She was born Sybille Johanna Danninger on May 4, 1952 in post war Weis, Austria. The daughter of an Austrian mother and a German soldier she had an American stepfather. As a teenager, she worked as a dental assistant and a beautician in Salzburg, then became a model. “I was very serious at a very young age. I had to drop out of school and had to help my mother support the family. When other kids were out having fun, I was really doing a grownup’s job. And I had a lot of responsibilities.” When she was 23 she played her first film role (as Lorelei) in the comedy Komm nur, mein liebstes Vögelein (1968). “I’d never even thought of being an actress before that moments, if you could call it acting. They sat me on a rock high above the Rhine River in October with nothing but a comb. I froze my fanny off!” By the late 50’s the post WWII West German film industry was turning out mostly B and exploitation features. There were westerns, comedies, juvenile delinquent, rock and roll, horror and spy movies, and a long series of popular Edgar Wallace mysteries. By the late 60’s, soft core sex comedies and pseudo documentary sex “report” films were very common. Danning stayed busy appearing in many of them, usually doing nude scenes, and she occasionally landed roles in international productions.
The Long Swift Sword of Siegfried (1971) was the most ambitious of the adults only movies Danning was in. A sex comedy remake of Fritz Lang’s 1924 classic DIE NIBELUNGEN, it was produced by American David F. Friedman and directed by Adrian Hoven who had produced several Jesse Franco movies. During production, CABARET was being shot on the next sound stage. She stars (and has nude and lesbian scenes) as the king’s sister Kriemhild. A hit in Germany, it was cut and dubbed for a successful U.S. release. In Das Mädchen mit der heißen Masche (1972) directed and written by Hans Billian, she played a maid working for a sex therapist. Bluebeard (1972) was a critically hated but sexy and daring for the time horror spoof starring Richard Burton, directed by Edward Dmytryk, and featuring a Morricone soundtrack. An Alexander Salkind production filmed in Hungary and other countries, it was released in America (with an R rating) by Cinerama and was heavily publicized. Like the previous year’s THE ABOMINABLE DR. PHIBES, the murder victims were killed in different outrageous ways, but this time they were all beautiful women from various countries. Nathalie Delon (aka Francine Canovas, the former wife of Alain) and Danning are “chandeliered” during a lesbian scene. The others were Agostina Belli, Joey Heatherton (the lone survivor), Verna Lisi, Karin Schubert, Marilu Tolo, and Raquel Welch as a nun.
Bluebeard was shot in Budapest and Hungary. We were at the studio there and it was really beautiful. Everything and, I remember coming into the, that was my first big studio movie. I came in and I said, “Oh my god, I’m in heaven. This is what I want. I’m going to Hollywood”, and it’s all because I came into this beautiful room. It was a huge makeup room with three makeup artists and an extra hair person. You have to understand, German movies are like you shoot on location because that’s cheaper than the studio. You do your makeup in a bathroom if you’re lucky, or if you’re on location you comb your hair in a mirror and do your own makeup with the mirror hanging from a tree. But here in Hungary, it was just beautiful. And I remember it so well. I remember my makeup girl was playing Neil Diamond, and I sat there and I said, I felt so good because I was pampered. I was taken care of. I was in a beautiful makeup room with lights and beautiful makeup and makeup artists and listening to Neil Diamond.
“I’m very happy about it because they said to me, ‘We’ve got it cast, but there is this one role, it’s not a very big role…’I believe that a role is never small, you can make a lot out of any role. ‘It’s the role of this prostitute and we have to make you look much older, like you’ve been through the mill.’ I said, ‘I really would like to do this. Make me up however you feel I should look.’ It was a sexy role, but it was an interesting role, and even then I had stepped out of doing the little virgin princess in SIEGFRIED, and I had stepped out of doing just somebody’s girlfriend. I was playing a woman who was in control. It appealed to me to play characters that are not wimps and are very good at what they are doing. To go in and to have to teach Nathalie Delon how to be seductive was already, for me, a challenging role. I went to the (American) premier, at The Pantages, and Army Archered was on the platform introducing everybody. Joey Heatherton was the only other woman from the movie who was there, Rona Barrett really gave my character the best review. She felt my character had the most personality.
“I was always in love with Richard Burton, I was a big fan of his. Before I even knew I was going to meet him, I had read the book on his life story. I was already on the set, and the photographer asked if I would like to meet Burton and I was very nervous about it. He was a total gentleman, he got up and he offered me his chair. At that moment he was called off to shoot. When he came back I looked into his beautiful eyes and we shook hands and someone said ‘Sybil is going to be one of the women that you are going to have to kill,’ and he smiled at that and all I could say, it was stupid and I don’t know why I said it, was, ‘Well we all have to die sometime.’ And he smiled and he walked away. I didn’t have any direct scenes with him, I had all my scenes with Nathalie. The day after I met him, his bodyguard came up to me and said, ‘Mr. Burton would like to invite you for a drink in his trailer.’ I said thank you but I was just too nervous. It was like meeting someone from your dream, and when it comes down to it – run! So I changed my clothes and was ready to go back to my hotel. His bodyguard all of a sudden was behind me. He took the cosmetics case out of my hand and said ‘Mr. Burton is waiting. Like in a trance, I found myself walking to the trailer. Nathalie was sitting in there having a drink with him and I sat next to Burton.
We started to talk and Nathalie decided to leave. The first thing he said to me was “You have cat’s eyes’ in his beautiful English, and I told him what a big fan I’d been and that I’d read his life story. He had to test me and he asked ‘Where was I born?’ And I said ‘Pontrhydfen, Wales.’ ‘He said you’re the only person that has pronounced that right’ and that warmed everything up and we sat and we talked and we had vodka and he recited Lorelie, because I had played that character in German, and we had a wonderful time talking. Then we got in the back seat of his Rolls Royce and drank vodka driving through Hungary and it was like a big dream and we talked. While we were driving and drinking the vodka, he had his arm around me and said, ‘Can you imagine, me the son of a poor coal miner’s son, sitting in the back of a Rolls Royce with a beautiful blonde?,’ and all of a sudden he said, ‘I want to spend the night with you.’ And for me it was like somebody had just said, ‘I’m going to take you to the guillotine! So I said to him, ‘NO,’ just like that, and he said ‘Why not?’ I had already known that he was chasing all the women and Liz (Taylor) had been on the set and she really had a tough time tracking him down, she didn’t know what room in what hotel he was in. And I told him, ‘You’ve already had enough trouble with Elizabeth. I don’t want to make any trouble or anything,’ and I was trying to get out of it. Then he says to me, I’ll only take five hours,’ whatever that meant. And so luckily, we got to the hotel, I grabbed my bag and I ran out, ran to the lobby, got to my room and locked myself in and sat down on the bed and broke down and said ‘What an idiot! You’ve wanted this man all of your life and now you had the chance and you turned it down!’ And I sat there and I analyzed things for myself. I had heard that he had tried and achieved getting into every woman’s bed who was on that picture and I just didn’t want to be one of them. I wanted him to myself! The day I left, I was on my way to Rome to do a picture there. I said, ‘I can’t go away without saying goodbye to Richard,’ so I went to his trailer. He was sitting in his trailer all alone, wearing his black clothes and with his black beard on. He said, ‘It’s going to be a great picture’ and he put his hand on my chest and said ‘Take good care of that.’ After that I saw him again. I was skiing at Christmastime at Gestadt (??), and he was there with Elizabeth and we sat at tables just across from each other, and I went over and said hello, our encounter was beautiful then, because it was like a friendship and I was glad that I just wasn’t one of those women that he just had because he was in the mood.”
