The Mondo Film Interview with Dyanne Thorne
Note: An earlier version of this feature was first published on the Mondo Film & Video Guide website.
THERE WAS A VIDEO STORE, just down the road from where I grew up in Michigan. It wasn’t a Blockbuster Video; it wasn’t a Family Video or any of the other mid-western video chains that one might have visited growing up in the late-1980s or early-1990s in the Great Lakes state, either. It was a Mammoth Video. At first, pretending as if it were some sort of off-shot of a Blockbuster, with its intentional use of their iconic blue and yellow color scheme, within a year after the opening its doors, it was soon to be remodeled; new colors employed (probably to avoid a lawsuit), and thereafter faithful to its choice of green and white.
That Mammoth Video seemed to want to emulate Blockbuster never made sense. After all, since the day it had opened, it had never truly seemed like a Blockbuster (at least any I visited in the era), even though to keep up appearances, it offered the usual bevy of ceiling-to-floor new releases, a classics section, etc. But what made it different from the chain stores in the area (even though later I would discover that it was a regional chain) was that it had an incredible hodgepodge of older VHS tapes available. It had the feel of one of the old 1980s Mom and Pop video stores, except it was missing cigarette smoke. But if you were me at age fifteen, or any of my friends, and you too had also been forced to live in the nowhere small town that we were all stuck in growing up in, anything weird, crazy or gross or odd, natch, cult would’ve also probably been right up your alley when it came to getting your kicks on the weekend with knowing else to do.
In the pre-DVD era, my friends and I would spend hours at the video store scouring shelves for hidden gems. We were not the discriminant types. We’d watch anything as long as it looked interesting. Horror, science-fiction, war, drama, etc. Finding something at the store that appeared interesting, natch, weird or potentially funny, etc., meant that you had a obligation, a duty to your brothers; it meant one had to shout out across the store: “Hey! Come look at this! You’re not gonna believe this.” And nothing would make me shout out more loudly, and with more excitement, when I was at the store one Fall evening than when I first came across Ilsa: She Wolf Of The S.S. (1975).
Provocative artwork was always the key to turning a profit in the home video era. And with its cartoon-like artwork, Ilsa, nearly spread-eagle, at front-center, as if she were some kind of sadomasochist comic book superhero, Nazi officer’s uniform half-unbuttoned, cleavage spilling out and in full bloom, and a large black Swastika hanging up in mid-air behind her, really grabbed the eye. And when you’re walking an aisle in the Action section Ilsa: She Wolf of the S.S. is difficult to ignore, regardless of whether you’re a card-carrying white supremacist, or just a horny fifteen-year-old kid that is looking for something mind-bending. And that also applies to its subsequent sequels: Ilsa: Harem Keeper Of the Oil Sheiks (1976) and Ilsa:the Tigress of Siberia (1977).
The Ilsa films would not be what they are today without Dyanne Thorne. Thorn is a unique actress (like Edy Williams). And her Ilsa character across all three of the Canadian-made exploitation films is cartoonish and cruel. Without sugar-coating it: Women would want to be her and men would want to be inside of her.
Actress Dyanne Thorne started out in the theater at a very early age. As a young woman, she studied religion and anthropology at the university level before her singing and acting career started to blossom. Deciding to move to California, Dyanne juggled work on the stage with work on television. She had walk-on roles on late-1960′s television shows like Star Trek and Felony Squad.
Making some movie connections in Las Vegas led to Thorne appearing in a couple of Joe Sarno’s sexploitation pictures of the early-1960s as well as such low budget genre films later as Love Me Like You Do (1968), Point of Terror (1971), and Blood Sabbath (1972).
One that sticks out from the rest is Point of Terror. Written by actor Peter Carpenter, it’s nearly a gem. A saturated melodrama, likely-inspired by Beyond The Valley of the Dolls (1970), It has that over-saturated look; it’s like Douglas Sirk on acid (as if Written On The Wind (1956) doesn’t already feel like an acid trip). Carpenter plays a rock singer, who in his desperation to make the big time, seduces, and screws over a music executive’s wife. She blackmails him to get her revenge on the B-movie Neil Diamond. Rich with sex, psychedelia and a soundtrack that is just begging to be released today on vinyl for film geeks, Point of Terror didn’t get a wide distribution on its first run, and today, is seemingly forgotten by genre fans even though it occasionally gets re-released on DVD here or there.
