Note:  We’ve just been advised to expect a cool announcement about Wilson Chance and its follow-up, Simon Chance, in the near future!  Come back for bulletins or check out the news at The Spy Report blog.

If you haven’t heard the word, Wilson Chance will be a new feature film spy comedy, an independent production from film makers Jeffrey and George Bunzendahl!

What is Wilson Chance about? According to the official website:

When a government facility in Montreal is blown sky high, the Canadian Secret Service (C.S.S) is called in to find the saboteurs. The trail of suspicion leads back to a wealthy Gen-X hotel mogul named Emiliano Goldini.

Enter Wilson Chance, rookie secret agent for the Canadian Government. He's thickheaded, a tad egotistical, and not exactly the greatest spy. Lucky for him the Chief of the C.S.S. is his uncle, who feels obligated to keep his nephew as an employee. Wilson's job has been a free ride until now. Either he proves his worth as an agent, or it's back to his old job in the mail room!

With the assistance of Agent Kitty Devonshire, Wilson is sent to America to do surveillance on the villainous Goldini. Leave it to Chance to make an absolute mess of things! It's not long before every hitman, assassin, and mercenary want to permanently `retire' him. Now he'll have to rely on pure luck just to stay alive! From Canada to America and Mexico to Germany; it's a globe hopping, espionage comedy adventure in the tradition of the greatest 60's spy films!

If that description whets your appetite, below is an insider's view into the origins, development, and future plans for Wilson Chance – not to mention a sequel already in the works. In this file, we offer in-depth interviews with creators Jeffrey and George Bunzendahl, Executive Producer Robert von Dassanowsky, actor Joshua Crabtree, and insights from music composer Vic Flick. Much more than a sneak peek – this is a story of dedication, resourcefulness, and a glimmer into the hard work of independent film makers everywhere.

1 – Interview with Jeffrey Bunzendahl

Q: What are the origins of Wilson Chance?

The project actually began in 1999, while my older brother George and I were still in film school. George and I grew up on spy films and reruns of spy TV shows, so we had a natural inclination to make a spy movie. While in college, most of our filmmaking peers were running off to make "important" films. We went the other direction, and decided to try and make something fun and entertaining.

At that time, we were working on the first draft of the script and trying to secure funding for our budget. I did the majority of the writing for the film, but my brother was invaluable for helping me shape and edit the final script. George was the producer. I was the writer, director and editor. We were inspired by some of the 60's comedy spies like Maxwell Smart, Matt Helm and Derek Flint. But rather than just create a character that was derivative, we tried to give Wilson Chance his own personality.

Q: How would you describe the character?

Wilson Chance is an egotistical lunkhead, and a bit of a slacker, but basically means well. He feels his job is something to just pay the bills, or brag about to girls... until his first serious mission turns deadly. He eventually learns to stop being self-centered and cowardly, and make the necessary sacrifices to become a hero.

Q: Why is the story about a Canadian secret agent?

We always have Canadian actors playing Americans in film, why not reverse it for once? I also figured making Wilson Chance work for the CIA or MI6 was a bit boring, and was done to death in other spy films. So to me, making him a Canadian agent was quirky and sounded ridiculous. No offense to Canada here!

Q: What inspirations helped shape the script?

I went back and ingested every spy movie I could get ahold of. I particularly liked the European spy films of the 60's and 70's. Some of the ideas in those movies are just so off the wall, they're brilliant.

Q: Many spy parodies have been made over the decades. What makes Wilson Chance different from the rest?

Wilson Chance might not necessarily fall into the spy spoof or parody category, but I see where it could. There are some things in the film that send up the conventions of the genre, but rather than resort to bizarre dance numbers or pop culture references (ala Austin Powers), we tried to play it straight.

We let the humor come out of the way the characters interact with one another, or the situations they wind up in. Wilson Chance is part modern comedy, part 60's spy adventure, with an indie film twist. I guess that's what makes it unique.

Q: What comparisons can viewers expect with the likes of Austin Powers etc.?

Hopefully none!

Q: What are you doing in the script and production to recapture that 60's flavor you speak of?