The Italian The Red Queen Kills Seven Times (1972) about a cursed fashion company, stars Barbara Bouchet. It was picked up by Cannon who gave it the fraudulent title BLOOD FEAST and was shown on 42nd St. in the early 80’s. L’amante dell’Orsa Maggiore (1971), about the Russian/Polish border in 1921, starred Senta Berger. Danning was also in three more German sex movies released in 72. The comedy Naughty Nymphs (1972), directed by Franz Antel, has been on video and cable TV over the years under many various titles. Danning, starring as a virgin sister, swims and runs through Swiss woods naked. The School Girls (1970) was part of producer Wolf C. Hartwig’s pseudo documentary series, Sex Olympics (1972), directed by Rolf Thiele
For your first few movies directors seemed to concentrate on your looks and figure rather than your acting ability, was this frustrating?
Sybil Danning: Not at the time I just took it for granted and accepted those roles. Many of the movies of that time were very sexy and I fit into that mold. I’m sure if you ask Brigitte Bardot or other actors of that time if they minded and they would say no. It was the time! Certainly there were serious movies too, but I was always considered too beautiful and too sexy and did not get the chance to prove otherwise.
Eventually did being multi-lingual make you more appealing to directors?
Sybil Danning: Yes, definitely in Europe because financing a movie was usually necessary to be done between 2-3, sometimes 4 countries. It helped if you could speak Italian, French, or Spanish besides German. Though I remember shooting on a movie in Italy where the director told me I can say my lines in any language I want, so I did in German, the male lead in Italian, another in French and another in Spanish! That’s a challenge! The best way around that is you have to memorize not only your dialogue but everyone else’s too.
Actually I saw some of the very early German movies, one of them was French Pussycat (1972).
Sybil Danning: Well I love that one. I really love that one. That was a very German movie with a German director, Hans Billian – I don’t even know if he’s still alive today – with, I think a pretty known producer in our business, Elio Romano. I know he went onto do other things, and I saw him later. He always looked fondly back on that movie. And it was a lot of fun. Most of my fans don’t know that the early part of my career actually I did more comedies than anything else.
Right. The other German film I saw was a comedy as well. The English title for it was called Naughty Nymphs (1972). In both movies you’re playing the character who gets the guy to settle down. You’re not going to be some random conquest.
Sybil Danning: Yeah, exactly. I mean, I remember in French Pussycat, I make a bet with my girlfriend I can get this guy to marry me without going to bed with me, because he was sleeping with everybody else. That’s basically what the whole thing was. I think it was a good concept. It was a good story. And Michael Cromer – bless his soul, he’s no longer with us. He already died, died pretty young – he had on Rodeo Drive a store called MCM after his name, Michael C. Cromer. And what he did was he manufactured beautiful luggage like Luis Vuitton. So he was, he was a very well to do guy. That Porsche that we had in the movie was his Porsche. So we had a lot of nice production quality in there. And he just did it for the fun, and I did. And we got along very well. And I think our characters kind of had a pretty good synergy going. We had a lot of fun. You remember there was one scene in there where I slap him?
Sybil Danning: I mean in Germany you really do method acting for real, but he didn’t know I was really going to reach out and give him a real hard slap. He thought I’d go easier. But then again, that was my character. And he gave a very good reaction to that.
Yeah, you are constantly torturing Michael’s character and you’re calling all the shots.
Sybil Danning: And that’s really great, because you know what, I give so many interviews and I have to tell you I can’t remember when . . . or yes, years ago if you remember you probably know, it came out in cable here, Loves of the French, I think it was called French Pussycat or Loves of a French Pussycat. And I got very good reviews, excellent reviews. It came out on cable in the 80s at one time.
You moved to Hollywood in the late 1970s, leaving behind your early career. What was most frightening about taking on that move, and how did you eventually get over it?
Sybil Danning: I wasn’t scared at all, and if you see my movies, it proves that I’m not scared of much. I came to Hollywood in 1979, and was told there were 5000 actors out of work. That didn’t bother me, if I couldn’t get through the door, I’d climb through the window, and if I get thrown out again I’ll climb through the chimney. That’s what you have to do in this business, you have to have a belief in yourself, and perseverance. That’s the advice I’d give for any actor in Hollywood.
What do you think is the key difference between German, European and American cinema, since you’ve worked in all three?
Sybil Danning: Number one, budget. I hate the designation of ‘A’ and ‘B’ movies because there is no difference except for budget. When I started out in Hollywood, I did ‘B’ movies, and I’ve been called ‘Queen of the B’s.’ I don’t shy away from that, I’m very proud of it, because when you have less of a budget and you make a good movie you’ve done your job.
Although her part was small, Richard Lester’s all star hit The Three Musketeers (1973)was by far the biggest production Danning had been in. She plays Eugenie, in a cast that includes Charlton Heston, Faye Dunaway, Richard Chamberlain, Oliver Reed, Michael York, Raquel Welch (from BLUEBEARD) and Christopher Lee. “Lester was a wonderful character. I liked him very much and the time he told me ‘I hope we can work together again someday.’ I was one of the ladies in waiting to the queen which was Geraldine Chaplin. The funniest thing on that picture was, Geraldine Chaplin and I became very good friends and we had dinner one night and she told me a cute story, she said, ‘Believe it or not, coming from the family I do, I would love to do comedy. When I heard that this picture was going to be done with a sense of humor, wit more or less fun characters, I was so happy, but Richard Lester said, Everybody is going to be a fun char acter – except for the queen.’ I became very friendly with Christopher Lee’s wife Gitte. We spent many hours playing gin rummy at the hotel.” Note: The Danish Birgit Kroencke (aka Gitte) had also been a model.
