KEATON: He was looking for someone to play opposite him in "Heaven Can Wait." He hadn`t landed on Julie Christie at that point. And I was going to do "Looking for Mr. Goodbar," but that`s when I met him. And that`s when -- you know, I got to actually speak to Warren Beatty. And he was very seductive.
BEHAR: How long were you with Warren?
KEATON: I was with Warren for about two and a half years.
BEHAR: Really?
KEATON: Yeah.
BEHAR: Well, that`s about the time I guess he can --
KEATON: The life span.
BEHAR: Yes, that`s the shelf life of a lot of guys, is two and a half years.
KEATON: You think?
BEHAR: I think so, yes.
KEATON: Maybe.
BEHAR: And then of course the love, according to your book, the one you wanted to marry?
KEATON: I was older then. Things change when you get older, as you know. You start thinking about your life in a more serious fashion, like what can you -- who can you grow old with? Who would be the person? And of course I went through three experiences with Al --
BEHAR: Al Pacino is the one we`re talking about.
KEATON: Al Pacino. Exactly. And one was "Godfather I," which is really an amazing experience.
BEHAR: Fantastic film, of course.
KEATON: Just overwhelming. And then the second time "The Godfather II." And so in "Godfather II," I remember I became his friend more. I mean, I never really went out with him in "Godfather I." I just had a crush on him, of course, as usual, from afar.
BEHAR: But you were with him for a while? No?
KEATON: Only the last time. I wasn`t really with him in "Godfather II" either, but I was attracted to him, as always. There was something about that fact and that talent.
BEHAR: What was it about him?
KEATON: Well, the first thing I noticed about him was his nose. That nose. On that face.
BEHAR: That nose, that nose.
KEATON: Come on. It looked like a cucumber nose. It was the most beautiful thing I`d ever seen.
BEHAR: He`s got the eyes.
KEATON: The eyes, forget about it. And then the amazing personality that he had. And this great gift. I mean, he`s an artist, he`s an actor as an artist. Like Meryl, he`s an actor-artist. Absolutely. No. 1. And that`s rare. Now we do so many things, actors, we brand out, you know, I`ve done that. And you know, with the Chico`s and then with L`Oreal. And also I have a product line at Bed, Bath & Beyond.
BEHAR: You`re really selling this stuff.
KEATON: Will you please buy some? Would you go to Bed, Bath & Beyond. It`s called K by Keaton. You`ve got to go in there--
BEHAR: I will.
KEATON: And also you can buy some bedding.
BEHAR: Oh, like Martha Stewart?
KEATON: Yes.
BEHAR: I see you in that role because you`re very, very good. I`ve seen your houses in "Architectural Digest." And you`re extremely talented.
KEATON: Oh, I love it.
BEHAR: Visually. Beautiful stuff.
KEATON: My mother, visual. Yes, this was -- it all came back to my mother. You know, our family, she taught me everything about how to see. She took us to New York City, we drove across the country. We went to this show at MOMA. You know, I never even heard of it, Museum of Modern Art. And it was called the Assemblage, you know, the art of assemblage, and it showed -- all my family, my sisters, Dory Robin (ph) and Randy, we all got to see Joseph Cornell (ph), the great, great collage artist and his boxes - - and we just -- and so my mother really did teach us this way of seeing, and that seeing in its own way is the greatest gift of all. Because it`s not about looking at yourself. It`s about looking at the world. It`s the most magical thing. And it`s a great experience.
(CROSSTALK)
KEATON: Oh, yes, it`s inspiring.
BEHAR: It`s a great gift.
KEATON: So this idea of designing a product line was just --
BEHAR: It`s right up your alley.
KEATON: If I could do this, I love it so much.
BEHAR: You`re a style icon too.
KEATON: I really do.
BEHAR: So it`s right up your alley. Now--
KEATON: But are you going to go there and buy something?
BEHAR: Definitely. I think I will right after this interview and I`m going to go buy something.
KEATON: No, really, I`ll give you a plate.