Las Vegas lead her to Howard M. Maurer, a musician and songwriter. The two would marry and settle in Las Vegas permanently. And since the late-1970s, Thorne and Maurer have been busier than ever. They’ve written and performed shows on the Las Vegas Strip, and they own their own wedding chapel, A Scenic Wedding. Thorne and Maurer are independent officiants and non-denominational ordained ministers, with Dyanne currently accredited as a Professor of Comparative Religions.
A Scenic Wedding is known in Las Vegas because of Thorne’s connections to the Ilsa movies; 35-years after the release of the original film, every year, hundreds fans of the films come to visit the little Las Vegas chapel just to get married by Ilsa: She Wolf of the S.S. With popularity of the Ilsa films having grown in the last few years, Dyanne Thorne has also become a frequent traveler as well; she spends a portion of her time traveling across the United States and Canada ever year meeting and greeting fans at horror movie conventions. At conventions fans of Ilsa line up to meet Dyanne Thorne and Howard Maurer, get their autographs, but also to buy Ilsa merchandise. Want to get married at a horror convention? They can do that as well for you when you meet them in person at the show.
Chatting with Dyanne and Howard is a treat. They’re both positive, uplifting, and enlightening folks who take an interest in you when you sit down with them. Both are kind, fun, great people with great stories.
Talking with Dyanne Thorne is a thrill for the 15-year-old kid that is still trapped inside of me all these years later, the kid that still loves crazy movies. Talking to her now in 2011, nearly 20-years after seeing her for the first time on that VHS Tape at Mammoth Video in Ionia, Michigan in the mid-1990s, back then, wouldn’t have been something that I couldn’t have ever possibly conceived for myself one day, yet, even now as she sits, and stares at me from across a table and smiles occasionally as we chat, this opportunity to speak with her today is something that I still can’t even grasp as my reality.
JUSTIN: I love how great the two of you are together. I was curious to see how the two of you met?
DYANNE: I was working on a show in Las Vegas. The gal I was working with, we went on to do our own show together called, Thomas & Thorne. All the while, we were doing our show and she was saying to me, “I’ve got a guy you’ve gotta meet!”
HOWARD: Right. And I was friends with her as well, and every time I’d see her, she’d say to me, “I’ve got a girl you gotta meet!” The more she said that, the quicker I ran the other way. I was traveling a lot. I was doing well on the road. I was thinking that “this girl” must have a problem or something with her. Anyhow, at the time, I was in Los Angeles working in a club, and they [Thomas & Thorne] contacted me about writing some music for them. So we met in a club in Los Angeles, and that was it. We looked at each other, and that was that.
DYANNE: It was funny because I thought we were just going to Los Angeles for business. I hadn’t put two-and-two together about the fact that we were going to meet the guy that my friend was trying to set me up with. When I met Howard, we just hit it off; but we were both two very busy people. I was going out of town to do stage work. He was going out of town to perform his musical act. But we stayed in touch, we wrote letters to each other for over a year. We wrote to each other every week. We got married not long after that, and we’ve been together ever since.
JUSTIN: Very nice! So how did the two of you get into the wedding chapel business in Las Vegas?
HOWARD: Well, Dyanne had been ordained a long time ago. I was here in Vegas playing music at a lodge. And I overheard the owner of the lodge say how they needed a minister for a wedding that was coming up in a couple weeks. Now, in order to be able to legally marry people in Nevada you need to be issued a certificate by the state. And at the time it was a very involved process. Dyanne had been approved but she didn’t have one. But, being that I knew the owners of the lodge, I was able to offer Dyanne’s services without getting into trouble. So that was Dyanne’s first Vegas wedding.
Now, we opened up the chapel several years later. We had these two close friends that were getting married. They asked Dyanne to marry them, plus they asked me if I’d play at their wedding. Which we did. There was this person at that wedding who saw us, and then they asked us if we would be interested in doing their wedding. So, we really built the business out of word of mouth.
DYANNE: The irony of it all, is that we were producing and starring in a show on the strip at the same time, which was an afternoon show. So we were free to do weddings on the weekend. So we did that for a few years, and the business just started doing very well for us. And now we’re marrying people at these movie conventions that we’re going to. In fact, we’re marrying people at the upcoming Shock Stock show that we’re going to be attending later this year up in Canada, and then at the Cult Fiction Drive-In show that we’re doing in May down in Florida.