In Albino (1976) the daughter (Danning) of a plantation owner is raped and murdered. Christopher Lee Co-stars and Horst Frank is the killer albino leader of a native uprising. The main release wasn’t until ’81. “It was a German/English co-production which we shot in Rhodesia. The initial title was WHISPERING DEATH, then they changed it to NIGHT OF THE ASKARI, and then from that title it went to ALBINO. It was a story of Rhodesian terrorism and I played a young farm girl, Trevor Howard played my father. James Faulkner plays the man that I was going to marry and I get killed. Chris plays the head of the police in that. We were in Rhodesia and again Gitte and I were playing gin rummy.” One of several French movies with Danning that remain unknown in America, Opération Lady Marlène (1975), is a black market comedy set in occupied Paris. God’s Gun (1976) was an Israeli/Italian western from Cannon starring Jack Palance, Lee Van Cleef (as twins!) and Leif Garrett. Claude Chabrol’s The Twist (1976) starred Bruce Dern and Ann Margret. Richard Fleischer’s all star Crossed Swords (1977) aka THE PRINCE AND THE PAUPER was produced by the Salkind brothers, hoping to duplicate the success of their MUSKETEER movies by recasting Heston, Reed and Welch. The Warner release starred Mark Lester as the twins, plus David Hemmings, George C. Scott and Rex Harrison. Danning had a better role (as Mother Canty) this time, but the film did not do well.
Operation Thunderbolt (1977) is considered the best of three competing movies about the Israeli commando raid against terrorists in Entebbe, Uganda. Cannon’s Menahem Golan directed. Danning co-stars as the German Red Army terrorist Halima with Klaus Kinski and famous Israeli military heroes as themselves.” It was all shot in Israel. I am not only proud because of the role that I portrayed, but most people don’t know I was actually producer on that movie because I got all the money for it. Menahem came to Munich and they were all ready. There were two TV movies about Entebbe. One was being shot with Liz Taylor, and another was being shot with Charles Bronson. Menahem comes and says, “Sybil, you’re going to play Halima,” and I said, “We’re so late. There’s like two other companies right now shooting.” And he’s said, “It doesn’t matter. I have the real story. I interviewed the survivors. You’re going to play the character. You have to wear dark glasses because they said she all the time wore dark glasses. She’s very sadistic, blah, blah, blah.” I said, “Okay.” He then asks who could play Wilfried Boese, my partner in crime literally. Immediately I said to him, “For me there’s only one guy, that’s Klaus Kinski.” He says, “You know Klaus?” I said, “Yeah.” And so he says, “Call him.”
So I called him up and, long story short, he didn’t even know anything about the raid in Entebbe and they say he doesn’t read newspapers and he doesn’t, and usually he doesn’t read the script until he has the role. His attitude was always, “Don’t send me the scripts, send me a check.” So, he got a little uppity with me on the phone. He went, “An Israeli director? Who is he?” He then wanted this big sum of money, and Menahem thinks he’s totally crazy. And I said, “You know what, you call me back tomorrow. You talk to your agent, but you got to call me tomorrow, because if you don’t want to play it I’ll get somebody else.”
Oh, he called me first thing in the morning. He talked to his agent. His agent cleared him up a little bit, and he wanted to play it. So then I went to the distributor to get the money. Again it was Cinerama, it was a distributor that I was very good with and they listened to me and decided to put up the money, but not with Klaus Kinski. I said, “He is so right for it,” but they didn’t want him, because Klaus was known to be terrible. He had been travelling, doing a play, and he would like stop in the middle of the play and spit out at the audience if somebody was talking or making a remark or anything, and he was really just terrible. And I put my hand in the fire and I said, “Look, I will be responsible for him, blah, blah, blah”. And they said, “Okay, you are,” and they made me responsible. So I went and I said, “They don’t want you, okay. The distributor doesn’t want you. You are a liability, so let me tell you something, I’m putting my hand in the fire, but if you don’t behave and I have a problem with you, not only will you not be paid, you’re only going to get paid when the movie is over anyhow. You don’t get paid anything until the movie is done, and if there is any problems, your ass is going to be sued.”
So he said, “No, no, no, it’s okay.” And I have to tell you something, he couldn’t have been kinder, nicer, more professional. He really was into it. He really was professional, and we were shooting sometimes 16, 18 hours. I mean there’s nobody in Israel to tell you when you have to stop as an actor, so we just shot. We wanted to get it done. And again, I was sicker than a dog, because in Entebbe, Benghazi, and Ben Gurion airports, all three airports from all those three countries we shot at the Ben Gurion airport, which is right on the Mediterranean, and it was December. It was freezing cold. The story took place in hot weather. So we, as you know, a lot of it took place in the plane, so they were spritzing us with water, and then in between shots we’d have to go out and go into this trailer that we had. And in between was this ice cold wind, and inside we were actually perspiring, because it was hot and the doors were closed. It was very confined on the plane and it was really hot, and we were sweating, and then going out in the ice cold wind. Oh, I was so sick. The doctor was there daily giving me penicillin and everything to keep me going. So I felt miserable and it kind of helped with the character, because I had pimples on my face because of my fever and just being really sick and wearing the clothes I wore, and flat shoes. So I was into that character and, as you know, we ended up being nominated for best foreign film from the Academy. And so I’m very, very proud of that. The LA Times gave us, Klaus and me, a great review, and they said exactly what you know I had just mentioned. They said both Klaus and my characters were not caricatures. And my role was challenging for me.
In the bizarre Cat in the Cage (1978), she has a nude scene while playing a sexy nurse who plots with a chauffeur to murder her rich old husband (Frank DeKova). She would return to more or less the same role several times. She was in two big all star disaster movies that were box office flops. She was in the longer TV version of The Concorde… Airport ’79 (1979), starring Alain Delon, from Universal, and was a skier in Switzerland in AIP’s Meteor (1979), with Sean Connery, Natalie Wood, Henry Fonda and Trevor Howard . She was in Chuck Workman’s Kill Castro/Cuba Crossing (1980) , shot in Florida. It starred Stuart Whitman with Robert Vaughn, Raymond St. Jacques, and Woody Strode.
