The Ungovernable Force takes the raw gross-out b-horror humor of Street Trash and fuses it with the subculture-exploiting theme of Suburbia! Add to that the very tangible plot line of lovable bums teaming up with punks and skinheads to fight a sadistic sheriff running for mayor on the American Fascist Party platform. Just when you thought “All cops are bastards” and other overused cliches couldn’t possibly be used any more liberally, The Ungovernable Force comes tumbling off the big silver screen with abundant and gratuitous nudity, violence, shock, gore, obscenity, profanity, controversy, taboo, drugs, sex, cop-killing, punk rock fun! With a killer punk soundtrack and unforgettable cameos from punk and b-horror legends such as Tony Moran (Halloween), Lloyd Kaufman (Troma), Debbie Rochon (Scream Queen Of The Decade – 1990’s), Steve Ignorant (Crass), Shend (The Cravats, Red Dwarf), Paul Russo (The Unseen), etc… The Ungovernable Force takes every taboo and offensive element of society and forces it down your throat, all while managing to deliver a splendid tale of heartbreak, romance, and a coming-of-age drama between close friends, set against a punk and bum backdrop! Oi Oi Oi!
Bio Of Director:
Paul M McAlarney has been a staunch fanatic of all things controversial since birth – possessing, practicing, and celebrating the belief that anything taboo or controversial should be magnified and displayed in an effort to desensitize and liberate society in order to pave the way for necessary social change. Taking a violently Nietzschean offensive against the notion that there are “sacred” elements or icons of culture and society, Paul uses writing, film, and other forms of media to convey his beliefs and attitudes and aims to make the world a more socialist-minded and altruistic global community through his art, an ultimate goal that might shock anybody who has actually seen or read his art. Born and raised in Melrose, MA, Paul has spent his entire life living in New England, primarily in Eastern Massachusetts. Writing has, since birth, been his absolute passion, and he has developed his unique voice since then, always augmenting and adjusting it upon the introduction of any and all new influences. After high school, Paul wound up at UMASS Amherst, where he began by studying business, then sociology, then psychology and sociology, and was then suspended after a series of criminal charges and infractions resulting from a worsening drug and alcohol problem. Paul picked himself up by the bootstraps, got sober, moved to Brookline, then Allston, then relapsed, then moved to Somerville, then had a nervous breakdown, then pulled himself together more seriously, got into film-making by co-creating, co-writing, and directing the web-series Super-Townie with hetero-life-partner Greg LaVoie. After graduating from UMASS Boston with a degree in Sociology, Paul gradually made the transition to writing and directing primarily exploitation films. Today, Paul splits his time between writing, producing, directing, and editing Ungovernable Films productions and working full-time at a mental health clubhouse south of Boston.
How did you come up with the concept?
Ever since being exposed to real punk (not Green Day and other bullshit punk) in high school, it’s been the genre of music, attitude, and subculture that has made the most sense to me. I was in an anarcho punk band in high school but when I went off to college I got out of the scene for a few years and eventually got way into 1960’s psychedelic rock, thanks in large part to my increasing love for LSD and other hallucinogens, and eventually stopped associating with any one genre or subculture in particular. But after getting booted from UMASS Amherst, I moved to Boston and was reintroduced to the punk music, lifestyle, and subculture that had made so much sense to me in high school, and before long I realized it still felt like home. While we were shooting Honky Holocaust, I realized I wanted badly to make a film that gave the audience an authentic look at what punk was really all about. We had also been talking about doing a film about homeless people and their society and culture, so I decided to fuse the two concepts into one film. Before I even wrote the script, I knew I wanted to name the film The Ungovernable Force as an homage to the UK anarcho punk band Conflict, who referenced an “ungovernable force” in their song “Mighty and Superior” and released an album in 1986 called The Ungovernable Force. To come up with a plot, I needed a villain, and I decided to make the main villain a cop (or rather, a sheriff, in an attempt to funnel in a little “Spaghetti Western” influence), and since this is Ungovernable Films we made it a rapist Neo-Nazi sheriff. The timing was perfect, because the whole anti-cop movement started around the same time that we were filming, and the film has a very “All Cops Are Bastards” attitude. To put it in perspective, I finished writing the script by the end of 2013, and Michael Brown was murdered by Darren Wilson in August 2014.