JUSTIN: Before we get into talking about Ilsa, can we skip forward and talk about how you got involved in the film Aria (1987)?
DYANNE: Oh…I’d like to tell you about this one. We both had an agent, who was also the same agent for Jay Leno. Her firm was getting big, so she had us working with her sub-agents. I was listed with one sub-agent and Howard was listed with another. So we both went to see the casting people. But they didn’t know that we were married. So I was cast as the bride and then I went home. Howard came home a while later, and told me how he’d been cast as the groom! But they had seen each of us separately, you see, so it was by chance that we were cast as bride and groom for the movie.
HOWARD: Right..So it was fate or just good casting.
JUSTIN: How did you become interested in music, Howard?
HOWARD: My family was musically involved. There have been generations of my family that have been involved in music. When my mother was a young girl, she was offered a role in Ziegfeld Follies, but her parents wouldn’t allow her to do it.
I grew up in the Bronx. There was a lady in our building who offered piano lessons for cheap. All the kids in the building took piano lessons. Shortly after, some kids in the neighborhood asked me if I wanted to play in a band. Right away, we got offered a job to play at a hotel up in the Catskill Mountains. This was for an entire summer! So I just became a piano player. I played piano all through high school, I played my way through college, (originally I had been interested in going to medical school) but having to be in class every morning at 8 a.m., when I’d been out all night playing music the night before, changed that pretty fast.
Not long after that, my brother and I started performing together. We had a musical act that led to us becoming the headliners at casinos like MGM, Caesars Palace, and at the Sands — business was really good. We were also playing clubs here and there, even my sister was performing with us at times. Something that you’ll find interesting: when our business had started to slow down some, that’s when I met Dyanne. So that’s when I decided to move to Las Vegas. And when I moved to Las Vegas one of the first jobs I got was managing the new Aladdin Theater, which I opened up with Neil Diamond.
JUSTIN: Who are some of your musical influences?
HOWARD: Louis Prima. I just loved what he did. He influenced me as a performer. Also, George Gershwin. Cole Porter’s lyrics have always knocked me out too. Mel Torme. Plus, growing up in New York City, I used to go down to Birdland. I got to see all the great jazz musicians down there growing up. Also, I got to see Lenny Bruce several times in New York. You probably don’t know this, but I went to high school with Bobby Darin, and he and I used to play cards together..
JUSTIN: Dyanne, where did your initial interest in acting come from?
HOWARD: Oh, Dyanne knew she was gonna be an actress from the minute she was born.
DYANNE: When I was three years old there was a Christmas pageant. And the girl that was supposed to be in it, she had gotten sick. So my mother came home with this nice pink satin dress, and she told me that I was going to be her replacement. They had been rehearsing for many months prior. So I went in with no rehearsal and they kindly instructed me on where to walk, and what to say, etc. My mother, being my mother, told me that I stole the show. So I think I caught the bug right at that moment.
JUSTIN: I know that you’ve got this background in comedy as well. Where do you think your interest in comedy comes from?
DYANNE: Survival! Comedy is much more fun and mellow than drama. But, that was what made all of the Ilsa stuff fun for me. Comedy has always been something that I’ve always been attracted to, I think.
JUSTIN: Growing up, didn’t you also have an interest in anthropology as well?
DYANNE: Yes I did, but honestly the money just wasn’t there for me to follow that interest. When I was growing up they didn’t have scholarships that helped you pay for college, unless you were a straight-A student, which I wasn’t.
So while I did study anthropology for about a year, I did not get a degree. But I did get to go on a couple of anthropological digs, which was great fun. You know, in the last few years, I’ve seen on the internet where I supposedly have a degree in the field, but I don’t. So then my idea was to be a journalist working in the anthropology field, so I went off and studied for a short time at New York University. But it wasn’t long after that that my singing career started to open up some doors for me as well, because I had also been studying singing very seriously for many years.. So when I found that I could make more money on the weekend singing at places than any of my journalist friends could make writing all week long, I switched my interests to singing and drama.
JUSTIN: Didn’t you have an opportunity to also work with Stella Adler around this same time?
DYANNE: I did work with Stella Adler. She was the person who recommended me for my first movie role, which was for Encounter (1965). Robert De Niro is in that film. I also worked with Lee Strasberg too for a while. And all of that just kind of helped to keep me moving forward. I also met some good people along the way, and that pretty much is why I ended up moving out to California. I will say that doing the film stuff has been great over the years, but I’ve also done 30-years of work on the stage, and, you know, few people ever ask me about that stuff.