The comedy How to Beat the High Cost of Living (1980), starring Susan St. James, Jane Curtin and Jessica Lang, was one of the first releases from the new company. Battle Beyond the Stars (1980) from Roger Corman’s New World was a hit thanks to a John Sayles script, art direction by James Cameron, and a fun all star cast featuring Danning as the sexy space warrior St. Exmin. Richard Thomas was top billed with George Peppard, Robert Vaughn, and John Saxon. “I was playing a fantasy character, a Valkyrie warrior. I’m very independent in my own life. I think you develop and you mature and the more independent you are, the more that comes out in your character. When you play a character, no matter how strong the character, you put your own personality into it and it develops into a very strong character. I think it only comes across believably, if it’s part of you. She was a very sexy character. The costume I had was a little like BARBARELLA. I think she was a funny character, there was humor in that role. She had proven to the other six guys, who didn’t want to take her along, that she was going to do what she had set out to do, despite the fact that they didn’t want her along, and she ended up being the heroine.
Her next five features were all German productions. Nightkill (1980), directed by Ted Post and shot in Arizona was her lone ’81 release. It starred Mike Connors and Jaclyn Smith with guest star Robert Mitchum. Danning posed for a 5 pg. layout in the Dec. ’81 Oui, and was on the cover in a Santa costume.
Two 1980 releases were both Italian and starred Franco Nero: Day of the Cobra (1980), and The Salamander (1981), an all star ITC production. The cast included Anthony Quinn, Martin Balsam, Paul L. Smith, and Christopher Lee. “The third time we met and did a film together was THE SALAMANDER, which was based on a best seller by Morris West. I played the lead role of Lily Anders, a Polish secret service agent assigned by the Communists in Italy. Gitte played Christopher’s wife. That was in Rome.” The Man with Bogart’s Face (1980) also featured Franco Nero. She was also in Howard (Hikmet) Avedis’ Separate Ways (1981), starring Karen Black, Tony Lobionco and David Naughton, from Crown Int.
Cannon Studios added new Danning footage to an obscure old Robert De Niro movie (Sam’s Song (1969)) and called it The Swap (1979). During the eighties many Danning movies (including some of the early German nudies) were released on video for the first time and some seemed to always be on cable TV. Charles Band hired her to host the Wizard Video compilation Famous T & A (1982). During ’82, there were cover features in Prevue (June) and High Society (Oct.)
S.A.S. à San Salvador (1983) starred Miles O’Keeffe as a super agent in an Austrian castle, Danning as a Countess and Anton Diffring. In Julie Darling (1983), directed by Paul Nicholas (Lutz Schaarwaechter), a 14 year girl old plots to kill her new stepmother (Danning). Chained Heat (1983), also by Schaarwaechter, was an all star women in prison hit. Linda Blair stars with John Vernon, Stella Stevens, and Henry Silva. Blonde inmate Ericka (Danning) battles the black Dutchess (Tamara Dobson). “The role of Ericka in CHAINED HEAT was very down to earth. My fans loved that picture. I play a very strong tough character. It’s very much of me and very much of my own strength and dedication that I have towards life. Fans have come up to me and said, ‘I thought you were six foot five!’, because my characters are usually bigger than life, and the costumes and photography does the rest.
The Seven Magnificent Gladiators (1983) was a PG rated Cannon movie starring Lou Ferrigno and Danning filmed at the same time as the HERCULES movie. The director was Bruno Mattei. That was where the tension between them started to build. Hercules (1983) from Cannon, was a major mess of a film directed by Luigi Cozzi. Sybil Danning knew that things were not going to be great between her and Lou Ferrigno. This was on the set of ‘Hercules,’ in Rome, where Sybil was co-starring. The tension had been building. Ferrigno had already insisted that Sybil give up the role of Circe, the good sorceress, and play Adriana, the evil Greek princess. Now he wanted her to wear a cloak.
“None of the other gladiators wore cloaks,” Danning said. “I was the only female gladiator. Why did I have to wear a cloak? It wasn’t fair. Also, all the gladiators rode in together on horseback, except me. Lou wanted me to ride at least five feet behind him.”
“There was another thing,” Danning said. “Ferrigno insisted that the movie be rated PG. It started out as ‘Conan Meets Body Heat’ and ended up as ‘Superman Meets the Hulk.’ There could be nothing R-rated in the film. He didn’t want to disappoint all the little kids who loved him as the Incredible Hulk.”
“In The Seven Magnificent Gladiators, “says Danning, “I did all my own stunts. I rode. I ran. I fought. I dove. I nearly caught pneumonia during the cold nights. I was exhausted at the end of every day. Hercules is more of a science-fiction film, I had to work with special effects. “In eight out of 10 movies I make, I wind up dying. I don’t know why. In Hercules, for the first time in my career, I’m killed through special effects. I think I prefer knives.”
“I took the role in Hercules primarily because Arianna is the only woman in the history of Hercules movies who just wants to toy with and kill Hercules,” Danning explains, “Think about it. All the other female villains in these films turn against him because he spurns their advances, won’t share their throne, or some other nonsense. Arianna doesn’t want to marry Hercules. She just wants to kill him.”
As it turned out, Danning’s on-screen role took on extra meaning off-screen during the lensing of both The Seven Magnificent Gladiators and Hercules (both featuring incredible Lou). She and co-star Ferrigno squared off in a feud which, eventually, led to neither one speaking to the other.
“Let’s just say that Mr. Ferrigno has problems with his ego,” Danning comments, offering her opinions on the subject. “He feels threatened by a strong female. In The Seven Magnificent Gladiators, my original role was re-written to be too passive. I asked to be one of the gladiators and the producers agreed. Mr. Ferrigno, however, was not at all pleased at my sharing the spotlight with him, and so, many of my battle scenes were written out of the movie. In fact, there is only one scene in the entire film where I’m shown fighting alongside him.”
Summing up her off-screen rigors, Danning smiles sweetly. “I believe that Mr. Ferrigno, like many men, is insecure around a woman who can handle herself physically. He can’t even ride a horse properly.”
Danning, who keeps herself in top shape by working out in health clubs several times a week, handled any and every stunt curve thrown her way on Hercules. But, as she says, “Hercules was easy compared to Gladiators. There was much more emphasis put on FX work.
“In their own way, FX scenes are just as rigorous as action scenes. My death was strange. I try to kill Hercules twice: once with a dagger and then with a lance. I wind up being skewered. When the blade went through me, there was no problem. That was easy to do. You just die.
“But, when I was on the ground dying? That’s when the work really began. I fall to the ground and start to deteriorate. Before the scene, a life mask of my face was made. So, in the finished shot, first, you see my face with makeup applications. Then, we switch to the life mask.