BEHAR: No, it`s all right, don`t give me anything. I`ll buy it, I swear.
(CROSSTALK)
BEHAR: I`ll take out a loan and I`ll buy it. No, seriously, it won`t be expensive either, your stuff. Right?
KEATON: No, no, no. That`s correct.
BEHAR: Now, let me ask you something, get me back to "The Godfather."
KEATON: You want to go back to the--
(CROSSTALK)
KEATON: OK, "The Godfather." This is the way I see "The Godfather." To me, "The Godfather," I always picture it because I played Kay, I always have an image of a woman standing in a hallway waiting for permission to see her husband. That`s the way I see "The Godfather" from my part. She was --
BEHAR: From your part?
KEATON: Yes, I was always an outsider looking in, never really knowing what was going on. And that was a very strange experience, and yet it was very, I thought, very well portrayed in that movie. This outsider woman in this world.
BEHAR: Until she gets it.
KEATON: Until, yes, well, yes.
BEHAR: And then when she gets it, watch out.
KEATON: Yes. That was amazing.
BEHAR: In "Godfather II," I mean, you really let him have it in that great scene.
KEATON: That is a great scene.
BEHAR: But I mean, it`s sort of interesting because you had to channel a Mafia wife.
KEATON: Yes. But not even -- I think that she was not a typical Mafia wife, that`s the problem. She didn`t fit. She was the wrong fit. And I thought that was what was interesting about my part. And I always felt that way in the movie.
BEHAR: Naive a little bit.
KEATON: Naive and a WASP and kind of that culture -- I didn`t belong to that culture at all. So it was very, you know, unnerving, but wonderful. I remember always the door being shut in my face. I remember that. And then I also remember about "The Godfather," that it had this sort of air of formality that was masking this raw violence in scene after scene after scene.
BEHAR: Yes.
KEATON: It was just like so amazing. That part of "The Godfather," and Al`s acting in that movie, "II" and "I." Oh my God, this guy would sit in a room by himself for hours and hours in a dark room and listen to DeStefano (ph) records. Do you know who he is? He`s one of the great Italian opera singers, and he would just sit there by himself.
BEHAR: And listen to it.
KEATON: Yes. And get into that part. And then it would just explode. Remember when he killed -- no -- there are scenes in that movie that are just --
BEHAR: When he kills the cop?
KEATON: Yes, yes, yes.
BEHAR: Sterling Hayden.
KEATON: Yes, yes.
BEHAR: Incredible scene.
(CROSSTALK)
BEHAR: That movie is just beyond brilliant. And it`s holding up forever. It`s always -- 100 years from now, they`ll still watch that movie, in my opinion.
KEATON: Do you think? Maybe, maybe. Yes.
BEHAR: Oh, yeah. I mean, it`s relatable--
KEATON: You know, Woody, interestingly enough, in "Annie Hall" used Gordon Willis. You know, Gordon Willis was the cinematographer of "The Godfather," and we used to call him the prince of darkness, you know. And Woody in "Annie Hall" hired Gordon Willis. This is an amazing thing for a guy to do with a comedy. So you know, "Annie Hall" had a great look to it because of Gordon Willis. And also, Gordon taught Woody a lot about how to structure the movie and how to make a master shot really work. Like almost it was choreographed. And so these are risky things for a man who is making a comedy to do, which is why all the ingredients, which is why "Annie Hall" won best picture. And that`s in a comedy, that`s rare.
BEHAR: Very rare.
KEATON: But because he was so inventive, because he was so unafraid, he took so many risks --
BEHAR: Woody did?
KEATON: But getting back to "The Godfather," of course, everything you`re saying about "The Godfather" is true, but Woody took Gordon Willis.
BEHAR: I know, it`s great, it`s interesting. Woody was interested in Ingmar Bergman also.
KEATON: Oh, yes.
BEHAR: He took -- OK, when we come back, I want to know from you why you didn`t marry Al Pacino? We`ll be right back.
