Berlin: Symphony of A Metropolis - Production Background

Production Background

According to Ruttman, a "hypersensitive film stock" was developed for use in this film, to solve lighting difficulties during night scenes.

In 2007, a restored version of the film was shown with the fully reconstructed original score by Edmund Meisel. The premiere of this version took place at Berlin's Friedrichstadtpalast on September 24, 2007, with live orchestral accompaniment by the Rundfunk-Sinfonieorchester Berlin.

The Berlin-based electronic duo Tronthaim have performed their new audio dubbing to the film at numerous European cultural festivals, including "Notti d’Estate" in Florence and at the "Salon du livre" in Paris.

A score by Timothy Brock was made for the film in 1993.

The film was re-scored by DJ Spooky at The Tate Modern in 2006 as one of the first performances of the museum to focus on live, large scale experimental cinema using the Turbine Hall.

Spanish composer Alberto Novoa Rodriguez recorded an electro-symphonic soundtrack for this film in 2009. He performed at the Babylon Cinema in Berlin with 15 musicians from a young musical group (Agrupación Musical da Limia. Xinzo de Limia). The album was recorded by members of the Symphony Orchestra of Galicia.

Read more about this topic:  Berlin: Symphony Of A Metropolis

Famous quotes containing the words production and/or background:

    From the war of nature, from famine and death, the most exalted object which we are capable of conceiving, namely, the production of the higher animals, directly follows. There is grandeur in this view of life, with its several powers, having been breathed into a few forms or into one; and that, whilst this planet has gone cycling on according to the fixed law of gravity, from so simple a beginning endless forms most beautiful and most wonderful have been, and are being, evolved.
    Charles Darwin (1809–1882)

    Silence is the universal refuge, the sequel to all dull discourses and all foolish acts, a balm to our every chagrin, as welcome after satiety as after disappointment; that background which the painter may not daub, be he master or bungler, and which, however awkward a figure we may have made in the foreground, remains ever our inviolable asylum, where no indignity can assail, no personality can disturb us.
    Henry David Thoreau (1817–1862)