“Between takes, a little bit of the mask was chipped off, bit by bit, to give it a crumbling look. The whole scene was weird for me because I had to just lie on the floor and be layered with makeup. I wound up praying it would end quickly. They kept on applying more and more makeup. After a few minutes, it hardened, like concrete. The makeup felt fine when it was wet but, once it hardened, it was very claustrophobic. Since most of the scene is shot from fairly closeup, I had makeup applied everywhere. They had to cover every part of my nostrils, around my eyes and all over my lips. Eventually, not one part of my real flesh showed. It was like being cemented alive.”
Horrors of “Hercules” Since director Cozzi loves working with optical effects, there is an emphasis on visual pizzazz in Hercules.”It’s not hard for me to act with things which aren’t actually present on the set during filming,” Danning announces. “Many times you have to act with actors who really aren’t there.”
Realizing that her editorializing is growing a tad transparent, she amends her statement, clarifying her thoughts. “Really. In film, you find that you must often work alone with a camera. You find yourself in situations where actors don’t function.”
Aside from her makeup woes, Danning had only one other hurdle to clear: costuming. The movie’s costume designer had no problem creating outfits to opulently encase Danning’s ample figure. The problem was finding a way to do it-comfortably.
“I had one costume which was positively unbearable to wear,” Danning laughs. “It was all made of leather with the top half fitting like a corset. It was beautiful, but cty anyone to feel comfortable in it. It was hot as the devil and the top part made me feel like I was wearing an Iron Maiden.”
“I think the costumes deserved more credit than some people gave them,” she said. “One review said they looked like Frederick’s of Hollywood. I had one leather costume that was a cross between Late Greek and Early Egyptian. Very authentic. Some things you do for the roles, some things you do for the money.”
Jungle Warriors (1984) was a good drug war exploitation movie shot in Mexico. The Aquarius Release, by Ernst Von Theumer, featured Danning as the sadistic Angel, plus John Vernon, Woody Strode and Paul L. Smith, all actors she had worked with before.
One of my favorite movies you appeared in was Jungle Warriors, about a crew of ‘models’ who get stranded in the South American rainforest at the mercy of drug dealers. You were the kingpin’s right hand woman.
Sybil Danning: I enjoyed Jungle Warriors very much. We shot that in Mexico, not far from Mexico City, in a little hacienda called Tequesquitengo. Paul Smith and I were in another movie together called The Salamander with Franco Nero, where we played brother and sister.
He’s terrific in this movie, the way he keeps sniffing the rose.
Sybil Danning: Paul is great. I enjoyed the role in Jungle Warriors. I had beautiful costumes and dresses. It wasn’t a very large role but I enjoyed playing it. I had a lot of fun.
It was a lot of fun to watch when you had the models tied up, toying with them.
Sybil Danning: Oh yes. Torturing the girls. That was also quite a successful scene for Ava Cadell. She actually came to me at lunchtime and said, ‘Sybil, you can do anything you want to do. You won’t hurt me. Anything you want to do is okay.’ She was very sweet.
And of course we had John Vernon.
Sybil Danning: Oh, yes, John was in Chained Heat also. What a great actor. I think I was the only one that didn’t get sick on that movie because everyone got very, very ill. Montezuma’s revenge! Only myself and the director, Ernst von Theumer—he was also Austrian—did not, and I guess it was something about our stomachs that we were used to the food! I ate everything, but I also had tequila, so it probably killed all of the germs!
I don’t know if you knew this, but we were supposed to have Dennis Hopper in that movie. He came down (to Mexico) and we sat together the night before he was to shoot. I wasn’t shooting the next day, and we sat up drinking beer and tequila. At three in the morning I said, ‘I am going to bed.’ And I left him. He was still up. And the next morning, everyone was in an uproar—especially the director—because (Dennis) continued to drink and got so drunk. He took his clothes off and walked outside of the hacienda onto this normal, Mexican street, which was just a dirt road! Evidently the police found him in a ditch, naked, and took him to jail. It took a day to get him out so that entire day was shot. They sent him back to Los Angeles. He lost that role. But on a good note, that helped him sober up. I think he was sued also because of the outfall of his role; they had to get someone else. And after that, he cleaned up his act.
I really feel that you make your own fate happen. I don’t believe a career is totally up to somebody else. I feel you make your own fate happen. You find a direction, like Clint Eastwood has found his direction. He has directed his fate in the way he wanted to.” Danning took her own advice and co-produced and starred in the French/Belgian Panther Squad (1984). As the mercenary Ilona she leads a band of female commandos (including Karin Schubert). They’re Playing with Fire (1984) from Crown Int. was her second film by Hikmet Avedis. She’s a professor who seduces a teen and plots to have her husband killed. She takes a shower and has a major sex scene on a boat.
Quite an impression in the opening scene of They’re Playing with Fire, where you are sunbathing on a yacht to this great 80s song—the kind of original song they wrote for movies at that time—and then you go from a swimsuit to a business suit. But you’ve always been very comfortable with showing your body onscreen.
Sybil Danning: Yeah. And I think that is probably because I started my career in Europe, and in Europe doing scenes with less or no clothing, or just being topless, is a natural thing. You can go to every swimming pool in a normal city and women will be sunbathing topless. And no one thinks anything of a woman with beautiful breasts bared, sunbathing. So you are raised with a different way of looking at your body, or the human body. And the nudity of the body is nothing. I did nude scenes in movies in Europe. So if you can feel comfortable without clothing then in front of the camera it is not so difficult.
Eric Brown looks awkward. Many people have commented on the first scene with you and him on the boat. You notice he’s carrying, he’s trying to carry on a conversation with you while you two are having sex in that scene. That’s really weird. In other words, the viewer can tell he’s uncomfortable.
Sybil Danning: I don’t know why, maybe he was just in a very bad state of mind at that time in his life or something. But Mr. Brown, young little Mr. Brown hated doing the sexy scenes. He didn’t want to do them. He felt totally uncomfortable doing them. He did not like doing them, and I think maybe because he was so against doing it that it came across as him being shy maybe. It worked.
But I also I think some of the awkwardness does work in that case, because you’re about to get him into some dangerous territory.
Sybil Danning: Yeah. Yeah, well it, I mean whatever came across, he comes across okay, but I just, you know I just have to say that the good thing is that I was into the role because I think maybe not every actress could have felt good about doing that. Because when you have a partner that is totally not into it, that’s terrible.