We revisited a lot of the motifs you might associate with a 60's secret agent film, and made an effort to avoid the "techno spy" feel of modern espionage movies. Basically, we tried to strip it down and give it the feeling it "could" have been made in the 60's. It's very subtle, but I think it works.

Q: How were the casting choices made?

The casting took over six months before we filmed. We worked very hard to find a cast of talented actors, most of which had some stage and screen experience. Since we were doing an independent film, we also had to make sure they were up to the challenge of an occasionally tough and grueling film shoot. Thankfully, everyone was.

Q: What made the shoot grueling?

We didn't get into any serious shooting until 2001, and wrapped around 2003. It was a long shoot due to the number of locations we used, and having to work around so many peoples schedules. The production shoot itself was "grueling" because of the scale of it, at least for an independent film. We had a lot of locations, some intricate action scenes, risky stunts, and had to film around the clock most of the time to get the shots we needed. We shot the film mainly in Colorado, and our production was at the mercy of the shifting weather there. The scenery we had access to was breathtaking, but on any given day it could be hot or cold, raining or snowing. Sometimes in the same day!

Q: Wilson Chance seems to have an interesting production history. What has taken so long?

After the film was shot, our budget was tapped. So in a sense we had to start over again, and accumulate post-production funding. Keep in mind, our film is self funded. When you're an independent filmmaker in America, finding money for your film is next to impossible. That's where you have to get resourceful and tough, and start thinking of ways to keep your film alive financially. It's been a lot of stop and go as far as progress goes, but we kept pushing forward and focused on finishing the film, no matter what it took. Our persistence has paid off, and now we are putting the final touches on the film this summer [2006].

Q: The soundtrack came out over a year ago with music by Vic Flick – but the film is set for this year. What happened?

There was a bit of confusion that if the soundtrack was out, the film was close behind. Truth be told, "The Sound of Danger" is more of a spin-off project than straight soundtrack, that features music from the film and some original tunes inspired by the film. It was an exciting side project we did while we were in the middle of an extensive post production process.

It was a goal of mine to make sure the music was top notch, and as you said, have connections to the flavor of the 60's. When Vic Flick graciously decided to work on our film, this allowed us the opportunity to bring the music to another level. I think Vic liked the idea of revisiting his spy music roots, but having the flexibility to take it new and different directions.

Additional music from Spy-Fi (and Hammondbeat) was carefully picked to blend with the style and mood of Vic's score. A lot of the times, it's the music Wilson Chance hears playing in the background as he goes about his business. So it's a nice exchange between diegetic and non-diegetic music.

Q: I understand the film will begin circulating at film festivals – when do you hope for a more general release?

Beyond screening our film at several festivals, releasing to theaters is not essential to us. Right now, the DVD market makes more money than theatrical releases, it presents a safer and more logical destination for independent filmmakers. However, our executive producer is keen for a theatrical release overseas, which has a stronger market for independent films to survive. So we'll have to wait and see.

Q: Earlier, you mentioned liking both Euro films and mainstream spy movies of the '60s. Which ones?

I always had a soft spot for some of the low-budget spy films, be it American or European. I know a lot of people turn their nose up at them, but enjoy them because its fun to see what they could come up with using meager resources, and a lot of creativity. Some of the titles I've enjoyed are Assignment: Skybolt, Danger: Diabolik, Where the Bullets Fly, Dick Smart, Lightening Bolt, The Amazing Dr. G, Operation Kid Brother, Desperate Mission, Hammerhead, New York Calling Super Dragon, Our Man in Istanbul, Danger! Death Ray, The Magnificent One.  The Ipcress File, The Quiller Memorandum, Deadlier Than the Male, Our Man Flint and The Silencers are some of my favorite "non-Bond" bigger budgeted spy films.

Q: I understand a sequel is already in the works, apparently based on a Simon Chance. What's the story about this?

Simon Chance is the story of Wilson Chance's younger brother. He's trying to become a successful secret agent while living in the shadow of his older brother. Looming the background is a sinister organization that begins to pick off Canadian agents one by one. Simon becomes a target and must uncover the conspiracy behind who the enemy really is, before it's too late.

