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 DYANNE THORNE
A retroCRUSH INTERVIEW WITH THE STAR OF THE "ILSA" MOVIES
 

Dyanne Thorne made famous the role she played in four Ilsa movies, that sexy soldier of fortune with the tough attitude and incredible figure that everyone loves to hate. What you didn't know is she's been a fine actress of stage and screen for over 30 years with many varied interests ranging from sketch comedy to philosophy. Recently, Dyanne took some time to speak with us.

Where did you grow up?

I’m an easterner so I grew up back east as well as in New Zealand. I had family in New Zealand as well as here. I’m American born, but I had a life of winters. It was back east in the winter and New Zealand in the summer which is the winter. I went to New York. After graduation, I studied in New York City, and that’s where my career began. I settled in Las Vegas in the 1970’s. I’ve never regretted that. It’s been wonderful. Vegas is a great place these days.

It’s totally different than when I first came here. When I started out it was an exciting world; performers in Las Vegas were well respected with many perks.

Hotels had dinner theater, presenting tab versions of legitimate plays, in which I acted in several; the Actor’s Equity Union was strong. Every hotel had a production show, and intermittently over a 20 year span, I appeared in many shows as "talking woman/ sketch comedienne", primarily doing black-outs, ala "Mad TV".

Opportunities were changing for women, and as an actress, I made choices that seemed ahead of the trend, not just in films, but on TV and on stage as well. Black-out comedy had been a man's world, with the female simply a foil, yet as a sketch artist, I held out for billing in seven Vegas Hotel Showroom productions in which I performed. I lucked out - it just wasn't done - and now we actresses have (rightfully so), come to expect to be more equally acknowledged for our work. Jack Paar was wonderful by acknowledging all the talent that appeared on his shows. God Bless Merv Griffin. When he hosted his comedy special on CBS years ago, I was privileged to be part of it. It was a presentation of the "GREAT" black-out comics of the past, and Mr. Griffin himself. By the way he introduced me, he educated his audience to understand that the gals who performed as the comedy foils in the sketches, were to be respected as an integral part of the scene.

No, I didn’t get a degree in Anthropology although there were those who thought that I did because I started out seriously preparing for that field. My focus was to combine anthropology with journalism, but always acting has been my calling. Besides music and acting classes, I always continued with required college classes for my degrees. It took me ten years to finally get my degree, but preparing for the future is always worth the effort. My earned degree is as a professor of comparative religions. My interests moved from the stage to the podium, and now I’m able to perform elaborate weddings as a celebrant/officiate. It is great fun. I just love it. I’m having a really good time with it.

That one I did with ‘Little Bobby DeNiro’. Stella Adler got me that job actually. One of her students, Norman Chaipin, was the director. He went to her looking for a recommendation. She put me in touch and it went from there. Encounter did not get released here. Money limitations led to it being released in Europe. I was told that it earned awards at several film shows out of the country.

Norman Chaipin, the fellow who directed it has since been honored in New York City at the Metropolitan Museum where they periodically show a series of special films. The year before last he walked off with a big reward for his work as a director. I think that was one of the few times "Encounter" got to be shown in this country.

I don’t know. I think I was probably too self-centered at that time to focus on anyone’s performance other than my own. Just the idea that I was working was a thrill; the script was good and the direction superb. We all thought it was a winner. We were going to be at the top of the heap. I never judged others with thinking, "Are they going to make it or not?", or, "Are they talented?" There was no time for concerns about someone else’s future. You respected them for being a professional, colleague whether they were 3 years old or 30 years old. It was all about the work, and I was immersed in it. I do recall that "Little Bobby" was a beautiful child – handsome and well mannered. He’s ‘Oh So Fine’ now - how could he have been less?

That’s right. Chuck Napier was in the first one rather and Peter Carpenter was in the second one as well. Peter is gone now, while Chuck is everywhere – both good guys. Peter got sick and died before making another film. I am grateful to him for requesting me to co-star. He was a stand-up guy and very talented. Chuck Napier is a perfect example of going onto good success. When he was in "Love Me Like I Do" he was just getting a foothold on the business, and he hasn’t stopped.