How long did it take to film?
The first scene we shot was the flashback that featured Lloyd Kaufman of Troma fame as the main character’s father, which we shot in Manhattan in an apartment that belonged to a friend of Bill Weeden; Bill Weeden played Reginald Stuart in Troma’s Sgt. Kabukiman, NYPD and we had the fortune of casting him as Kevin, the interim leader of the Bums in The Ungovernable Force. We shot that at the end of May 2014, and didn’t shoot the next scene until July 12, but then filmed on basically every weekend after that until we finished in November 2014. So the majority of principal photography took about four and a half months, but if you include the Lloyd Kaufman shoot it took about six months.
How did you decide on the location?
It took nearly forty separate locations to shoot The Ungovernable Force, and the credit is due entirely to the location scouts, set designers, gaffers, and cinematographer for making the locations work with each scene because we literally shot where we could, not necessarily where we wanted to. With virtually no budget for filming, I told the producers and location scouts what I wanted and sometimes even drew for them what I pictured, and they would work tirelessly to get as close as possible for free. Sometimes I would scout on my own, or with whichever producer or scout was in charge of it, but it was a total team effort – everyone pitched in when it came to finding locations. And when the location didn’t quite work but we had no alternatives, it was full speed ahead anyway and I’d work with the set designers and decorators to make it work, and with Nick Norrman the cinematographer to utilize the best parts and aspects of the location. Some locations we broke into, like the abandoned building. The car chase scenes were done in an office building complex late at night, and a lot of the scenes were shot in the Rugg Road neighborhood in Allston, MA.
What was the highlight of making the film?
Finishing it! We shot our last film, The Streets Run Red, in two weeks straight, mainly because filming for 10 – 22 hours a day every weekend for four months is fucking exhausting. So finishing principal was the best part haha. Aside from that, though, the greatest day of filming was when we filmed the punk show. A few weeks prior to the shoot, Mark Geanakakis, who played Jonas, asked if we could reschedule the shoot because GBH was playing in Cambridge on the same night. I hate rescheduling, and almost never do it, so instead I told Mark I’d do anything I could do wrap before the show. We did, and since almost the entire cast were punks, we all went to the GBH show after we wrapped. So after filming a fake punk show, we got to see our fellow cart and crew members flying through the air at a GBH show. It fucking ruled!
What was the most difficult moment of shooting the film?
Our lead actress Lindsay Winne tore her ACL halfway through principal photography, but she was a trouper and still made it to every set and rehearsal, so that was a crisis averted! But you can tell in some scenes that she’s in a brace or cast because she’s not bending one of her knees even when she’s running haha. The toughest part of filming, though, was our first big weekend. We started at 8am in Allston and shot the first Mudville scene, then the entire cast and crew relocated to Worcester for the second set at 4pm, where we shot all the Bum ritual scenes in a big warehouse where Mayhem, the monster puppet designer lived and worked. We were there until 7am and left Worcester after sunrise. Before we left Worcester, I told everyone that the first set the next day was cancelled so people could rest, but one of our most veteran actors, Jim Baglini, didn’t get the memo and showed up on set at 9am, got a speeding ticket on the way there, and then found out that we weren’t shooting until 3pm. To add insult to injury, I was up on a ladder at the top of a staircase trying to shut a trap door to the roof at the warehouse before we left and the door slammed down on my hand, nearly shattering and severing my fingers. And then I overslept the next day and was late to the already delayed set… it was the first big shoot weekend of the production but making it through that set us up to get through anything.
Any specific movies or stories that influenced the script?