(COMMERCIAL BREAK)
BEHAR: We`re back chatting with Diane Keaton about all the juicy fun stuff she`s written in her new book, "Then Again," which is a terrific read.
So OK, let me just find out and then we can move on to other things.
KEATON: Fine, fine.
BEHAR: So you wanted to marry Al Pacino?
KEATON: Oh, yes.
BEHAR: And you`re a confirmed bachelorette, it seems. How come him?
KEATON: There was something about him that was familial to me. He sort of had a feeling of a kind of eccentricity that I liked that reminded me of my family. He was kind of -- he was very kinetic and he was unusual. He was a little neurotic like members of my family. Very sensitive. He was a lot of fun. He was a guy who would get up in the middle of the night and have M&Ms. I like things like that.
BEHAR: Quirky.
KEATON: Quirky guy. And he would come over and say, hey come on, sit down and talk to me, Diane. He would tell me about the Bronx when he was a boy. Which was so beautiful, the way he told the story and how the effect that those days in the Bronx with his friends stayed with him. He was somebody who was -- you know, I`d have to listen to him reading "Macbeth" at night, which was really fun, though, because he loved language. This is the thing about Al that I just don`t think that very many actors -- current actors have -- deal with as much. He loves the theater, he loves language, he loves Shakespeare. And he loves the sound of the music of it.
He`s unusual in that regard, and he`s -- he`ll put on a jacket backwards and he doesn`t really care about things like being dressed just right. I liked all that.
BEHAR: You liked all that?
KEATON: Yes, I liked to get in the car -- of course, when I learned he couldn`t drive.
BEHAR: Did he ask you to marry him?
KEATON: No.
BEHAR: He did not. And did you ask him?
KEATON: No, no. Yes, no, I tried. I gave it my all.
BEHAR: You did?
KEATON: I did. I did. I did, but it didn`t work. He didn`t want to do it.
BEHAR: He didn`t want to do it.
KEATON: No, not at all.
BEHAR: I don`t think he likes being married.
KEATON: I don`t think that he had any intention. And I hung on. I tried hard. Lots of times, things worked for me. That didn`t work.
BEHAR: So you never tried it with Woody or Warren? It was just with him.
KEATON: I didn`t beg. I never begged.
BEHAR: No, but you pushed it a little bit?
KEATON: I pushed it with all of them, let`s face it.
BEHAR: You did?
KEATON: No.
BEHAR: No, you didn`t. Just this one? I think this one.
KEATON: No, I liked them all. But I think that was the time -- it`s a lot about your age, it`s about where you`re growing, and you need to kind of shape up, and are you going to get married or not? Are you going to live with somebody? It didn`t work.
BEHAR: Do you regret not getting married now?
KEATON: Do I regret?
BEHAR: You`re single--
(CROSSTALK)
KEATON: No, no. I think every one of them, Al included, made the right decision. I don`t think that I would have made a very good wife at that time at all. Because I think my head was in the clouds too much. I don`t think that I was a good partner in that regard. I don`t think I was practical. My feet weren`t on the ground. I think it would have been a big mistake for all of us. And I`m proud of the fact that we didn`t get married, because it could have become ugly, if we had had children and we divorced and then there`s that money issue. At least there was a modicum of civility and kindness.
BEHAR: And you all--
KEATON: And I like them all.
(CROSSTALK)
BEHAR: -- beautifully now. You all probably are friends?
KEATON: Oh, no. Yes, I mean, I have such affection and great memories of all of them.
BEHAR: Another leading man that you had which is more recent is Jack Nicholson.
KEATON: That`s true.
BEHAR: You weren`t involved with him romantically, but.
KEATON: No.
BEHAR: Would you have like to have been?
KEATON: Well, I don`t think Jack would like me either.
BEHAR: No?
KEATON: No.
BEHAR: Why not?
KEATON: I think, you know, I`m probably not right for him.
BEHAR: Who is right for him? Truthfully?
