I just didn’t know how to do it, I didn’t know how to film Pina’s dance. There was a problem between film and dance – dance escaped filming, or an essential part, and maybe not classic dance, but Pina’s kind of dance, could not be captured on film. I watched a lot of dance movies, and tried to crack that invisible wall that I always felt was between Pina’s live performances and what I could put on the screen. I couldn’t bring that wall down, it was always there.’
 
A revelatory moment for Wenders came on viewing U2’s concert film in 3D – planting the seed of inspiration to pursue what was at the time largely an emerging, unknown technique. It was completely a leap of faith, because as soon as I actually tried to work with this tool I realized it was way too early, it was in it’s infancy – it was clumsy, it was rigid, it wasn’t good at representing movement at all – the movement was jerky and jumpy and it was not elegant at all, I was just hoping it wasn’t a pipe dream and we could push the technology.