The official title is Simon Chance:  Spy Today, Run Tomorrow, and it will be a different film altogether than the first. More cynical and darker, but certainly humorous. Some of the original cast members will be returning, and we get to see their characters expanded further.

Q: This seems to demonstrate great confidence in the first film to get production going on a follow-up to a yet unreleased movie.

We had planned to jump into our next film as soon as we completely wrapped our last. I didn't really want to do "Wilson Chance Part 2", since we'd run the risk of making the same film over again (like a lot of sequels do). Yet the idea of expanding the universe of those characters, by introducing new ones, seemed exciting to me. That's how the idea of Simon Chance came about. Simon Chance and Wilson Chance will be connected to one another, film wise, yet stand on their own separately.

Currently we are finishing a final draft of the script, have already cast most of the lead actors, and Vic Flick will be returning to do the score. If all goes as planned, we should be in production soon.

2 – Notes from the Executive Producer

Prof. Robert von Dassanowsky, PhD, is Associate Professor and Chair of Languages and Cultures and Director of Film Studies at the University of Colorado, Colorado Springs. An independent producer, he is the Executive Producer for Wilson Chance and has much to say about it –

Q: How did you get involved with Wilson Chance?

George and his brother Jeff were students in some of my first courses in the Film Studies program I created for UCCS in the late 1990s. This is a program that deals with film history, theory and national cinema, not production. But many of the students then (many more now, of course) were already making their own videos, digital films, and the like. The Bunzendahl brothers were instrumental in creating the campus' first Video and Filmmaker's Club, which is still going strong today, and began screening their films to a fascinated audience of students. In addition to their work in my courses, I saw a rare creativity in their films, one that was framed with a professionalism that most beginning filmmakers don't have. Also, they were making real films – that is to say, they did not copy blockbusters, or do fan tributes, but actual narratives that stood on their own. I was most impressed and since I also am an independent producer, I began to talk to them about moving forward with their abilities.

Wilson Chance began as a short film that was to be a parody of spy film trailers. But it was so rich and fresh that it quickly became a feature project, and I offered to Exec. produce.

Q: Can you explain the funding and production process for the film?

Funding for a project like this is always difficult. Since it is not a documentary or a film with a specific cultural connection, there are no grants or funds to access. Certainly, as a highly professional mainstream feature film project it might use such funding better than some of the "film fest" aimed projects that often don't really evolve, but again, Wilson Chance is a rarity. During the early days of production I gave an interview where I compared it to Blair Witch, not because it has anything in common with that film's horror genre, but because like that film's production mode, it is a first in regional, grassroots, indie production – using unknown talent, but following the typical Hollywood production style and creating a spy film on a poverty budget that has the professional craftsmanship and character attraction to make it play like Blair Witch.

Q: If you came to the production with any interest in other spy projects, what were they? Do you have any thoughts about spy movies in general?

I have always been interested in spy films – not only for their style but for their sociopolitical reflection. Wilson Chance is also a tribute to Hitchcock – I am teaching an intensive course on Hitch even as we speak and have also written on spy films. I think that the appreciation for spy films was the origin of my connection with the Bunzendahls beyond the classroom. We saw that we comprehended the genre beyond the typical fan-ish appreciation. And Jeff was born to make these films. He has a highly sophisticated feel for them – they are visually and narratively satisfying on a general audience level but also offer multilayered shadings of satire that made the films of the 1960s such classics. Unfortunately this seems to be a lost art among the current crop of spy films and spoofs.

Q: In what ways did Alfred Hitchcock influence Wilson Chance?

Jeffrey is a great admirer of Hitchcock, and has learned much from his films. I believe that knowledge makes his spy spoof more substantial than the joke-laden attempts that are currently in vogue. In a subtle way, we get a psychological reflection of the main character, and Jeff's cinematography and mise-en-scene are as much an homage to Hitch as the action sequences are to Bond and Co. Only with Bond it’s the opposite of Hitch:  the McGuffin matters and the psychology doesn't exist much.

Q: What do you think makes Wilson Chance distinctive?

