While many directors are all too content to mine a seam, German-born filmmaker Wim Wenders (Wings of Desire, The Buena Vista Social Club, Paris, Texas, the ambitious Until the End of the World) has enjoyed a delightfully diverse career, jumping back and forth between narrative and nonfiction works. His latest film, the Best Foreign Language Film Oscar-nominated documentary Pina, taps into his decades-long friendship with the late, lauded choreographer Pina Bausch, imaginatively exploring her work in 3-D by utilizing the dancers of her Tanztheater Wuppertal ensemble. In a wide-ranging half-hour chat — with Dave Matthews Band, the Yeah Yeahs and other light rock tunes unfolding at a remove in the background of the lush outdoor trappings of a Hollywood hotel — I had a chance recently to talk to Wenders about his friendship with Bausch, the challenges of capturing dance on film, what he learned from a terrible working experience with Francis Ford Coppola, how he’s ready to start thinking in 3-D, and what comment from Mel Gibson he wishes had gotten stuck in the actor’s throat. The conversation is excerpted over at ShockYa, so click here for the full read.