All language subtitles for Elektro Moskva

Once upon a time in Russia,
a Revolution happened.

Actually, a ghost had been
creeping around for quite a while.

The ghost of Communism.

Lenin proposed a simple formula:

Communism is power of Soviet
plus electrification of the whole country.

Apparently, according to Lenin's plan,
the Ghost would get a huge electric shock

and come to life, just like
the monster Frankenstein.

The simple formula was effective.

People enthusiastically picked up
their axes and shovels.

Soon in every farmhouse icons
were replaced by "Ilyich" light bulbs.

There were now new gods:
Science and Technical Progress.

The ordinary soviet peasant already saw in
his dreams a giant magical switch in Kremlin

that will power communism as soon
as the last red wire is connected.

The switch was turned on

but the Ghost never came to life.

Rotor Film presents

ELEKTRO MOSKVA

a film by Elena Tikhonova
and Dominik Spritzendorfer

Cinematography: Dominik Spritzendorfer

Editing: Michael Palm

Sound Design: Atanas Tcholakov

Electro Tales by Andey Andrianov

Producer: Dominik Spritzendorfer

Co-Producers: Diana Stoynova, Petra Popovic

written and directed by
Elena Tikhonova & Dominik Spritzendorfer

- Come in. Let's see
what we have here.

- Is there some light?

- Wow, drums all the way
up to the ceiling.

- Drums and record-players
and mixers, anything.

- Sasha, how did you
keep it so long?

- There are spare parts here.

- Hold on, what's that?
- This is a Polyvox.

- It's not a Polyvox it's an ESKO.
How come it is so battered?

- Took out some spare parts.
- But it did work!

- A long time ago.
Here is a keyboard.

- Ritm 2.
- Probably.

- And where is the brain?
- Took them as spare parts.

- Why did you take
this processor apart?

- Also for spare parts?
- Yes.

- Remember, you said you
had some old reverberators?

- Are there any left?
- No.

- You were right, this place
was looted a little.

- Or more than a little.
- It's all borrowed.

- When are you going
to clean up here?

- When the radiator floods
the whole place again.

- The Ritm Synthesizer I got
from you had water damage, too.

- They changed that radiator.
- That's why. A pity.

- Now they put
3 instead of 8 sections.

- This is a unique place
you got here.

- Are those Pioneer drums?
- Yes.

- Why so many?
- There were 78 of them.

- So where are the others?

- I gave them to the...
what are Pioneers called now?

- S... Scooters ...
- Scouts!

- The vodka's not bad.
- Keeps getting smoother.

- Sasha, did you ever notice
a difference between Soviet

- and imported synthesizers?
- Anyone can notice that.

- What is the difference?

- Western instruments
have quality.

-And ours, they vary -
some work, some don't.

- What is our motto?
- Don't know.

- 'Come what may,
for something will come anyway.

There was never a time
when there was nothing!'

Singing: Settlers go into the virgin land...

- You have the wrong key.

- That's it! You know
how it is with musicians:

- No cash, no music.

I was assigned to develop
a television transmitter.

It was my diploma thesis
at the Polytechnic Institute.

This was done in a year, and

in 1925 I received my degree.

There was a huge presentation
and demonstration.

In fact, I was the first

to achieve television in mid-1926.

I was generously
decorated for this.

My invention was later used

by the military for border control.

The border could be
monitored with television

and trespassers
could be spotted.

So I made such a television
device for the military.

The institute and I were
greatly rewarded for this.

Then the order came that my
television was of highest importance

and it had to be kept in secrecy.

I was also engaged in many
other experimental works.

The power of electricity
launched a terrible military machine.

Slowly and inevitably an iron curtain
came down over the country.

The long awaited communism
turned out to be something

between an electrified jail
and a huge factory.

'From each according to his ability,
to each according to his work'

sadly, this famous socialist
slogan was only half true.

The ones with abilities were sucked dry.

Scientific inventions were
only considered of value

if they strengthened supremacy
on earth and in the near space.

Most effort was put into secret
manufacturing of rockets and bombs.

But at night, when they were
free from bomb assembly,

in their dusty tiny rooms, genius
inventors created incredible devices,

already bearing vague resemblance
to the future nanotechnology.

This is the Rhythmicon,
an invention by Theremin.

The prototype of the world's
first rhythm-machine.

He built the first
Rhythmicon in 1932.

This particular one was
built around 1962.

That was not the best time
in the Soviet Union.

Engineers not working for
the defense industry

had a hard time
finding components.

