Cross The Line a new film by Mike Arbouet and Albert Allie, Allie-Way Films and Arbo Pictures, Inc., © 2006

Mike Arbouet and Albert Allie are Independent Filmmakers based in New York. They are currently working on their feature Cross The Line. I managed to talk to the dynamic directing duo and learn that you don’t need a big budget to make it look big budget.

ME:Not many films are directed by more than one person, it’s usually a solo job, what was it like sharing the director’s chair?

MA: Well for me it was cool, it takes a lot of the pressure off when the cast and crew can go to more than one person. It’s also cool to have another set of eyes on set.

AA: For me personally, it was a bit weird at first. But we seemed to make it work by both being on the same page and making compromises on EVERYTHING. Mike and I both seemed to see everything the same so it made it easier. We both had our own jobs and we did them and compromised on things that seemed to get stuck.

ME: I’m taking a look at some of the production photos and noticed that you used a quite a variety of locations, what kind of facilties did you guys end up using?

MA: Oh god where do I begin?

AA: *Laughing*

MA: Well we lucked out on a lot of locations, for example our exe. producer gave us the run of his offices so that location we used for the police station as well as one of the mob guys hideouts.

AA: Corleone’s Gym and not to forget Premiere Trucking company, too, right? We shot out in their warehouse and parking lot and had use of one of their trucks.

MA: Yeah, it helped to know alot of people that will let us have the run of there space for the day. Even one of our actors Szu helped out with a great location that served as his hideout.

ME: What kind of equipment and devices did you guys need to use to generate the special effects and fake the stunts in this film?

AA: Well the stunts (falls, etc during fight scenes and shoot outs) were actually really performed by the actors, with no devices at all. *Laughing*

MA: Another funny story. This film was made using the website Myspace.com. We used air guns during the filmming and then the special effects guys who are located in Hollywood, Florida, and California added the magic.

AA: Other on set devices where what we called “HOME MADE” to accomplish other types of FX not done digitally.

MA: Not to mention Spat from Spatcave Studios an old friend from school who provided a lot of the stuff we used.

ME: That’s right you guys did end up using Myspace (man, is this going to help advertise them…), how did Myspace aid in getting each other together and end up expanding the studio as well make Cross The Line?

AA: Well Mike and I personally met up on myspace at first.

MA: Yeah, back in October 2005

AA: Then we did our casting and crewed up using myspace and their bulletin board and classified section.

MA: It was really amazing how fast everything came together.

AA: A quality film for a tiny budget or a “POCKET CHANGE FILM” as Mike likes to call it can be accomplished, as long as people are willing to share their skills and experience for a worth while project. Most will NOT because they consider the film biz a competition.

MA: Its also pretty cool that we never “met” the people that helped out on the visual effects and one of the composers lives in Hawaii but we talk and do all our changes on-line.

AA: That’s true *Laughing*

ME: Could we get a quick summary of the film in your own words?

MA: I’ll let Al take this one…

AA: Gee, thanks Mike. *Laughing* Cross The Line is more than just an action film about two detectives who are divorced and do not want to be around each other. It’s about (and you see it in the sub plot) life and family. Not knowing what you have until it’s gone, or almost too late. How we are quick to accuse people of things without proper evidence (as in a cheating husband who is not cheating). Like I said. More than just an action film.

ME: Al you starred in the film as well correct? Tell me a little bit and your character, and Mike, how did it feel to direct a director?

MA: It was kind of funny, because I would be behind the camera with a question about a scene and I would then have to get Al’s take on stuff before moving on, but once I got the hang of it I think it helped the movie overall. It’s like having a spy on the other side of the line. *Laughing*

AA: Well Joe is a hard character to explain. He is totally dedicated to his family. Loves his daughter tremendously. Loves his ex-wife but is stubborn and won’t admit that. He is kind of the guy who scares you enough to not cross him, but can be the best friend you would want on your side. He has a quick temper, but you can see how he differs and seperates that character or personality, when he is with his daughter. The character was actually written to fit my own personality in many ways. He tries never to mix the two….until now. I believe strongly in putting lots of reality based storylines into what I do. Even if it IS action. It should have something real that the audience can relate to.

ME: You said earlier on that you two originally met on myspace, so I’m guessing this is your first production together. What kind of history with film do each of you have and have you made other films alone?

AA: Cross the Line is like my sixth project. I have shot a few other features and a low budget sitcom pilot entitled Life Together.

MA: Yes, well I went to film school, (which was a waste of time) worked at NBC in New York for a year then did some PA work on a feature film called Girl In the Watermelon from there I have done three shorts that have been in festivals New York Minute, Falling, and Upon the Gates of Hell. Cross The Line is my first feature. I also am the exe. producer on a feature, Serial.

ME: All directors have weaknesses, what are each of yours, and did you find having two directors helped to balance the weaknesses out?

