Dianne Wiest
Birthday:
Birthplace:
Kansas City, Missouri, USA
One of Hollywood's more well-established and often underrated actresses, Dianne Wiest possesses a versatility that has allowed her to go from playing hookers to flamboyant stage actresses to some of the most memorable matriarchs this side of Barbara Billingsley. Born in Kansas City, Missouri, Wiest decided to forgo a ballet career in favor of the theatre while attending the University of Maryland. She made her off-Broadway debut in 1976's Ashes; three years later she won the coveted Obie and Theatre World awards for her work in The Art of Dining. She made her first film, It's My Turn, in 1980, then returned to the stage, appearing with Joseph Papp's New York Shakespeare Festival and on Broadway in 1982's Frankenstein. In the mid-1980s, Wiest returned to films, where (except for the occasionally foray into live performing) she has remained ever since. Often as not, Wiest has been cast in maternal roles, most memorably in Footloose (1984), The Lost Boys (1987), Parenthood (1989), Edward Scissorhands (1990) and The Birdcage (1996). Some of her best screen work can be found in her neurotic, self-involved characterizations for director Woody Allen. Beginning with a cameo as a hooker in The Purple Rose of Cairo (1985), she has been generously featured in five Allen films, winning Academy Awards for her dazzling performances as unlucky-in-love Holly in Hannah and Her Sisters (1986) and hyperbolic stage actress Helen Sinclair in Bullets Over Broadway (1994). Wiest could be seen playing another motherly figure in Robert Redford's 1998 adaptation of The Horse Whisperer; that same year, she appeared as one of Sandra Bullock and Nicole Kidman's otherworldly aunts (along with Stockard Channing) in Practical Magic. In 1999, she could be seen in the made-for-TV The Simple Life of Noah Dearborn, starring alongside Sidney Poitier. Her big-screen career continued with I Am Sam, A Guide to Recognizing Your Saints, Dan in Real Life, and Synecdoche New York. She also found interesting work on television playing a DA on Law & Order for a couple of seasons, and playing the psychiatrist of a psychiatrist on HBO's In Treatment. She appeared in Rabbit Hole in 2010, and was Diane Keaton's flighty sister in Darling Companion.
Photos
Highest Rated Movies
Filmography
MOVIES
RATING | TITLE | CREDIT | BOX OFFICE | YEAR |
---|---|---|---|---|
79% | I Care a Lot |
|
— | 2021 |
88% | Let Them All Talk |
|
— | 2020 |
71% | The Mule |
|
— | 2018 |
26% | Five Nights in Maine |
|
$15.6k | 2016 |
60% | Sisters |
|
$66.7M | 2015 |
53% | The Humbling |
|
— | 2015 |
36% | The Odd Life of Timothy Green |
|
$51.9M | 2012 |
21% | Darling Companion |
|
$0.8M | 2012 |
42% | The Big Year |
|
$7.2M | 2011 |
90% | Woody Allen: A Documentary |
|
— | 2011 |
87% | Rabbit Hole |
|
$2.3M | 2010 |
38% | Rage |
|
— | 2009 |
19% | Passengers |
|
$0.3M | 2008 |
69% | Synecdoche, New York |
|
$3M | 2008 |
65% | Dan in Real Life |
|
$30.1M | 2007 |
40% | Dedication |
|
— | 2007 |
75% | A Guide to Recognizing Your Saints |
|
$0.5M | 2006 |
64% | Robots |
|
$128.2M | 2005 |
No Score Yet | Category 6: Day of Destruction |
|
— | 2004 |
No Score Yet | The Blackwater Lightship |
|
— | 2004 |
0% | Merci Docteur Rey |
|
— | 2002 |
35% | I Am Sam |
|
$40.3M | 2001 |
No Score Yet | Echoes from the White House |
|
— | 2001 |
No Score Yet | The Simple Life of Noah Dearborn |
|
— | 1999 |
21% | Practical Magic |
|
— | 1998 |
74% | The Horse Whisperer |
|
— | 1998 |
No Score Yet | Off the Menu: The Last Days of Chasen's |
|
— | 1997 |
28% | The Associate |
|
— | 1996 |
81% | The Birdcage |
|
— | 1996 |
63% | Drunks |
|
— | 1995 |
97% | Bullets Over Broadway |
|
— | 1994 |
22% | The Scout |
|
— | 1994 |
14% | Cops And Robbersons |
|
— | 1994 |
74% | Little Man Tate |
|
— | 1991 |
90% | Edward Scissorhands |
|
— | 1990 |
91% | Parenthood |
|
— | 1989 |
14% | Cookie |
|
— | 1989 |
60% | Bright Lights, Big City |
|
— | 1988 |
63% | September |
|
— | 1987 |
77% | The Lost Boys |
|
— | 1987 |
90% | Radio Days |
|
— | 1987 |
91% | Hannah and Her Sisters |
|
— | 1986 |
92% | The Purple Rose of Cairo |
|
— | 1985 |
58% | Falling in Love |
|
— | 1984 |
52% | Footloose |
|
— | 1984 |
No Score Yet | Independence Day |
|
— | 1983 |
33% | I'm Dancing as Fast as I Can |
|
— | 1982 |
No Score Yet | The Wall |
|
— | 1982 |
0% | It's My Turn |
|
— | 1980 |
No Score Yet | Zalmen or the Madness of God |
|
— | 1975 |
TV
RATING | TITLE | CREDIT | YEAR |
---|---|---|---|
No Score Yet |
Law & Order
1990
|
|
|
32% |
Mayor of Kingstown
2021
|
|
|
90% |
In Treatment
2008
|
|
|
No Score Yet |
Life in Pieces
2015-2019
|
|
|
No Score Yet |
The Talk
2010
|
|
|
91% |
The Blacklist
2013
|
|
|
13% |
The Return of Jezebel James
2008
|
|
|
No Score Yet |
Law & Order: Criminal Intent
2001-2011
|
|
|
78% |
Law & Order: Special Victims Unit
1999
|
|
|
No Score Yet |
The 10th Kingdom
2000
|
|
|
No Score Yet |
Avonlea
1990-1996
|
|
|
