My intention was not to imitate reality using a computer (as with special effects), but rather to use the possibilities that are only available through a computer to create a new reality. The clear, mathematical world of the computer meets the soft, flowing world of human movements, and the conjunction results in a surprising diversity of ornaments and choreography. Yet at the same time, it is only by conforming to certain mathematical laws that each ornament and every choreography is able to attain a harmonious aesthetic (as it is also found in nature, if one examines the construction of blossoms, for example).

The title, but also and especially the music and the black and white aesthetic are reminiscent of the glamorous era of Hollywood musicals.
Busby Berkeley was a musical choreographer, whose break-through in Hollywood came in 1933 with his dance numbers for "42nd Street", "Footlight Parade", and "Gold Diggers". Later, he also created water ballets for Esther Williams.
Connecting isolated hand movements with 2D computer animation results in a complex, dancing ornament borne by a trace of Hollywood. Individual hand and arm movements were first shot on beta in front of blue to create a kind of basic vocabulary. In the computer (Matador), these were then released, multiplied and animated. Many of the animation ideas were already there before filming started, but many others emerged through the course of the animation process or the more in-depth exploration of the raw material. The music was already determined at the start and was used as a point of reference for the tempo and accents during the animation process. Image and music were then edited together on Avid and a dramaturgy was developed.