JUSTIN: Do you think acting can be a natural ability for some people?
DYANNE: That’s a good question. That’s sort of like judging someone, like you’re saying that I don’t see the natural ability in you. Years ago, here in Las Vegas, I was teaching acting at a community college in the theater department. It was wonderful. I pulled out every script I had ever read.
JUSTIN: How did Love Me Like You Do come to you?
DYANNE: I was living in Los Angeles at the time. I was doing a lot of television work. I did that Star Trek episode, I did an episode or two of Felony Squad. Richard Donner was the director on one of those episodes. I had an agent who was getting me work, I was very loyal to him. But he was on the verge of retiring, so he wasn’t really submitting me for as many things as I would have liked. My agent had invested some of his own money into Love Me Like You Do. So, I was sent in to see the director. I read for him and I got the part. Charles Napier was in the film, and Peter Carpenter is also in it as well.
And the best thing that came out of Love Me Like You Do was that it got me the job on the next film that I did after that. I didn’t really like the concept for Point of Terror, though, to be honest. Nor, did I think the film turned out very good for a few reasons.
JUSTIN: But, you’re really the best thing in Point of Terror.
DYANNE: Well, thanks for saying that. I had a wonderful director[Alex Nicol] on that film. He was so experienced and professional — he was a real director. He always had time to go off to the side so we could rehearse or discuss the film. I think if I would’ve been more confident back then, though, I probably would’ve been even better. Now I have all the confidence in the world, but just no job.
I was in really great shape back then, too. I can’t tell you all the things I did back then to keep my body in shape. Do you remember that scene where I show up in a bikini? Peter Carpenter thought it was too much. Originally I was supposed to come into the scene from the water. I was supposed to come up out of the water. I was supposed to get out of the water, go over to Peter, he’d look at me, my body, and then I’d lie down next to him. But, he didn’t like it, so they changed it around, where now you see me come down from up on the hill, and the next thing you see, is me laying next to him, covered up by a towel — as if there was something wrong with my body!
Then there was that pool scene. Peter and I were supposed to be making love. While we were shooting it, Peter was wearing a jockstrap. He wouldn’t take it off, though. Not that we were going to do anything actually. They had lit the pool from underneath, so when you see the film now, you can see that he’s wearing a jockstrap. They couldn’t use a lot of that footage that we shot in the finished film, either. There is a lot of stuff in Point of Terror, like that, that I think that could have been done better.
JUSTIN: Do you know how Point of Terror did when it was released?
DYANNE: Not really. I don’t know. It was originally distributed by Crown International Pictures. At the time it was released, I hadn’t moved to Vegas yet. But the producers brought me here to Vegas to promote the movie. I did some radio interviews, I think. I went to some drive-in’s to promote it. You know, I’d never even seen the poster for the film until it was released on DVD.
JUSTIN: Is it more fun to play a hero like “Andrea” in Point of Terror or a villain like “Ilsa” in the Ilsa movies?
DYANNE: This will sound corny, but I think that we have both of those sides in each of us. And I think that secretly we also want to be someone else in life. So, we have a dark side, and a light side. And as an actress, it’s a challenge to pull that out of yourself. You know, I’ve played a lot of dumb blondes on stage, but that can be just as interesting to do as well. I’ve also worked with Tim Conway on the stage before, and that was a challenge as well. So, having to play someone like “Andrea” in Point of Terror…well, there wasn’t really much to it, but to just dig in and pull it out of yourself.
JUSTIN: Have you ever had any moments in life where you’ve experienced any frustration with regards to your career, not getting bigger roles than you’ve gotten?
DYANNE: Not really. Not if you truly love the craft. You don’t ever judge a role, big or small.
JUSTIN: With your God-given physical assets on my mind, back in the 1970s, were you ever approached, for example, by someone like Russ Meyer to be in any of his films or Hugh Hefner at Playboy magazine for work in his men’s magazine?
HOWARD: Dyanne has been approached by men’s magazines in the past. They always say that posing is one way that will lead to her catching a big break in the business, but she’s always turned them down. Although, we did do one photo session back in the 1970s for Oui Magazine in Chicago to promote Ilsa: the Tigress of Siberia. We probably shouldn’t say anything about it, but Quentin Tarantino did contact our office back when he was making his Grindhouse movie. But, Dyanne couldn’t participate because she was busy doing something else at the time.