In addition to its very production nature, which should put it on the map for corporate Hollywood seeking to connect with American indie film talent, Wilson Chance is a hell of a film. Every time I have seen the aspects of the work I am newly entertained, and ultimately I say the same thing to Jeff and George – I'd pay to see this in a theater and would emerge very satisfied. Not only does it look like a multi-million dollar production, it does not rely on special effects (although it certainly has them!) to make its points. The characters are as authentic as they can get in this genre, and one wants to see more of them. How many current entertainment films can you say that about?

Q: Do you have any other anecdotes or situations that happened during production you'd like to share?

Robert is currently working on a book on Psychedelic Cinema (1965-72) which will explore spy films of the period. In the fall of 2006, he published an article "on the collapse of the commercial film industry in Austria in the 1960s, and I do discuss the international spy co-productions that was part of the mess (Poppy is Also a Flower, the Yellow Monks and Mr. X series) – Austrian/Italian/German/Yugoslav/GB." Robert's defense of the 1967 Casino Royale is posted here.

3 – Meet Simon Chance

When I began conducting these interviews, I thought readers might like to hear the views of one of the cast members as I gathered everyone involved in WC wore several hats during production. Jeff immediately suggested Joshua Crabtree, saying Joshua is a "bright and talented young man who worked on the production and played one of the supporting villains as well. I was so impressed with his professional attitude and acting ability," Jeff added, "we have already cast him as the lead in Simon Chance (with a completely new look as well)." So here's what Joshua Crabtree thinks about first being the baddie, Prof. Harold Dinkelstein, and then star of a spy sequel.

Q: How did you get involved with Wilson Chance?

I started work on Wilson Chance after meeting Jeff at the University. I was taking a "fast-track" class – Intro to Video – there while finishing High School. I wanted to work on anything and Jeff said there was a small villain part. We started filming a bit part (Harold Dinklestein) that grew as the film took off and as we jelled so well together.

Q: Jeff said most participants did various duties during production – I gather you worked both behind the scenes and on camera. What was it like working on an independent production wearing different hats?

That is the best part of working on an independent film! The acting was great and a lot of fun, but being able to experience the other aspects of lighting, stunt work, and some second-unit filming is what really made this a wonderful experience. Really that is what true independent filming is – tuning not only your own craft; but learning how every ingredient is put into the pot.

Q: What interesting stories about filming Wilson Chance would you like to share?

Red Bull and Slim Jims are the best meal in the middle of the night with about 4-5 more hours of filming to go!

One event that stands out in my mind was an outdoor gun fight in the middle of the night. The property had been secured and the police and firefighters notified – all steps taken to make sure SWAT didn't show up and see us with an arsenal of weapons. Filming started shortly after dark and we lit up the place, which was located on a hill above the town. In fact I did a run into town on my off shoot and could see the flashes and booms. Apparently the police department did nothing but handle phone calls from residents down in town about the gunplay, which must have lasted well into the next morning.

The most grueling shoot I was involved in was the Power Plant. We could only film there after 9 pm. The plant was about 85+ degrees inside and did nothing but vibrate and hum. Mike and I (clad in a turtleneck and huge wool coat) ran all over the catwalks and floors. After a few takes Jeff would smile or laugh into the camera, look up and say, "Great (or) Perfect . . . Let’s do one more!"

Q: If you came to the production with any interest in other spy projects, what were they?

I actually learned a lot about spy films from Jeff while working on this production. Most of the other projects I had worked on were campy projects in my backyard and around town with whoever I could find to come out and were not really "spy" related. This project really opened my eyes to other films outside the "Bond" realm to classics that Chance was emulating, like Our Man Flint and the Matt Helm films. Most of my "spy" background was formed around Bond and political thriller films (as well as books). Of course now I'm hooked on it all!

Q: What do you think about spy movies in general?

Spy movies really allow a more in depth look at the global world and a characters interaction with it as oppose to, say, the American Westerns from which they evolved. While gadgets are updated there is still the idea of one man (or a small group) on his own saving the world and succeeding against all odds. Then again maybe I just like to see a good guy blow away bad guys.

Q: What thoughts do you have about your fellow cast members?

