• But this will not be your typical family drama fare, considering Wenders will be shooting the film in 3-D. An odd choice, you’d assume, but if this works at all in way that Pina did, it could truly be something groundbreaking and incredible. Rather than conventional 3-D, which I usually tend to avoid, the figures in Pina do not pop out or invade your space—rather, you invade theirs. It’s as if you’re transported onto the stage with them and surround their world, getting a immersive look into the world that he’s created in a way that truly enhaces everything about what you’re seeing. Using Steadicams rigs, Wenders dissolves the distance between character and spectator, and if he can manage to do that with a structured narrative such as this, well, just hand me the box of Kleenex now.

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  •  The Drive Scorpion jacket; the Blue Valentine two-tone leather, I mean, come on giiiiiiirl; and here a red jacket, more nondescript than usual Gosling but still cool — and then the cigarette comes out, but we only know this from the smoke that rolls back over his shoulders; as he winds though the dinging rides and flashing booths he is crowned by the chintzy glamour of the multicolored lights, and this is just so right, because this is what the character is: the smoking, brooding carnival king who will ride his motorcycle like no other into the burning twilight of legend

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  • Yeah, that’s kind of how the movie started. I had this idea, and when I wrote it down in a quick treatment—this idea of just characters and scenes—I emailed it to James and he was like, “I’m down, let’s do it.” And it just happened to coincide with spring break and I just hopped on a plane. There were all these girls dressed like Taylor Swift fucking in the hallway at the Holiday Inn where we were staying.

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