I loved doing "Point of Terror". I think it had a lot of truth in it, it was good stuff. Besides in almost every film I’ve done I’ve gotten to kill somebody. In "Encounter" I got to kill my husband. I got to do it again in "Point of Terror". In the Ilsas I got to kill everybody. I think I’ve been a mistress of mayhem since the very beginning.

The thing is the 70’s was a time of exploitation. Every independent filmmaker thought he was making an Academy Award picture. Every actor was feeling they were a part of this underground that was creating something wonderful. You didn’t walk around judging it. You got cast in something, you’re an actor, you do the role.

That’s all it is. One always hopes the attention will lead to something better and better. It’s only in retrospect that you realize that some work was definitely not for career advancement, and yet you can’t improve your craft if you don’t work it. Talent needs a place to be bad; bad movies made me better. A job is a job; either commit to it, or don’t do it.

Oh yes, many films I did in 60’s and 70’s were quite shocking for the time. It’s probably the reason why smarter cast members didn’t use their own name. Corey Allen had just won an Emmy when he directed Chris Warfield’s,"The Erotic Adventures of Pinochio", under a suito-nom.

I was doing a show in New York at the same time. As I remember it, I think I shot everything I had to do in one day in New Jersey, since I was in the revue at night. Chuck Napier was with me in that film; we didn’t meet up again for years until "Love Me Like I Do".

We never met. That assignment was kind of a fun thing, but my part is insignificant. I was in need of a job when that came down, but it had already been cast. I knew the producer and the director, and they offered me a few spots using a variety of wigs. I’m a pretty good swimmer, so you’ll find me in the pool scene as well as out. You’ll never find it on my resume.

Tho' my billing is nil, my picture is on the back cover of the DVD. The men on that set were all princes – the stars, the director/writer, and the producer all treated me in the most respectful way – not even swearing was allowed. Not since working with Omar Shariff in "Pleasure Palace" had I enjoyed such a happy working atmosphere while totally professional set. It was a great experience to work with writer/director Dennis Feldman.

It’s a different world. I might not have an acting career at all. I’m glad I’m not 18. In the last century you could pursue avenues that no longer exist, i.e. nightclubs, summer stock, short films, radio, etc. I could be totally wrong on this, but it appears to me that these days talent has few places to gain experience out of the limelight. To get a break one better be politically connected, or, have gone to very good schools where they developed a strong network. I studied with the best, and still, I really learned my craft on the job. Getting a good agent eluded me.

I am appreciative of whatever help I’ve gotten. Charles Nelson Reilly, who rest in peace, just passed away, was my musical comedy teacher, and it was he who got me on the final Jack Paar show performing a sketch with himself and Bobby Morse. They were on Broadway at the time doing "How To Succeed In Business –Without Really Trying". That networking encouraged me to hang in there. You need someone in your corner.

I did want to work with noted directors, but I no longer care to act. There are quality independent films out there now; I relate to many. "Sundance" continues to encourage worthwhile contributions. You’ve got directors like Zombie and Tarrantino who are among those recognized for their style. If they offered me an interesting role I'd consider it. It’s a new century. In the 70’s & 80’s, low budget indies could be made for next to nothing. There was a first week celebration with a flash in "Variety" if a picture brought in $90,000 dollars. That was a big deal 30 years ago; now it’s nothing.

Speaking of Quentin Tarrantino, have you heard of the "Grindhouse" double feature?

Yes

It was nice to have been invited to be a part of that, but I chose not – I was far too busy at the time with my current activities. I haven’t seen the trailer that they did put together.

No, it was his casting gal. She called and then sent an e-mail and a letter. I’m so involved in what I’m doing now that to go to LA for a day just for a lark, doesn’t fit in.

Someone asked me if I wanted to make an appearance in it. Again, the time just wasn’t right.

I got a lot of flack from that. You have to realize I came out of a very serious acting group. Part of that philosophy is not only to be the best you can be, but help support & promote properties and projects that are going to make the world a better place. Respectable colleagues thought I had totally sold out by taking some of the projects that I’d taken. The truth is I hadn’t been offered the other kind.

We can’t all be Rocky Stallone.