DYANNE: I was approached by Russ Meyer at one point, but I can’t remember when, exactly. I know his films are respected and very successful, but they just weren’t my cup of tea.
JUSTIN: Have all of these movie conventions across the United States and Canada that you’ve been working at been a positive experience for you guys after 35-years?
HOWARD: It’s been dynamite. The fans come up to us and tell us how much they love these movies. They come from all over the country, and everyone is wonderful and respectful.
DYANNE: Yes, simply wonderful.
JUSTIN: I’ve recently saw a picture of you with Joey Ramone and Johnny Lydon from The Sex Pistols on the internet…
HOWARD: You know, Dyanne gets calls from those guys whenever they come to town.
DYANNE: I do! We’re friends with a lot of musicians, and they are all Ilsa fans. I was great friends with Joey Ramone until he passed away. When he passed away it was very upsetting to me. We’re also friends with the manager of Motley Crue. When he comes into town, we get together sometimes.
JUSTIN: Do you think that fans of the Ilsa movies consider you or the Ilsa character a sex symbol?
DYANNE: Ilsa, a sex symbol? I hope not. Have you seen pictures of the real Ilsa [Koch]? I was trying to represent her. You don’t always think about how you look when you approach a character, you just go and do the role. It’s really amusing that some may consider Ilsa a sex symbol, though. There’s nothing wrong with being a sex symbol, or people admiring a sex symbol, but that wasn’t my motivation certainly for the role. I don’t know how someone could be aware that they are a sex symbol. Unless, maybe, people are constantly telling you flattering things. I’m sure there was probably some sort of unconscious part of me back then that would have admitted to anyone that asked that I looked good, sure. But did I think of myself as a sex symbol? No. But I may have thought that at the time, even though I couldn’t show off everything I had.
HOWARD: Also, I’ll tell you: we don’t see too much of that at these shows. We have guys coming up to us at these shows and their age ranges from the young to the old. Mostly they are genuinely interested in her work as an actress. Like how you mentioned earlier about Dyanne being the best part of Point of Terror. People will come up and talk about that movie with her, not just the Ilsa movies. Dyanne gets a lot of fan mail, it’s overwhelming to me actually because she takes the time to answer all of it. It may take her a while, but she does get through it all..
JUSTIN: How did the Ilsa role come to you, Dyanne?
DYANNE: I had an agent at the time that sent me out for it. At the time, I was in need of another job. Things were pretty slow at that point, so I worked part-time as a chauffeur. When I showed up to audition for Ilsa I had my chauffeur’s suit on. It was strange, but it might’ve helped me get the part. The director of Ilsa, Don Edmonds was there. Some of the other actors, who were eventually cast in the film, were also there. I read for Don and afterward he asked me to wait around for a while. So after a few minutes of waiting, Don called me back in and we started to chat about the shooting schedule for the movie, and they said they’d be in touch with my agent. Two days later, I got the role.
When I finally got to read the entire script, I was appalled. It was just awful. But this was typical of the 1970s. Sometimes you’d just get an outline, make yourself available and then everything would get filled in later while you were shooting. So I was a little worried about that when I initially signed on for Ilsa, but a friend of mine at the time, who knew Don, told me that I need not worry, because I was in good hands.
JUSTIN: So when you read the original script for the film, were you comfortable with the fact that the film would have so much nudity in it?
DYANNE: There wasn’t any nudity in the original script. If I recall, there was only a love scene in it, but they told me that we would discuss it later, because I told them up front that I wouldn’t do any frontal nudity. But, what was funny was that the male actor that I was supposed to work with in that love scene had gone off and had a few drinks, and he’s gotten tipsy on the day that we were supposed to shoot it. I think his nerves got the better of him. Because he’d waited around for like 10 or 12 hours before we were even ready to shoot the scene. So when we were ready he was barely able to keep his eyes open. Don took away most of his lines, and you see way more of me there then you are supposed to.
JUSTIN: Did you do any research to prepare for the role?
DYANNE: I did. I read a lot of books. I had a friend, who is now no longer with us, who had been an English teacher at Oxford University. I called him up and he started telling me about all this stuff with the Nazis that I hadn’t been aware of. He gave me a list of books that he thought I should take a look at for research. Then I started reading about Ilsa Koch, and all the horrible stuff that she had done.
JUSTIN: So where do you think you pulled the German accent from inside of for the film?