Howling II: Your Sister Is a Werewolf (1985) was directed by Philippe Mora. Danning starred as Stirba with Christopher Lee, and the cast includes Marsha Hunt and Ferdy Mayne. “I heard that Hemdale was doing THE HOWLING II. I had seen THE HOWLING and I really liked it, so I called (producer) John Baily and said ‘I’m interested, is there anything you think I’d be right for?’ Eventually he said “There’s a role of the queen of the werewolves.’ I came into the office and Philippe looked at me and he said, ‘I think you’d be perfect, so read the script and tell me what you think.’ I read it and loved the role and said that I want to do it. I’ve been in suspense horror thrillers but this is really the first horror picture. I loved the idea of it. Philippe said, ‘You take your role very serious, no matter how ridiculous.’ If I accept a role, I take it seriously, but I have fun with it.
Filmed on location in Czechoslovakia, The Howling II was one of Danning’s happiest filmmaking experiences. “I’ve Iived and worked in Europe often,” the star, whose mother is Austrian, explains, “but Czechoslovakia was one of the few countries I hadn’t been to. I speak German, and you can get by pretty well with it there, so I had no trouble communicating with the people. Prague is one of the most beautiful cities in the world and we shot the film in an actual castle that was a two hour drive up winding mountain roads outside the city.
“I loved working there, there’s so much more atmosphere in a real location like that than on a constructed set. The authentic atmosphere made getting into the role much more exciting.”
As a major part of getting into her role, Danning got into a number of eye popping costumes, most of which she helped design. “My costumes were done by an Australian, Peter Mitchell,” Danning explains, “and I think he must have a little of that Road Warrior blood In him.” Sybil’s second costume, a kind of action/combat suit that she dons after her transformation from the old hag, looks Indeed like something out of Mad Max, or perhaps more accurately, Mad Max meets The Seven Samural.
“The first costume, which has kind of a Sybil-Danning-as-Tina Turner look, was more or less my total idea. Peter’s original design was a little too elegant for my taste, too much into the Greek kind of look, over one shoulder. Even though Stirba is a queen, she is still Queen of the Werewolves, and therefore I wanted her clothes at all times to have not only a majestic but an animalistic look to them. That’s why I wanted her first appearance to be in this torn, simple suede dress. There is no Jewelry, It’s pure, just the body and these skins.
“The second costume, the warrior suit, was something I had been looking in the direction of, but I didn’t know exactly how to articulate. When Peter showed me his drawings, I knew he’d done it. He really came up with something spectacular.”
Spectacular, yes. But comfortable to wear? “I remember back during Battle Beyond the Stars my costumes were not pleasant, especially the one that had metal breast-pieces shaped like fingers. It was made out of a Styrofoam like material, part of it went around my hips, and I wasn’t allowed to sit down because it broke very easily.
“But that wasn’t as unpleasant as my Howling warrior outfit. It was made out of leather, on top of which were long plates of brass that were tacked on with little nails. The ends of the nails poked thru the leather, and they were sharp!”
Danning’s third major costume, a striking, caped affair that evokes memories of both Dracula and Darth Vader, was worn during her climactic confrontation with Christopher Lee. Happily, wearing it was less painful than donning the warrior suit. But even that Australian aberration was a picnic compared to what Sybll’s sensitive skin suffered the night she turned into the film’s flaxen fur bearer!
“I spent 8 hours standing up,” Danning recalls, “while they glued hair, starting at my feet, over every inch of my body, at the rate of 10 to 20 hairs at a time. It wasn’t a costume you could Just get into, in fact it wasn’t a costume at all. And they (they being makeup artists Steve Johnson, who recently supplied a number of the spooks for Ghostbusters, Jack Bricker and Scott Wheeler) weren’t gluing it to a body stocking, elther. That was my skin!”
The makeup crew had no complaints about the job. But for Sybil It was a slightly different matter. “I’m telling you, going from the legs up, that glue becomes like a coating of film on your skin. It’s like having a cellophane bag tied tightly around you. They used little brushes to stroke the glue on, and then applied each strand of hair. It felt ok while I was standing up but the moment I tried sitting after 8 hours of this, I could see my skin underneath turning dark red. The glue dries very quickly. Because of the tension It creates, I felt like my skin was tearing.
“This was very painful. It wasn’t until 5 or 6 hours after it had been applied that I could move my limbs properly, my body just felt so stiff. The moment when I got all of that hair off-and the removal process took about an hour-felt great. This too was a painful procedure: the oil and tonic mixtures they used to take it off were quite harsh and I have very sensitive skin. I had bits and pieces of hair stuck to me for a few days afterward.”
In Danning’s transformation sequence all but Sybil’s face goes furry. Appliances were added to her forehead and eyebrows, bringing them forward onto her nose, and of course her teeth were extended.
“I was happy when they told me Christopher Lee was my co-star. I called Gitte right away and said “Get out the cards, we’re off to Czechoslovakia this time! I’ve always admired Christopher as a human being and as an actor very much. The fact that he was my counterpart in the film I thought was very interesting. I have my fans and he had his. Our fans combined can go and see us in these two diverse roles. Christopher says that if there’s not something strange or special about a character, he’s really not interested in playing him.
Anybody can play just everyday boring characters. I think that’s the whole idea, because having been independent for so long, in a way now, playing these fantasy characters, it’s like my second childhood. Getting into a costume and playing a fantasy character is fun for me, dressing up and flying a spaceship, there is something very real and honest about that and it comes across to my fans. It’s honest fun, take it serious and have fun with it.
The werewolf queen herself, Stirba, a blend of bloodthirsty animal and sensual woman in scenes that are rather erotic. What kind of preparation did that require?
Sybil Danning: With any role I play, I take it very seriously. If I decide to do a movie, I always do my best and go all out. With Howling II, I didn’t read up on werewolves or anything like that, but I put myself into it wholeheartedly in attitude and body. The more believably I can bring my characters across, the more my fans love them.
I really like Philippe’s shots of all those statues in Romania.
Sybil Danning: So when he got there and he saw that, and this was shot at, this was all behind the Iron Curtain in the Czech Republic, and Czechoslovakia, in the country somewhere almost on the border of Austria. When he got there he just loved the atmosphere and the lighting became different. And then of course the most beautiful thing for any actors or director is to actually shoot in a castle when you’re in a castle, you know when it calls for a castle. And it was a real old castle that he was just wonderful in dressing with certain atmosphere, and lighting, and everything.
Yeah, well actually he goes into comedy as well, because there’s a little comic element in Howling II.
