Matthew Rankins second feature is something of an anomaly on this years Oscar shortlist for International Feature Film.
DEADLINE: This is not the usual kind of film that would make the Oscar shortlist.
What were your thoughts when you saw that it had made the cut?
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MATTHEW RANKIN:[Laughs.]
Well, yes, Im not a competitive person, I dont have very great expectations from life.
As abstract and as surreal as it is, peoplefeelit.
Matthew Rankin, director of ‘Universal Language‘PR Factory
DEADLINE: There are so many ideas packed into this film.
What was the organizing principle?
RANKIN:Thats a great question.
Its true, its not necessarily a movie where you would recount the story.
That third space is the place where people connect, I find.
The idea of putting these two things together is a little bit absurd, but its also our world.
Its also the miracle that were all alive here at the same time.
These spaces of togetherness are becoming more and more unusual, I think.
Theres a certain catharsis to that.
DEADLINE: Why Iranian cinema?
It began with a family story.
Anyway, it was a story about the Depression that just captured my imagination as a boy.
I had an Iranian friend who took me to see films by Abbas Kiarostami.
Even in Jafar Panahis filmThe White Balloon, the drama is structured around lost money.
The beginning of the film emerged out of that.
We got really excited about making it in Farsi and really expanding this idea on a big level.
So, it became something else.
DEADLINE: I have no concept of Winnipeg.
What could you tell me about Winnipeg that would shed a little light on this film?
RANKIN:Well, its the city I grew up in.
I think we always have a complicated relationship with where we grew up.
This produced a number of really amazing outsider artistsGuy Maddinwould be the most celebrated, most well-known.
And really, I think Guy is the greatest ambassador for Winnipeg and what it means.
Its very focused around surrealism, repurposing codes of cinematic language to tell personal stories.
Thats Guy Maddins whole thing, really.
I would also say that Winnipeg has a great history of weird humor.
One of my favorite Winnipeg films isThe Big Snit[1985], an animated film by Richard Condie.
Its now a little bit forgottenit was nominated for an Oscar in 1986but its a masterpiece.
Its an animated film, but it really felt like a mirror.
RANKIN:Its very different.
The first film is a historical film, but its also playing with reality.
Its not like that.
But historians have complained, of course, that its a terrible fiction, an abomination.
Theres a lot in the process that links them.
I do have a background in history and my earlier career was as an academic historian.
The problem of putting history on film is even more interesting.
Im a filmmaker that really loves the artifice of cinema.
The idea is to get as close to reality, as close to authenticity as possible.
DEADLINE: Whats next for you?
Are you just focusing on this film or do you have any other plans?
RANKIN:Yeah, I do.
RANKIN:I heard that.
Im sure he could get a good deal.
Hes known for his deals, right?
