Filmmaker Q&A
Director Randy Nargi answers some of the questions audiences asked during film festival screenings of G-SALE.
What were your influences in creating G-SALE?
Film purists may cringe at this, but the primary influence was the TV series Seinfeld. I loved the writing and plotting of that show--especially how they were able to weave together apparently disparate plot lines. I also like some of the invented cultural elements like Kramer's coffee table book and the foreign film "Rochelle Rochelle." We're also big fans of Christopher Guest's work, as well as Eric Idle's "All You Need is Cash/Rutles" mockumentary.
Where did the idea for the film come from?
When my wife (actress and co-producer Jessi Badami) and I moved to the suburbs of Seattle, we noticed that there were signs for "g-sales" everywhere. We thought it was hysterical that garage sales were so popular out here that people could abbreviate the phrase on a sign. Jessi started going to garage sales and estate sales in the area and encountering all sorts of interesting characters. Her misadventures formed the basis for the story.
How long did it take to put together G-SALE?
It took about nine months for us to develop the story and to write the script and then about three months to bring the cast and crew together. Our line producer, Mary Lively, not only did a wonderful job of finding the crew, but also secured many of the locations for the film.
How did you choose the cast?
We spent nearly two months doing exhaustive casting in Seattle. To me, the cast was the critical element of the film. We knew we had a very funny script, but we also knew that because we were, in part, approaching G-SALE as a fictional documentary, the actors had to establish the reality of the film. We ended up with a perfect cast.
Was the film improvised?
Not really. There are a few lines here and there that were improvised, but 98% of what you see on the screen was on the page. This is much different than films like "Spinal Tap" or "Best in Show" which were largely improvised. Because of G-SALE's intricate plotting, we had to stick to the script.
How did you create all the details that bring the film to life?
I love tinkering with props and graphic design, so while I was writing the script, I was also creating e-Inmates coffee mugs, the Pot o' Gold board game, even growing Clayton's moss collection. When we brought in our production designer, Jean Landry, she had the same sensibility and love for retro-modern antiques, so she was able to pick up seamlessly.
What was the visual approach for the film?
Originally, I planned to shoot G-SALE in very rough guerilla style. Exactly like a documentary. No lighting. No art direction. But when we brought Director of Photography Eric Browne on board, he had some great ideas about how we could balance the documentary look with a more filmic lighting style. It ended up being extremely difficult given our breakneck shooting schedule, but thanks to Eric and the team we pulled it off.
Are you making any sort of social commentary with G-SALE?
Not really. We wanted to make a film that was above all entertaining. Especially to adults who want to see something more than teen gross-out humor. Having said that, the film makes observations on American suburban society and our love for material possessions. G-SALE also satirizes everything from classic sitcoms to pharmaceutical commercials. And hopefully, it will get people talking around the water cooler. I love when films or TV shows achieve that.
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