The biggest influence on The Ungovernable Force was obviously punxploitation films like Suburbia, Class Of 1984, Out of the Blue, Rude Boy, Repo Man, etc, but I also wanted to include some non-linear sequences in the film reminiscent of Scorsese films or Mondo films like Mondo Cane. We even combined the lines from Good-fellas and Suburbia, “As long as I can remember, I’ve always wanted to be a gangster,” and “I hate cops, to the max,” respectively, to form the opening line of The Ungovernable Force, “As long as I can remember, I’ve always hated cops, to the max!” As far as stories go, there are several references to real life stories in the film. The scene where the punks bring Steve, the crippled bum, to the hipster party really happened; cinematographer Nick Norman and I once brought a wheelchair-bound bum to a hipster party and the privileged bitch throwing the party made her friends kick him out so we all left and hung out in front of her apartment instead. A fight did break out, but because one of our friends called a bunch of hipsters “faggots”, not because the hipsters kicked out the Bum. And the reference to throwing rocks through expensive car windows in the last scene? When my high school friends and I couldn’t get booze one night, we resorted to throwing rocks through expensive car windows. The scene where Mud and Simon are jerking off together? A reference to “Boner Time”, a pastime frequently enjoyed by my friend Greg and I. I could go on and on; there are countless more references but I’ll leave the rest to mystery.
What makes this film stand out among others?
Unlike deflated films like SLC Punk, I believe The Ungovernable Force gives a far more authentic glance at the punk and Oi subculture, genre, attitude, and lifestyle, even if it is integrated with outrageously cartoonist fascist cops, magical Bums, and punk mutant monsters. Add to that a very unflinchingly blunt and brutal critique of police brutality, civil rights, class warfare, homelessness, racism, and political correctness, and you have an authentically punk movie with substance. Then add the nudity, sex, gore, profanity, offensive slurs, swastikas, and over-the-top violence, and you have an authentically punk exploitation film with substance. Finally, add the monsters, mobsters, Nazis, punks, skinheads, penises, hipsters, fake mustaches, cameos from Lloyd Kaufman, Tony Moran, Debbie Rochon, Apache Ramos, Paul Russo, Bill Weeden, Shend, Steve Ignorant, Steve Lake, Nick Cash, Nic Cramer, Zillah Minx, and Thomas Mensi Mensforth, and an incredible kick-ass raw punk soundtrack and you have The Ungovernable Force!!!
Looking back, is there anything you would change about the film?
Maybe a few shots or FX that I wish I had planned better. Stuff never works exactly how I picture it, it’s just a matter of how close I can get it. But other than that, I’m a firm believer in “throw caution to the wind and trudge on, full speed ahead.” The second someone starts hesitating or second-guessing or over thinking something is when it loses its momentum and authenticity and realism. Once I’ve set the gears in motion, there’s no looking back. So no, even if I opt to do things differently on my next film, there’s nothing substantial I would change about The Ungovernable Force.
Any other horror projects currently in the works?
We just finished shooting The Streets Run Red, a serial killer film told entirely through flashbacks by the detectives on the case and the serial killer himself, all while the killer is in holding for an unrelated lesser crime, awaiting bail. I personally think it far outshines anything else we’ve done so far, and is by far our most serious film, yet it still carries the b-horror and horror comedy vibe at times. We released Gay Jesus, a horror comedy film about Jesus’ last days alive if he had been bisexual. It’s available for free on YouTube now. I plan to do a Kung- Fu / horror comedy film next year, but that’s still in the outlining phase. In between films, Ungovernable Films co-owner Dave Sullivan is doing a line of Sexploitation short films under the name Sleight of Hand Films, which is keeping him busy and gives the rest of us an opportunity to help out on a film set without the pressure of producing it!
Check out The Ungovernable Force if you want to watch a movie that is 100% no-fucks-given fun! And check out our first feature film Honky Holocaust, available through Troma, and Gay Jesus on YouTube! And keep an eye out for The Streets Run Red!
Official Site: www.ungovernablefilms.
The Ungovernable Force Official Trailer: https://youtu.be/
Gay Jesus: https://youtu.be/
The Streets Run Red Teaser: https://youtu.be/-
YouTube Channel: http://www.youtube.