The cast worked very well on-screen with each other. It was a golden opportunity for anyone working on this project to be involved. Drew Carlson (Fritz) was great to work with as he is one of the funniest guys I've had the pleasure of working with. I learned a lot from his acting intensity and lighting knowledge. Tashiana Capel (Miss Devonshire) came on later in the project as the main female lead and did a wonderful job adapting to a group that had already bonded and really held her own – plus was great to hang out with when meeting all of the Hammondbeat support bands, as they were quite taken with her!

Q: How do you feel about becoming Simon Chance in the next film?

I won't lie; it feels pretty awesome and scary at the same time. However knowing Jeff as long as I have and us having very similar visions and ideas, this project is going to come together with intensity I don't think people have seen for a long time. We both know what needs to come out of this and I use that for preparing for the role. Ultimately I look at Simon Chance and not "Simon Chance" but the next step in an ever expanding universe – and I feel privileged and honored that Jeff would allow me to help with that.

4 – A Musical Note from Composer Vic Flick

"I first met the Bunzendahl brothers at a Bond Collectors Weekend. Some early clips from the film were shown and I was impressed with the freshness, the energy, and the enthusiasm and dedication of Jeffrey and his brother, George. We met and talked, and the music grew with the production and from the ideas that came from Jeffrey. I work closely with my co-writer, Les Hurdle, who immediately understood what I wanted and what the film score needed. It's been a long time from concept to fruition, but I know the apple will taste sweet from the first bite."

For more about Vic and instrumental band, Spy-Fi, see "Spy Guitar: From Vic Flick to Spy-Fi" also posted at this website.

5 – Final Words from the Other Brother

These files began with an interview with Jeff Bunzendahl – it seemed fair to give older brother George his say as well! We've heard from the future Simon Chance – younger sibling of Wilson – so here are the thoughts of another brother in the spy biz.

Q: Jeff says both of you were interested in spy movies and TV shows for some time. Which ones? Why?

Get Smart was always my favorite. I remember seeing it as a very young boy, and I was enthralled with all of Maxwell Smart's outlandish gadgets.

Q: What do you think you contributed to the script?

When Jeffrey was writing the first draft, he'd call upon me to give an objective view of the overall script. If something wasn't working, or we decided that a sequence was cost prohibitive, we would devise ways to overcome these obstacles creatively.

Q: What did you do as producer and how did you work with Robert von Dassanowsky?

Everything Jeff couldn't do, I did. I wrangled locations, actors, props, budget, transportation, even catering. Working with Prof. von Dassanowsky allowed me the advantage of working with a seasoned producer. His wisdom and insight allowed me to avoid some of the common pitfalls that plague an independent film production.

Q: What thoughts do you have about spy movies, including those of the '60s and those of today?

I wasn't as influenced by '60's spy films as much as Jeffrey. However, I have developed a fondness for the genre. By the end of the film production, my brother had all of us addicted to spy films, both good and bad! I mean, how many people do you know that can quote lines from Operation Kid Brother [1967]?

Q: How does it feel to work with a sibling on such a long-term project? What are the advantages (or disadvantages) of being in a family production?

Working on a demanding project with a sibling allows you to push each other and be completely honest. You're allowed access to certain liberties that you wouldn't normally take with someone else. We both feel that this is productive, if the end result is making a better film.

I feel that working with my brother is advantageous because we have mastered a shorthand method of communication. This is crucial when you are working on an independent film shoot, when you can't afford to have mistakes.

The cast of The Wilson Chance Files:

Justin Williford  –  Wilson Chance (good guy)
Josh Kern  –  Emiliano Goldini (villain)
Tashiana Capel  –  Kitty Devonshire (good guy)
Michael Helsley  –  Lee Ho San (villain)
Drew Carlsen  –  Fritz Simmons (villain)
Joshua Crabtree  –  Prof. Harold Dinkelstein (villain)
Joe Kania  –  Nathaniel Steel (good guy)

We'll post updates as we get them – and check out the official Wilson Chance website.

Updates will be posted at the Bunzendahl Brothers’ official website.

Photographs copyright © 2006 Bunzendahl Brothers Productions