Sybil Danning: Especially at the end.
How did you feel about the movie’s closing montage?
Sybil Danning: That happened simply because the movie ended up too short, and the distributor needed more. I guess the best scene they could find was the ripping open of my dress, which somehow seemed to work perfectly with just a few other shots they found worthy of repeating, while cutting mine in between those. Of course, knowing nothing of this, I was invited to a screening for worldwide buyers, and after watching that, I promptly left. The next day, I went straight to the producer’s office and asked them to cut the ripping-dress bits. He reduced the number of times that shot appeared, but he wouldn’t take them out completely The producer, John Daly, thought they looked great, the buyers loved it, fans love it, so how can I argue with that? The film was an awesome experience.
Speaking of one other franchise besides The Howling, I understand that you were the original Octopussy for the James Bond movie.
Sybil Danning: Well, I went to see [producer of the Bond series] Albert Broccoli and when I got back my agent said no, that Broccoli felt that I was too strong and it was, he felt that my character, my personality was too strong to be in there with Roger Moore. And later on I met Roger Moore; we got along very well. So I think that was baloney.
Her appearance in a European import called Private Passions (1985) was typical for the actress, who basically had the job of giving the young male main character his first sexual experience. She plays another countess in Malibu Express (1985), Andy Sidaris’ remake of his own Stacey (1973). It features naked Playboy Playmates and porn stars plus Regis Philbin and his wife Joy. Young Lady Chatterley II (1985) was from Corman’s Concorde and featured Adam West. Publicity showed up in the April Prevue.
She was Queen Lara in John Landis’ plotless but hilarious Amazon Women on the Moon (1987) John Landis and Robert Weiss, who was actually my director, called me in to Universal for Amazon Women on the Moon. I went in with my manager and I was just called in. They didn’t say for what role. They just said that Robert Weiss would like to see me for a role in that movie, and it was described to us it’s like a Kentucky Fried Movie and I didn’t have a role. I mean I didn’t have script or anything. So we just went in for the meeting and we come in and my manager says, “Okay, Sybil Danning’s here to see Robert Weiss”, and we’re sitting down. And my manager, great as he was – he could read upside down. He was walking back and forth and he was interested what was on that secretary’s desk. And what he read was, there were pages there for another shoot in the movie and it said Queen of the Amazons.
And he had already asked when we came in, he said, “What is Ms. Danning going to be reading for?” And she said, “It’s the role of the President’s, the role of the President’s wife.” So when he saw what he read on the desk he said, “Could we have those pages for Sybil to read?” She said, “Well, I’d have to ask, or you’d have to ask Mr. Weiss when she goes in, because we’re not shooting this yet. We’re shooting this sequence with the President.” So okay, I’m called in and I go in alone of course without my manager, and I sit down and I, and he said, so, and I, I really was already into that role, and I sat down and he said, “Oh it’s so nice to meet you Sybil.” And I said, “And I’m your Queen of the Amazon.” And he laughed. He says, “You know what, we’re going to do that.” I said, “I know, and you’re doing it next, and I want to be your queen.” He says, “You know what, you would make a great queen. Yes. You’re queen. You’re the Queen, Queen Lara.” So that’s how that happened.
Reform School Girls bill you high in the credits and feature you on the cover and yet you are not in that very long.
Sybil Danning: My manager had offered me for that role. He knew of it, and they actually said, “Well you know we don’t have enough money to pay Sybil for that role.” So my manager actually told them, “Why don’t you go to New World and tell them that Sybil would be interested, could be interested if the money is right for the role of the warden?” It was written the way it was written. And so luckily the producers came back and called my manager and said “Oh, they’d love to have her in there,” and so I got the role.
I loved the whole thing of you reading from the Bible to the inmates.
Sybil Danning: Well, as we’re in there, I said to my manager how cool would it be if Wendy O. Williams and I had a real cat fight, because I mean we are these contrary characters and it would really pay off. And I also thought if the director would want, he could even have her kill me off. I mean that’s okay, because it’s kind of like in Chained Heat, you have to go against the authority. So if they kill me that’s okay, but I think it would be really cool and the fans would love that. And the director, Tom DeSimone said, “Okay, I’m going to go ask, and came back and said, ‘No, Wendy doesn’t want to do it, and she wants to do what she contracted for. That wasn’t in her contract.’” Whatever, she didn’t want to do it, and I think she was silly and stupid not to do it. But she didn’t want to do it, so we didn’t do it. And I wouldn’t have asked for more money or anything. I would have just liked to have some kind of a payoff between her and me and have it in a great cat fight. We actually worked out together in the same gym and I saw her there after we shot and I would say, “Oh hi Wendy,” and she was, “Oh, hey yo!” That was the extent of it, and she was gone.
Why do you think that they casted her? I mean she certainly still had the physical fit to play a juvenile delinquent, but just looking at the face you can tell it’s not 17 or 18.
Sybil Danning: I think DeSimone just liked her for who she was. She was a character, and it worked.
What are your thoughts on the genre?
Sybil Danning: Well, I have male and female fans, and women-in-prison movies appeal to men and women, which makes them successful. When a genre is successful, why not do it? It’s fun to do. After Chained Heat and Reform School Girls I turned down so many rip-offs. Chained Heat is considered the best one ever.
In Chuck Vincent’s Warrior Queen (1987), produced by Harry Alan Towers, she was Bernice, mistress of Emperor Claudius (Donald Pleasence). She was in the April Prevue, and there was a feature in the Feb. World Playboy. She was the bible quoting warden Sutter in Tom DeSimone’s Reform School Girls (1986), from New World, but despite the late Wendy O’ Williams, it was no CHAINED HEAT and was her last theatrical release. She was then in two Fred Olen Ray movies. The Phantom Empire (1988), was hilarious to make. I’d worked with Fred Ray before on The Tomb (1986). We he and his actress wife, Dawn Wildsmith, and I are like one big family, so we had a ball making that movie. It’s so great working with Fred, too, because he’s very open to suggestions and good for improvisations. Any idea you have is fine with him.”
“At first, I was battling a dragon in the film with a sword,” she said. “Then we thought, ‘No, we’ve got something better; we’ve got this huge, beautiful dinosaur.’ So, now I’m throwing a spear at this dinosaur and, of course, the dinosaur is not there-it comes later. We had to figure out exactly where the spear should go because you actually see it going into the dinosaur. Then, when we came to that point, we said, ‘Oh, wait a minute! There are no spears, because I’d been running around with this sword. So, as I know it’s time to battle it, I look down and just happen to see this spear there…” PHANTOM EMPIRE is a tongue-in-cheek “sideways salute” to the old space/adventure serials.