I do believe so. Ilsa was developed as a female soldier of fortune. The promos all read: female James Bond! Jean LaFleur was the fine director for "The Tigress of Siberia", and his understanding of that intrigue is exciting. Rocky Balboa emulates that variety of inner strength. My husband was in "Rocky IV", and we laugh to see that the residuals from his minor role on that major production dwarfs what Ilsa has earned for me.

You could do a thing like "The President’s Analyst" and have a week’s work out of Paramount, but nobody knows who you are and it’s not exactly a career builder. Offered that leading lady part in a role that I could sink my teeth into, with an imaginative director that I trusted, was far too tempting. The script was trash, but the character seduced me. A chance to portray a real person who was an animal, and yet a charmer, with a history of heinous crimes – shocking, but after a week of contemplation, I said "Yes".

Take a look at the 1970’s when I did it. What we all created together was a shocker. Good, bad or whatever, decent actresses weren’t doing roles like that. Joan Crawford had been as mean as they came, yet fans thought I was first of the kind to be even meaner than that. God Bless my fans. Without my supporters, my forfeited film career would have been in vain.

I totally respect where my critics are coming from, but people need to lighten up. I just make movies and I have no regrets. While doing those films, my husband and I have traveled all over the world. The most wonderful people have crossed my path. As a person I have been enriched; my life has been made nothing but more fulfilling. And best of all, we have the health and freedom to enjoy it.

They had written it as though it were practically a monologue. A lot had to be changed. Hard to imagine, but there were even worse scenes that I did refuse to do. Dr. Ilsa Koch was a black-hearted nazzi monster, and she did live. There is nothing glamorous about a socio-path, but she was a challenge to mirror. That’s why when Ilsa gets killed at the end of every movie, the audience cheers, especially in Europe. Films I’ve made have been translated into eleven languages.

The director did a great job. Don Edmonds knew what he was doing. He had the vision and he was able to get the Canadian producers to go along with that. There were a lot more people involved than Cinepix, but few who were willing to say they were connected. They stayed anonymous and just got rich. Wish I could say that!

That was a character I created and Don found acceptable. Again, you don’t know if any film is going to be a success or a failure. You throw yourself into it, and you go from there. A female James Bond was an idea that my ego found flattering and I loved the idea. We all had dreams that the series would get into mainstream. When they re-titled "Greta, The Wicked Warden" to be an "Ilsa" – which it wasn’t, "Ilsa" was de-valued and investors backed out of future planned projects.

The same thing with SS it was never done as glorification. I didn’t really understand. In my naiveté I didn’t realize what the total focus was because the original script there were parts of it that really had value. When you know that this was a real person you almost think, "Well, I’m doing an expose here. People will realize that it happened and you can’t keep denying that it didn’t take place."

In some romanticized ignorance I really thought that we were making a film that could have value. I always say if someone who had more acceptance or were better known, I don’t know if they would have done as good a job. They might have done better, but I think it would have been accepted without the judgment. If a Meryl Streep did a role like that it wouldn’t have been judged. Life is full of unexpected consequences.

My beliefs have always been my strength and helped me to survive. We’re not talking religion. We’re just talking about a connection to life that understands, we are not puppets. Before "Ilsa" I knew, and I know that I know, there is a power greater than I am and I can use it for the good of all concerned. This spirit has seen me through the tough times and it makes my good times better. That’s always been me. Doing any role requires an actress or actor to dig deep inside and reflect life as best it is understood, even comedy. Does that make any sense?

Every actor has their own method. I studied ‘The Method’, yes. I worked with Strasberg. In fact even Harold Clurman had a class for professionals that used to meet at midnight at Carnegie Hall. It was an incredible class and some good things came out of that. Technique has given me tools to fulfill my obligations to the script at hand, however, I will say that it’s mostly instinctual for me. I have studied it, but do I always use it? No.

It had a fine director, Jean La Fleur, and he had a good understanding, and gave a European polish to the intrigue and adventure scenes, but the unique Edmonds style had already been established in the previous two Ilsa films. The fans expected that look, and Tigress was meant to be different, and it is.

The ideas could have been very interesting. It too was based on a factual situation. There was a woman who had come out of Russia who was trafficking girls in Canada. It had had a measure of truth and potential excitement, but rather than taking advantage of that, midstream the vision was changed. Production chose the easy route which was again back to exploitation.

