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Wenders to stay with 3D for next feature project starring Sarah Polley

Director Wim Wenders is to stay with the 3D format for his next feature film project Every Thing Will Be Fine.

After the international success of the Oscar-nominated dance documentary Pina, director Wim Wenders is to stay with the 3D format for his next feature film project Every Thing Will Be Fine, based on a original story by Norwegian screenwriterBjorn-Olaf Johannessen.

“I have always developed my own material, but this script was love at first sight,” Wenders explained in an exclusive interview with Screen Daily. “The film is a family drama, and will be shot in Montréal and Quebec. It might not resemble any of my previous films, except for The American Friend maybe.”

He pointed out that the production is currently in the middle of the casting process and only has Sarah Polley confirmed so far. “The film will be a German/Canadian co-production, and world sales, as always with me in the past, will be handled by HanWay. We start shooting this year and will finish in 2013, as the film needs several seasons.”

His Berlin-based production company Neue Road Movies has already received backing for the film from Medienboard Berlin-Brandenburg and the German Federal Film Board (FFA).

For full production details visit

Speaking about the decision to stay with the 3D format, Wenders recalled that it had “of course [been] the perfect tool for a dance film, and the challenge now is to apply the technique to the narrative format. But we have thought of 3D all the time while working on the script, and I am quite certain that the story and the characters lend themselves perfectly to the three-dimensional medium.”

“I was so focussed on 3D after Pina, and so keen to see where else he new language could lead us, that it washard to imagine for me to go back”, he continued. “Which doesn’t mean that I will necessarily shoot everything in the future on 3D.“

At the same time, Wenders has witnessed great changes in the production methods for 3D: “On Pina, we worked with a lot of hand-built, prototype equipment. Remember, that was from fall 2009 to summer of 2010, in the ‘early days’ of 3D. It’s a whole different ball-game now, technically.”

“Physiologically and aesthetically, I don’t think 3D has changed all that much. The work-flow is much smoother, that’s for sure,“ said the director. 

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