KEATON: He`s been married.
BEHAR: He has?
KEATON: Yes, he`s been married. Of course he has. And Anjelica, that was a long term relationship.
BEHAR: A long relationship with Anjelica. Yes. We have a clip from "Something`s Gotta Give." Let`s watch.
KEATON: OK, all right.
(BEGIN VIDEO CLIP)
KEANU REEVES, ACTOR: Look who`s answering the door.
JACK NICHOLSON, ACTOR: And look who`s at the door.
REEVES: I brought you something. A heart healthy dinner from our cafeteria.
NICHOLSON: Why, thank you.
KEATON: Hello.
REEVES: You look beautiful.
KEATON: Thank you.
(END VIDEO CLIP)
BEHAR: Women just love this movie, because --
KEATON: Well, my God, I was 57.
BEHAR: -- you with a younger guy.
KEATON: I mean, give me a break, it`s like the role of a lifetime. It was the most fun I ever had. I never thought I was going to go there again. I mean, I never thought anybody was going to say, hey, Diane, you`re going to make love to Jack Nicholson and Keanu Reeves in a movie. You`re going to fall in love with Jack Nicholson. Yeah, I remember Nancy telling me that, Nancy Meyers who directed the movie, and I remember saying I`m sorry, Nancy, it`s a great thing, but it`s never going to happen. You`re never going to ever make this movie with me. And we did. Because she`s really--
BEHAR: She was--
(CROSSTALK)
KEATON: You don`t stop Nancy Meyers.
BEHAR: I worked with Nancy one time. I played a German nanny on a sitcom that she was directing called "Baby Boom."
KEATON: Yes. "Baby Boom."
BEHAR: But it didn`t really work, because you were not there. We needed you to be there. And you were a big movie star, you didn`t want to do TV, I guess.
KEATON: I wasn`t that big.
BEHAR: Yes, you were. Would have made some nice cash on that. Looking back. Just saying. Even more than they pay you at Chico`s. OK?
KEATON: Never. I love Chico`s.
BEHAR: The thing about that movie is you did -- you did a nude scene in that movie, right?
KEATON: Which one are we talking about? There were so many.
BEHAR: At 57. "Something`s Gotta Give."
KEATON: Yes, no, I took my clothes off in there. Yes, it was a joke.
BEHAR: That was brave.
KEATON: It was really--
BEHAR: At 57 to do that.
KEATON: That was easy, let me tell you why it was easy -- it was brave, of course. I don`t want to take my clothes off ever. I sleep -- I don`t bathe without clothes on. I feel very secure with clothes on.
BEHAR: You just steam yourself.
KEATON: Yes. I just told her, make sure it`s warm and -- no, it was a joke. All you have to do is just go boom and everybody`s laughing at you, and then it`s over. It wasn`t like I had to go touch somebody with my skin and be naked. That`s not a good idea. That`s where I say no.
BEHAR: But I mean, just the idea that a 57-year-old --
KEATON: I draw the line there.
BEHAR: I know. But look at Kathy Bates. She showed her body with Jack Nicholson.
KEATON: Brilliant.
BEHAR: What is it about him and older women getting naked in movies with him?
KEATON: Let`s figure it out. I mean, let`s try and figure it out.
BEHAR: First of all, one of the reasons is because he will show his nakedness.
KEATON: No, he won`t.
BEHAR: Well, not the totally, that`s true, but he will show his love handles. He cares nothing that he has love handles. Good for him.
KEATON: Joy, who are you? I`m not kidding, this is --
BEHAR: I just watch this stuff go round and round. That`s all I am. You know what I mean? He`s out there half naked in the movies, so now Kathy Bates takes her clothes off, and then you take yours off, and it`s all one big orgy. We`ll be right back.
(COMMERCIAL BREAK)
BEHAR: Diane Keaton and I are back, wrapping up a fun hour with the actress. Here I am. What about plastic surgery? Have you ever had it?
KEATON: No, I haven`t had plastic surgery.