Yeah, and I did all my own horse work. I’m also good with guns and sports. Ha ha.

"The Washington Post, Style Section" ran a complete article and picture of the planned poster. Take a look at the archives of The Post dated Tuesday, July 13, 1976, page B9.There was a fellow who had changed his name to Bruce Lee when the original Bruce Lee died. He’s a wonderful Karate guy and actor. He changed his name to Bruce Lee so we really expected to go forward with that. I studied martial arts in preparation. Another meteor in my back yard: it didn’t happen.

I’m not into sugars. I’m into pretzels and New York pizza. I do go for gourmet seasoning, and exotic sauces – but only with romantic lighting.

Lucky I guess. Mostly, I laugh a lot. I work out everyday. I always have. I run a couple of miles. We’re at the gym every single morning. My husband and I have done that for as long as I’ve known him. I used to run 7 miles now I’m down to 3. That’s a time element. I try to maintain balance. I’m not a vegetarian, but I don’t eat meat that much. I eat it, but it’s not an everyday thing. I’m not an alcoholic, but I do have wine with my friends. I have a little of this and a little of that. Drugs are not my thing and I do my very best not to take medicines. Self-hypnosis has always been valuable for me so, if I’ve got a headache I do self-hypnosis and a quick nap and I’m back on track.

Well, we get into philosophy then. See I don’t believe in death. I think life is just continuous in a different way we may not yet be aware of. I see it as a continuum perhaps on a different level. I think it’s important to a degree that this life can be as good as we dare to try and make it and keep our head on straight. I think the next is a natural progression. If there’s a hell I think we create it for ourselves and then we do have hell on earth. I believe life is eternal and that it gets better and better. Hopefully, we get what we believe and what we focus upon. I try to focus upon what I want, not what I don’t want.

Well, let me just say from the first day I met my husband I was lost.

Don’t be rude to journalists especially if you have a fan. The most important thing is you have to keep your own counsel and that’s whenever I’ve had a disappointment it’s because I was concerned about what somebody else thought about what I was doing. I try not to be phony, and dare to be myself, as I really value my friends and family. I have a small family which is dear to me, and my friends become my family. Earning a living by doing work I love to do, is the greatest privilege, and sharing life with those I love is my greatest blessing.

Howard Maurer singing on stage with his 18 piece orchestra.

I am very grateful to the fans. I have been a little overwhelmed which I’ve never quite gotten over the accolades, I have been remiss in answering a lot of fan mail. I would hope that within this next century I will perhaps get to answer some of that mail that’s come in. I want to apologize for not managing the time to do that.

Many artist fans have taken the time to send me their amazing artwork. May I say, "thank you" to all. THANK YOU for the beautiful work I’ve received through the years. I really appreciate it. I dare not name all,‘til you say I may. I’d not to not only like to thank the artists who sent me pictures of Ilsa and their artwork. I’ve actually had 4 songs written about Ilsa in both Europe and the United States. They have put Ilsa on the covers of their CD’s. I’d like to thank the musicians who have written songs who poke fun at Ilsa and also to the writers who have taken the time to make me look better and I do appreciate that. I’ve had a lot of support from professional, creative people.

We need to learn to accept all sides of life. Sometimes it helps to see the worst side to remind us we don’t want to repeat that. An actor plays a character, but is not that character.

Every one of them was based on something. That was based on Las Palomas sanitarium in Portugal where exactly that story took place. A healthy minded woman disappeared and the story is how her journalist sister helped get her out.

They were just doing experimental, horrible things, and making a fortune off of these women and locking them up into this sanitarium. So that film started off with a very legitimate expose again if you will. Jess Franco however, is a wonderful director, but he definitely turned it into just exploitation and I was always sorry for that.

Yes, I have been and they keep getting better. We do upscale, outdoor wedding. They’re very beautiful. They’re not political. We don’t do them in the churches and we don’t do chapels. We do them in elegant places and we really make it special.

Interview by Steve Graf (steve@hotmail.com) and Randy Waage (randy@retrocrush.com)

DYANNE THORNE CAN BE REACHED AT: Ilsa.dyanne@yahoo.com.