MA: Mine, I’m a tyrant. *Laughing*

AA: Thats not a weakness its a godsend.

MA: Not really, unless you count laughing and having a really good time.

AA: But I haven’t really noticed in my own opinion any on Mike’s end. He’s got a great eye as a director and we cannot be on the set without having fun.

MA: Sometimes Al would give me a look that would just crack me up.

AA: That keeps up moral. *Laughing*

ME: So I imagine you two are planning to work on more together in the future, do you have any new ideas and/or projects planned?

MA: I guess I would say when the clock is running and we are running out of time, that’s when I can have a dark side to me.

AA: Yea we both do, Mike.

MA: Yeah, maybe Cross the Line 2.

AA: Ah, yes. I would love to work on more projects with mike. Well (hint hint) script is possibly in the works…

MA: Cross the line 2. Keeping the story under wraps though.

ME: Really? Cross The Line 2: Damn, I crossed it.?

AA: *Laughing*

MA: We hope that the first one will make enough of a splash to give us the chance to do “2″ on a bit of a bigger budget. I think in the future, (the near future) you will see a lot of people doing what we are doing.

AA: That would be great.

MA: Making film on a low budget with a big Hollywood look. I think Al and I are true students of Robert Rodriguez and QT.

AA: Robert Rodriguez paved the way for us, and hopefully we can do some paving of our own.

ME: Do you plan to enter Cross The Line in any festivals or for any contests?

MA: Absolutely.

AA: Yes.

MA: We’re actually still looking around. The festval run is just about done for 2005. So I’m looking at Slamdance in January.

AA: Hopefully one’s that are pretty close. We’d like to start getting some screeners sent out also.

ME: What’s a typical day on the set like?

AA: WOW. Typically? *Laughing For us? Hmmm…

MA: A day on the set always starts with breakfast, *Laughing* But seriously it begins with what we will be covering that day, what shot we need. Then about an hour to set up, finally getting that magic from your actors when the camera is rolling.

AA: Yeah and it’s usually nothing too typical. It changes for us because we have such an off beat way about us. First things ALWAYS FIRST. Lots of coffee.

MA: You’ll find that on most sets the cast and crew are always talking about the food.

ME: Did you ever hit any roadblocks while you shot, “Oh crap we forget to do that…”, and ended up changing something?

AA: *Laughing* Where do we start?

MA: Yeah, almost everyday.

AA: Don’t forget. We had lots of people working for us but mike and I had to remember to keep track of EVERYONE ELSE’S work besides our own, so that things get done the way we needed them to be. One of the flaws you encounter when people are working on a project for credits.

MA: Nothing ever goes according to plan. I heard an interview with John McTiernan. If you get 50% of the story shot the way you want to, you’ve done a good job.

AA: That’s true. Usually though as far as my own experience, you have people who are dedicated to the project and putting out a great final product.

ME: Any particular films of Tarantino and Rodriguez that greatly inspired this movie or anything you ended up doing for the movie?

AA: I am huge on Reservoir Dogs. That started out the inspiration for me actually sitting and completing this script. Sitting and watching Michael Madsen torture that cop. *Laughing* QT is sick but gets his point across not only in dialogue but in his shots.

MA: For me Rodriguez film Once Upon a Time in Mexico In the DVD Robert really shows you how easy it is for creative people like us to make a big budget film on a low budget. With QT, Kill Bill is the way he tells a story. That what directors really are, storytellers.

AA: The rest would be attributed to films like Once Upon A Time In Mexico and Desperado, which to me are the greatest of all of Rodriguez’s films. And the fact that he gives us a glimpse into how he does the post production and is actually willing to teach us something, is one of the most admirable things a filmmaker can do. Kill Bill. What a FILM,TOO, The fight scenes are just…..WOW!!!!!

MA: You can ask Al, every time we are suppose to be working. I stick in a DVD doc of QT or Robert while we wait for things to render.

AA: What a way to wait for rendering though. Learning while we work.

ME: Well if there is anything else you guys would like to say about your film, to the readers of my website, or to other Indies?

AA: Well to other filmmakers…..Never let it be said that it is impossible to make your dreams of shooting a film come true. Endurance, the will and a great cast and crew can all make it possible. Study your craft and study those who are doing it like we do. QT and Rodriguez are masters of their craft and they got there the same way we are getting there. Don’t give up. Look for different and new ways to do things for your film. You’ll get there.

MA: You don’t need thousands of dollars to make a movie. All you really need is talent, the desire to tell a good story and the imagintion to pull it off. Bruce Barton says it best. “Nothing splendid has ever been achieved except by those who dared believe that something inside them was superior to circumstance.” Do whatt you dream, and you’ll find a way to make it happen.

(L-r) Director/star Al Allie, star Tina Krause, and Director Mike Arbouet