BEHAR: Nothing? No botox, no restalin, none of that?
KEATON: No, no botox, no.
BEHAR: Would you do it?
KEATON: I`m not saying I wouldn`t. I`ll tell you why, because as soon as I say I will never do that, you know what`s going to happen. Right there. Zippidy do-dah. But no, I don`t think -- you know, I had a squamous cell cancer around the side of my face, a very big one, and that gave me the feeling of what it must felt like to have a facelift. Because what happens is, it pulled, you know, the skin. And you sort of go, oh? That`s tight.
BEHAR: That`s tight.
KEATON: It`s not moving the way it should be moving. It`s sort of like, I don`t know if I want to do that.
BEHAR: I think you`re supposed to have it when you`re younger.
KEATON: Oh, so it`s bad when you get it older? There`s no hope? I`m counting on it.
BEHAR: Some women say like -- some actresses -- and I won`t mention any names -- they do it like when they`re like 45.
KEATON: Is that a better idea?
BEHAR: As a pre-emptive strike against what`s coming down the pike.
KEATON: Yeah. So what does it look like when you`re 65? What`s the result? Do we have an example of somebody who did it right at 45 and what they look like at 65?
BEHAR: Well, I can`t name names, but I know--
KEATON: But have you seen -- well, what do you think about it? Does it work?
(CROSSTALK)
BEHAR: It doesn`t look right.
KEATON: It doesn`t look right.
BEHAR: No. It`s like then just perk yourself up with a little restalin and botox.
KEATON: You can`t make yourself young again no mater what you do. But that doesn`t mean you can`t look attractive.
BEHAR: Right. And you do, you look beautiful.
KEATON: No, I mean, not me, but I mean, I`m saying that to me, whatever -- works for somebody -- hello. What--
BEHAR: So what, who cares!
KEATON: Who cares.
BEHAR: Yeah, so what.
KEATON: You want to do that, that`s OK. It`s fine.
BEHAR: And you have these two great kids now, which you adopted in your 50s? Right? That`s phenomenal.
KEATON: Yes, I did that. Do you think you might do something like that?
BEHAR: I have a daughter.
KEATON: You are married now.
BEHAR: Now, I had a real daughter.
KEATON: You gave birth to a child?
BEHAR: I gave birth to a child.
KEATON: Joy!
BEHAR: And I have a grandchild.
KEATON: Joy!
BEHAR: You didn`t know that?
KEATON: No.
BEHAR: I have a grandchild now too.
KEATON: Well, you clearly love her.
BEHAR: Oh my God.
KEATON: I can see it in your face.
BEHAR: They`re divine.
KEATON: To have a child.
BEHAR: My grandson is charismatic, hello.
KEATON: Is he?
BEHAR: Just saying, that kid, oh, my God. He goes, hi! Who does that?
KEATON: Nobody.
BEHAR: Only my grandson.
KEATON: Nobody. It`s beautiful, see?
BEHAR: It`s the greatest thing. Children are beautiful. And they`re so unprotected sometimes in this world, it breaks my hurt.
KEATON: Uh-oh.
BEHAR: Don`t go there.
KEATON: No.
BEHAR: But we`re not, we`re done.
KEATON: We`re done.
BEHAR: You can leave. Aren`t you happy it`s over?
KEATON: You want to give me a kiss?
BEHAR: Sure.
KEATON: OK.
BEHAR: No tongue.
KEATON: I know you`re married. I don`t go that way.
BEHAR: You don`t go that way?
KEATON: No, but--
BEHAR: Ever tried it?
(CROSSTALK)
KEATON: Thank you.
BEHAR: Wait a minute. Don`t leave yet.
KEATON: Oh, don`t leave?
BEHAR: Don`t leave yet. Wait a minute. Diane`s book is called "Then Again." Pick it up. It`s a terrific book. Thank you for watching. Good night, everybody!
KEATON: Thank you, Joy. Bye.
BEHAR: She can`t wait to get off this set!
END