Quotes from Dianne Wiest's Characters
Max: | I told you never to come in here. Wild kids. |
Lucy Emerson: | Oh, they're just young. We were that age, too, once. But they dress better. |
Ellen Bascomb/Millicent Weems: | What was once before you - an exciting, mysterious future - is now behind you. Lived; understood; disappointing. You realize you are not special. You have struggled into existence, and are now slipping silently out of it. This is everyone's experience. Every single one. The specifics hardly matter. Everyone's everyone. So you are Adele, Hazel, Claire, Olive. You are Ellen. All her meager sadnesses are yours; all her loneliness; the gray, straw-like hair; her red raw hands. It's yours. It is time for you to understand this. |
Helen Sinclair: | No, no, don't speak. Don't speak. Please don't speak. Please don't speak. No. No. No. Go. Go, gentle Scorpio, go. Your Pisces wishes you every happy return. |
David Shayne: | Just one... |
Helen Sinclair: | Don't speak. |
Aunt Jet: | You see that couple here? Well, he's having an affair with the babysitter and she can eat a pound cake in under a minute. |
Sally Owens: | [after Michael's death; brings the spell book out] You brought him into my life and now I want you to bring him back. Bring him back! I have never asked you for anything. I've never asked you for spells but do this. I know you can bring him back. |
Aunt Jet: | No, dear. We won't do that. |
Aunt Frances: | We don't do that. |
Sally Owens: | But you can. You can do this. I know you can. I remember. I found it here when mommy and daddy died. |
Aunt Frances: | Even if we did bring him back, it wouldn't be Michael. It would be something else. Something dark and unnatural. |
Sally Owens: | [Starts crying] I don't care what he comes back as. As long he comes back. Please do this for me. Please? Please? Please? Please? |
Diane Booker: | Tom's a good man. He's got a gift, I swear it's from Heaven above. But he's just a man. |
Peg Boggs: | The light concealing cream goes on first. Then you blend, and blend, and blend. Blending is the secret. |
Senator Keeley: | I don't understand. |
Barbara Keeley: | He's a man, the're both men. |
Senator Keeley: | Can't be, you can't be jewish. |
Barbara Keeley: | No Kevin, Kevin, Kevin. This is a man. |
Senator Keeley: | What? |
Louise Keeley: | Don't you understand the're gay. They own the drag club downstairs, the're two men. |
Bill Boggs: | So Edward, did you have a productive day? |
Edward Scissorhands: | Mrs. Monroe showed me where the salon's going to be. |
Edward Scissorhands: | [turns to Peg] You could have a cosmetics counter. |
Peg Boggs: | Oh, wouldn't that be great! |
Bill Boggs: | Great. |
Edward Scissorhands: | And then she showed me the back room where she took all of her clothes off. [everyone stares, Kevin snickers] |
Peg Boggs: | No matter what, Edward will always be special. |
Peg Boggs: | Never let anyone tell you you're handicapped. You're.... special. |
Peg Boggs: | (putting make-up on Edward).. The light concealing cream goes on first. Then you blend, and blend, and blend. Blending is the secret. |
Peg Boggs: | (putting make-up on Edward) The light concealing cream goes on first. Then you blend, and blend, and blend. Blending is the secret. |
Becca: | Does it ever go away? |
Nat: | No, I don't think it does. Not for me, it hasn't - has gone on for eleven years. But it changes though. |
Nat: | No, I don't think it does. Not for me, it hasn't - it has gone on for eleven years. But it changes though. |
Nat: | No, I don't think it does. Not for me, it hasn't, and that's goin' on eleven years. It changes, though. |
Becca: | How? |
Becca: | I don't know... the weight of it, I guess. At some point, it becomes bearable. It turns into something that you can crawl out from under and... carry around like a brick in your pocket. And you... you even forget it, for a while. But then you reach in for whatever reason and - there it is. Oh right, that. Which could be aweful - not all the time. It's kinda... |
Becca: | I don't know... the weight of it, I guess. At some point, it becomes bearable. It turns into something that you can crawl out from under and... carry around like a brick in your pocket. And you... you even forget it, for a while. But then you reach in for whatever reason and - there it is. Oh right, that. Which could be awful - not all the time. It's kinda... |
Nat: | I don't know... the weight of it, I guess. At some point, it becomes bearable. It turns into something that you can crawl out from under and... carry around like a brick in your pocket. And you... you even forget it, for a while. But then you reach in for whatever reason and - there it is. Oh right, that. Which could be awful - But not all the time. It's kinda... not that you like it exactly, but it's what you have instead of your son, so you don't wanna let go of it either. So you carry it around. And it doesn't go away, which is... |
Becca: | What. |
Nat: | Fine... actually. |