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Interview: Wim Wenders takes 3D one step further

SOME 3D MOVIES STILL LOOK LIKE THAT. That's a problem much more of projection than of recording. The solution is for the theaters to take out that rubbish they're using and put the new projectors in. Only they cost 10 times as much. They'd rather commit suicide.

>> DANCE REVIEW: Wim Wenders films Pina Bausch by Marcia B. Siegel <<

YOU ENDED UP BEING FRIENDS WITH PINA BAUSCH. WHAT DID YOU HAVE IN COMMON? I'm very interested in the creative process in other crafts and arts. I think one of the last adventures left on our planet is creativity. And I was flabbergasted when I first encountered Pina's art because I realized it was related in many ways to cinema. We both use actors whom we tell how to move, and we have sets and we have locations and we have stories most of all. Music is something we also share.

But in filmmaking you have all these other things that can pull you through. In dance, that is all taken away. What's left over is the body and what you can tell with the body. And that is so much more than I ever thought possible. When I saw my first Pina Bausch piece, Café Muller, 25 years ago, I was shell-shocked that this woman who I didn't know showed me more about men and women in 38 minutes than, yeah, the entire history of cinema. And she didn't use a single word. She was telling me more about life and love and separation and loss than any movie I ever saw.

WHAT IS THE FUTURE OF 3D FOR YOU AND FOR CINEMA? I'm trying to write a story that wants to be told in 3D and should be told in 3D. I was lucky that with Pina, dance and 3D were made for each other. I'm trying to write a story where that would work just as obviously. I think a lot of people are trying to write films that deserve and need and should be shot in 3D. But most of the stuff out there doesn't need it at all.