""I mean, do I really care if a handful of my poems are read after I'm gone forever? Is that supposed to be some kind of compensation? I used to think it was. Now, for some reason...I can't seem to shake the real implication of dying," says Diane Keaton to her unseen therapist, to us, in 1978's " Interiors." She's red-eyed from tears and gripping a cigarette like a life raft. When she's on screen, she's the entire movie. That was how it was, even during her last buddy comedies in her final years of life."
"Along with " The Godfather" and " Looking for Mr. Goodbar." "Interiors" was one of her deadly serious 1970s pictures. She wasn't often called upon to play things completely straight. But her gift was knowing how to take a writer's construct and make her so specific you can hear her laugh in your sleep, and-more to the point-know exactly how she dresses."
""Keaton's...style represented limitless possibilities, and a previously incomprehensible kind of freedom. Today, nearly everyone is hip to the power of thrifting, but in the '70s, mixing and matching used clothes made you part of a secret society, and Keaton was our clubhouse president. [...] There are lots of great actresses who dress beautifully, but in the modern day, nearly all of them use stylists. They may know what they like-when they're presented with gowns and outfits, they're perfec"
Diane Keaton delivered an anguished, unforgettable performance in Interiors (1978), portraying mortality with tearful intensity and a cigarette-held composure that dominated the screen. She excelled at making written characters deeply specific, turning dialogue into lasting gestures and laughter. Keaton balanced deadly serious roles like Interiors with landmark films such as The Godfather and Looking for Mr. Goodbar, then later embodied charm in comedies. Her approach to dress—mixing thrifted pieces into a coherent, personal uniform—signaled cultural freedom in the 1970s and influenced how others conceived style and self-presentation.
Read at Roger Ebert
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