Berlin, Symphony of a Great New City

Thomas Schadt and his assistant have been hard at work in the Germany's capital for almost a year now. The two are making a film on Berlin.

Despite Schadt's fascination for the famous Berlin film classic, "Berlin, Symphony of a great city", the film producer does not regard his project as a remake of the former, but as his own tribute to today's Berlin.

But Schadt's film does resemble Ruttman's silent masterpiece in certain aspects:

"What we have taken from Walther Ruttmann's film is the fact that we're shooting in black and white on 35mm film," film director Thomas Schadt says. As well as the fact that he too, is recounting a day in the life of Berlin.

The power of montage

Ruttmann did not intend to create a realistic portrait of the city in 1927. The power of his images comes from his clever montage technique, which conveys a sense of movement and speed.

"In terms of content, Ruttmann - in a very visionary manner - came up with an image of a city in which he said: here, take a look, this is the pulse of a city, this is what a metropolis will look like. And what I think we're doing, what I hope the film will finally say is: take a look at this Walther - this is how your vision turned out," Schadt says.

No glossy post-card clichés

Schadt's film shows images that represent Berlin's recent history, such as the painted remains of the Berlin Wall, known as the East Side Gallery.

But the film also includes historical landmarks in the heart of the city. However Schadt hopes to avoid the so typical glossy picture post-card clichés of Berlin.

Thomas Schadt is always on the look out for unusual images. A glimpse behind the scenes and pictures of day-to-day life are both important elements in his work: Whether images of people at work in a BMW factory or of the bustling atmosphere at one of the city's many flea markets, Schadt attempts to capture the life behind the surface.

Half of the shots, he says, are planned but part of the film team's intention is to put aside enough time to also react spontaneously to things that are unexpected – "real poetry" for Schadt.

It is here that Schadt also sees one of the main differences between his, and Ruttman's work: "Ruttman had a background in painting and montage and I myself have a background in photography and observation. While Ruttmann sometimes allows his images to be unconditionally led by the rhythm of the montage, I allow certain details to run for longer."

100 days to shoot

The reworking of the classic film needs more than a talented director and a clever concept. It also needs a secure financial basis.

With 100 days of shooting and 1 million Euros at their disposal, the documentary makers are enjoying luxury film-producing conditions.

The crew is happy to wait for exactly the exact images they want. Nothing is staged.

Ruttmann's film, however, was another matter. He allowed himself just one staged scene with actors.

Like his predecessor, Thomas Schadt is shooting his film without a soundtrack. But the score is currently being composed - an orchestral, 12-tone symphony.

Schadt's hope is that music and film will go on to develop a sort of dialogue, music and images alternating in a "wave movement".

Digital technology makes it all possible. The music by Berlin composers Helmut Oehring and Iris Schiphorst is developing parallel to the film. The computer transforms the notes into the first musical samples.

These sounds can be heard live next April. The "Südwestrundfunk" symphony orchestra will be playing at the premiere in Berlin.

But before then, a few more Berlin sunsets need to be captured on film.