“Every character in that movie is from another time. It’s like a time warp,” elaborated the actress. “Everybody’s from somewhere else, but it all works very well. My girls in the film, for instance, are like cave bunnies with their little loincloths. I have this metallic spaceship and Robby the Robot is in there, too, and he’s mine.
All the good guys are mine, even though I’m the bad guy.” Most of the action takes place in the caves at the equally famous Bronson Canyons, which doubled for the center of the Earth. “We shot it at a time when it was cool. It was pleasant when the lights were on, but a little chilly when we were sitting around waiting to shoot. I’ve been on much, much worse sets,” she smiled.
“There was one thing we changed-I was going to torture Jeffrey Combs, who I take as my favorite prisoner because he’s kind of cute. But, Jeffrey suggested we do it a little less offensively since the whole film had already taken on this light, airy, fun kind of atmosphere. So we found a cute solution for what I do with him, a lot of which is left up to the imagination so that everyone can have their own fantasy about what happens to him. And Fred said, ‘Fine.’ It was such great teamwork–that’s what it’s all about.”
Around the same time, she was the hostess of Sybil Danning’s Adventure Video. The dozen titles included THE FOUR MUSKETEERS, some Brit TV show episodes (SPACE 1999, THE SAINT), Andy Sidaris’s SEVEN, and some pretty obscure exploitation movies.
I did a Sybil Danning’s Adventure Video where I did wraparounds for movies that were unsellable and I did the wraparounds and they were sellable, and then the producers got back complaints that, “Oh, Sybil’s all over the box and she in there two minutes in the front and two minutes in the end,” and they complained. What they do is they give me a role that I like and they pay me money I have to have for using my name to sell the movie. But they don’t, they don’t extend it because the longer you shoot the more money you get paid. So that’s the way it works and it’s unfortunate, but in those days that’s what they did. They put a great role in there and they say, “Okay Sybil, come in, we can, this is, we can give you that money and we’ll shoot you off in two days” And they shoot me off and then they put my name everywhere to sell it.
She decided to co-produce and star in another action movie, this time in America. In L.A. Bounty (1989) she was the tough ex cop Ruger, battling a psychotic Wings Hauser. More importantly, she took no clothes off, either, meaning she had ascended from playing the love interest. “Well, I’ve got news for you,” Danning laughed. “There were a lot of guys who thought I was the love interest and the femme fatale, but they all are from the South. They love their guns. When I’m holding that gun, it’s very sexy-especially a 12-gauge shotgun.”
Danning said that not a single fan letter, received on behalf of L.A. BOUNTY begrudged her abandoning her usual sexy scenes. “Nobody ever said, ‘Aw, shucks. I never saw cleavage.’ or ‘I never saw you naked in that movie.’ Not one letter,” she said. “What people liked about it was the silent character and how she imitated the Eastwood heroes. She [her character was so down to earth with her leather jacket and boots. She even wore turtlenecks. Of course, the money people wanted me to put on something sexy, like black lace. They said I wasn’t being sexy. I told them, ‘That’s the character.”
Komm nur, mein liebstes Vögelein (1968) – Lorelei
Liebesmarkt in Dänemark (1971) – Diane
Siegfried und das sagenhafte Liebesleben der Nibelungen (The Long Swift Sword of Siegfried) (1971) – Kriemhild
Hausfrauen-Report (1971) – Edith Heimann
Ehemänner-Report (1971) – Sybille
Paragraph 218 – Wir haben abgetrieben, Herr Staatsanwalt (1971) – Judge’s Wife
Urlaubsreport – Worüber Reiseleiter nicht sprechen dürfen (1971) – Ina, die Anhalterin
Das ehrliche Interview (The Honest Interview) (1971)
Lover of the Great Bear (1971)
Das Mädchen mit der heißen Masche (Loves of a French Pussycat) (1972) – Andrea (uncredited)
Eye in the Labyrinth (1972) – Toni
Gelobt sei, was hart macht (1972) – Phyllilia
The Red Queen Kills Seven Times (1972) – Lulu Palm
Bluebeard (1972) – The Prostitute
Die liebestollen Apothekerstöchter (Naughty Nymphs) (1972) – Elizabeth
Little Funny Guy (1973) – Pamela
The Three Musketeers (1973) – Eugenie
Run, Run, Joe! (1974) – Betty Parkintosh
The Four Musketeers (1974) – Eugenie
That Most Important Thing: Love (1975) – (scenes deleted)
Les Noces de porcelaine (1975) – Héléna
Opération Lady Marlène (1975) – Georgetta
The Secret Carrier (1975) – Tanja
God’s Gun (1976) – Jenny
Whispering Death (1976) – Sally
The Twist (1976) – La secrétaire / Secretary
Operation Thunderbolt (1977) – Halima
Crossed Swords (1977) – Mother Canty
Cat in the Cage (1978) – Erica Moore (new scenes)
The Concorde … Airport ’79 (1979) – Amy
Meteor (1979) – Girl Skier
Cuba Crossing (1980) – Veronica
The Man with Bogart’s Face (1980) – Cynthia
How to Beat the High Cost of Living (1980) – Charlotte
Battle Beyond the Stars (1980) – St. Exmin
Day of the Cobra (1980) – Brenda
Nightkill (1980) – Monika Childs
The Salamander (1981) – Lili Anders
Separate Ways (1981) – Mary
The Seven Magnificent Gladiators (1983) – Julia
S.A.S. à San Salvador (1983) – Countess Alexandra Vogel
Julie Darling (1983) – Susan
Chained Heat (1983) – Ericka
Hercules (1983) – Adriana
They’re Playing with Fire (1984) – Diane Stevens
Jungle Warriors (1984) – Angel
Panther Squad (1984) – Ilona / The Panther
Malibu Express (1985) – Contessa Luciana
Howling II: Your Sister Is a Werewolf (1985) – Stirba
Young Lady Chatterley II (1985) – Judith Grimmer
Private Passions (1985) – Kathrine
The Tomb (1986) – Jade
Reform School Girls (1986) – Warden Sutter
Warrior Queen (1987) – Berenice
Talking Walls (1987) – Bathing Beauty
Amazon Women on the Moon (1987) – Queen Lara (segment “Amazon Women on the Moon”)
The Phantom Empire (1988) – The Alien Queen
L.A. Bounty (1989) – Ruger
The Late Show#05
Femme Fatales v01n02