why does diane keaton cover her neck

Does anyone know why her neck is in hiding? I don't think I have ever seen it! Most of her movies she either wears turtle necks, high neck collars on her coats or ridiculous scarfs. In fact the previews for her new movie show her in a house (non winter from the looks of outside) with a HUGE (easily 2 feet wide) orange scarf wrapped multiple times around her. They seriously go out of the way to cover her neck as part of her wardrobe. I know she wasn't like this in her earlier acting days since I just watched Father of the Bride. I can only think of that one show (and part 2) though. Why does she not show it? Does she even have one?
Her resolutely low-key manner, shared in varying degrees by some of her Hollywood contemporaries Blythe Danner, Meryl Streep, Sissy Spacek and the late Jill Clayburgh come to mind has certainly set her apart. Today scores of would-be divas coming into their own tend to flaunt on and off the screen what Ms. Keaton has always preferred to conceal. More brass would have been required of her had she come up in the show-all, tell-all circus that is Hollywood today.


It seems like a large component of success now is the seduction of imagery, she said. You have to do everything to make a dent, vamp for magazine covers, design a fashion line, show a lot of skin, Ms. Keaton said without the faintest hint of judgment. Diane Keaton in Los Angeles in 2008. Recently she came across a photograph of Kim Kardashian in W, clothed in nothing but a coat of silver paint. My jaw dropped, Ms. Keaton said admiringly. I couldnt get over that silver bottom. Such brazen images are everywhere, she noted. Theyre in your face, and you have to accept that. With her latest role, Ms. Keaton seems to have embraced a hint of the flashiness that she has long shunned. She remembered pleading with the films crew to pump up Colleen, pick up the lights, emphasize her glamour and brash self-assurance. She recalled that while working with Frank L. Fleming, the costume designer, we tried to put me in tight clothes, fitted shirts and pencil skirts that were supposed to give me a waistline.


When it came to signaling her sex appeal, Ms. Keaton played it both ways. We opened up her neck, Mr. Fleming said, but we gave her pearls to cover what she didnt want to show. Colleens contour-hugging silhouette was a departure for Ms. Keaton, who prefers the relatively forgiving lines of coats and dresses by Marni, Balenciaga and Stella McCartney. Silhouette, thats not what I lead with, said the actress whose keen fashion eye was trained on images of the lanky, sometimes shapeless models in the Vogue of the late 1960s and early 70s. In creating Colleen, she said, it was all about her face how we could keep it up. Shes been a beauty queen. When you lose that, Ms. Keaton added, with evident empathy, its a fall from grace. Roger Michell, who directed Ms.


Keaton, recalled: She was very amused by the characters vanity. She was self-aware and self-mocking game enough to see the funny side of Colleens preoccupation with what she looks like. At the Plaza, Ms. Keaton returns to her default position. Im dedicated to the concept of coverage, she said. She was not entirely joking when she talked about wanting to design her own line of turtlenecks in every color, even plaids. The idea is not so far-fetched, given the many fashion offers that came her way, but which she rejected, in the wake of Annie Hall, the late 1970s film that had Ms. Keaton showing off a haphazard chic that was built around mannish hats, baggy pants and boyfriend jackets a look that has made a splash on recent fashion runways. Concealment has its upside. Its something that Ive mastered, Ms. Keaton said. Her tendency to hide, she confided, is among her greatest flaws. But Ive turned that into a good thing.

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