DYANNE: Well as an actor I had already studied dialects. As an actress you work on those types of things, of course. I did try to hire a professional dialect coach for the role, but the movie wasn’t willing to pay for that, and I didn’t have the money for it myself. It was really expensive. So I just read a book on it, dug in deep, and hoped for the best.
I know there are moments across the Ilsa films where it’s simply awful. For example, when we did Ilsa: the Tigress of Siberia. At the start of shooting the producers had asked me to do a Russian accent, but halfway through, they decided that it should be German, and then a couple weeks later, they decided that the character should have no accent. So I stopped doing it all together in the movie. They had told me during filming that we’d re-shoot some of the scenes, but obviously, there was no money to do that by the end of shooting. So, the dialogue doesn’t match across the movie, and it makes it look like I screwed up, but it was exactly what the producers had asked me to do.
JUSTIN: If someone was to ever remake any of the Ilsa movies, who do you think you’d want to play your role today?
DYANNE: Oh, I don’t know. We have the human part in each of us that would say, ” I can’t imagine anyone playing that role but me. “ But years ago, I used to watch a show on USA Network, called La Femme Nikita. So, probably: Peta Wilson. Now, that show wasn’t really that great, but I thought she was great. And even though that was a few years ago, I can remember now back then thinking how she’d be perfect for Ilsa if there was ever a remake.
You know, over the years, I’ve been approached about a new Ilsa film a few times. Someone even once approached me about doing a new Ilsa movie that was centered around a daughter that she’d had along the way that the audience never knew about. I turned it down, because Ilsa would never have had a daughter. And that includes Wanda: The Wicked Warden (1977). So, I’ll say it now, on the record, that Jess Franco’s Wanda: The Wicked Warden is not part of the Ilsa trilogy. I know, sometimes, fans lump it in there with the Ilsa films, but Wanda was intended to be a stand alone film. It’s not connected to the Ilsa movies whatsoever.
JUSTIN: So something like an Ilsa 2000 is out of the question?
DYANNE: Not interested. What would the point be? What could you do? All of the previous Ilsa films were based on some sort of aspect of the true story.
JUSTIN: What about The Swinging Barmaids (1975)? That scene where your character is attacked has to be one of the most brutal attacks I’ve ever seen on film. Did you rehearse that, block it out?
DYANNE: No! We never rehearsed that. We did it in one take. You really can’t rehearse something like that. You have to throw out technique and preparation and just dig deep and use your instincts for a scene like that. You’re right. That scene was brutal. It was just as brutal for me as it would’ve been for that character. And we destroyed a television in the scene, if you remember. Luckily, both myself and my acting partner in the scene escaped without so much as a bruise or a scrap on either of us!
JUSTIN: Last question: Given all the life experiences you’ve had, all your interests, getting to work in film, being on the stage, on television, spending all the time you have marrying people — with all the wisdom life has given you, what is the secret to happiness?
DYANNE: That’s a bit much, isn’t it? If I knew that I’d have a magic wand. I think that’s probably why I did that movie The Erotic Adventures of Pinocchio (1971). If I still had that wand from that movie, I could hold it over everyone’s head and say, “It’s okay. It’s okay.” I really don’t know, Justin. I wish it did. If you pull something out of the wisdom box, it would probably say something about how you have to accept yourself, be yourself. Dare to dream. Stop judging yourself, embrace the things that you’ve done in life and be okay with the things that you’ve done in life as well.
One more thing…
I was in a movie called Pleasure Palace (1980). I got to work with Omar Sharif. He was such a gentleman. I was only there for one day of shooting. It was actually his birthday on the day that I was there. I was dressing in the girl’s room getting ready for my scene and I didn’t have a make-up artist. Being who he was, on his birthday he offered me his hairdresser and his private make-up person. My point: be kind to one another in life. These are the memories that we don’t forget in life and that was over 30-year ago. So, be kind to one another, but, I’m sure, you already know that.
Note: I was sad to hear to that Dyanne Thorne passed away in Jan. 2020. It was really a thrill to speak to her back in 2011. And even though she declined to talk with me about the movies she made in the early-1960s with Joe Sarno, she was a total professional. And after we did this interview Dyanne and Howard sent me a lovely travel notebook which they had embossed with my name in gold leaf on the front. And afterward, for two years I was on their Christmas card list. How many people can say they have a Christmas card from Ilsa? Dyanne Thorne was truly a cool lady.