This instrument is literally
made up of waste parts.

It was impossible to get
good components at that time.

Even the most
outstanding inventors

went to the dump
to find parts.

It's hard to believe
how this piece of trash

could be so finely tuned.

Aesthetically, it looks rather
like a bit of space wreckage.

Secret space and defense research
burnt up all the resources.

But, despite major difficulties,
the first satellite was successfully launched,

followed by several dogs,

and then, finally, by the first Cosmonaut.

New idols emerged - like electronics.

The country gradually became filled with
devices shaped as bulky mysterious boxes

with buttons of different size and purpose,
all fed by electric energy.

A few rare ones were musical.

Murzin made the first wooden
prototype at his country home.

He invented it when
he was still a student.

It was in the late 1930's.

Officially, Murzin's
laboratory was

part oft the Scientific
Research Institute.

It had its own production plant.

This allowed the industrial
manufacture of this synthesizer.

Only, the institute specialized
in something totally different,

in air defense.

So the systems were not
made for musical purposes.

He was a military engineer

for electronics and
precision mechanics.

The idea came from
the optical sound in cinema.

The sound wave
became visible.

So the next idea was -
why not draw it?

The ANS could
synthesize speech.

It was a bit creepy
when I heard

it said "Mom washed Mary".

It spoke in a human voice.

But the human never existed.

I demonstrated this to people.
I've been asked

if it's possible to create
normal rhythmic music.

I decided to try.

And I so wrote the 'Intermezzo'.

It's a pop song with a lot of
rhythmic instruments,

percussions, solos.

It turned out to be
a very hard job -

all the rhythms fell
apart and diverged.

Now cosmic chill-out tunes
were coming from everywhere:

from radio, from TV, out of the windows.

It was the music of unknown planets,
music of the future.

The soft humming and rhythmic
buzzing of the music boxes

reminded one of the first cosmonauts
of the sounds he heard

when he had left his stuffy capsule,
floating on the orbit around the Earth.

An electronic remake
of the "Internationale" song

was supposedly even sent into space,
in a special container.

The fate of the container remains unknown.

My father was
a locomotive driver.

I went to the Railway Institute.

I've worked with
electricity all my life.

I am a certified Electrician
of Overhead Contact Systems.

In my hometown this restaurant
opened up, called 'Dubrava'.

I was playing guitar
and bass there.

In those times,
the government did not let

western bands get into the country.
Recordings of Rolling Stones,

Deep Purple or The Beatles

couldn't be copied
or played on TV or radio.

You could risk playing
a solo from a rock song,

from Deep Purple or
Smokey or Rolling Stones.

But the music would be stopped.

A controller would come: 'Guys,
the party is over. Everyone leaves now.'

No discussion.

Censorship was ruthless
and it was everywhere.

Not just in Moscow.

Electronic instruments were
very hard to get hold of.

So we said: "You want them?
We'll get them."

Everyone went: "No way!"
We got them for cash.

But we gave whatever
receipts they needed.

And we brought them.

This was our mission.
And we suffered for it.

I was the initiator
of all this profiteering.

But my pal Valera
really paid for it.

He took the blame and
was imprisoned for five years.

I, to be honest,
took a chance and ran away.

My parents were
young professionals.

My mother was a programmer.

My father was
a computer engineer.

I was familiar with
computers since childhood.

I often watched the
computing machines at work,

at my Dad's workplace.
From the sidelines, mostly.

Entrance to the computer
room was restricted.

People had to wear
special coats.

You couldn't just walk in.

I got in a couple of times, though.

This was a completely
different world.

Everything was humming,
clicking, crackling.

I still remember it,
with a sense of nostalgia now,

because that was my childhood.

Unfortunately, there is not
much left of these computers,

except a few pieces.

I remember one time quite well.

It was the most modern
computer at the time.

They were demonstrating
its abilities.

The sound seemed bad to me.
A low-quality, screeching noise.

This strange sound
came back years later,

during my musical experiments.

This was the first industrial
processor released in 1953.

That console was made out
of nut wood, this one here.

It was all solidly made,

using rare wood
that was in short supply.

What was good enough for
the politburo was also good for here.

This machine computed for
the first Sputniks and their missions.

At night it felt unreal,

with all the 10 000 bulbs
lightning and flashing.

You felt like in a spaceship.

Buran was a listening device.

You could hear
conversations in a house

without installing
any other devices.

An infra-red ray was
directed at the window

of the room or house, where
the talking took place.

The sound of the voices
caused the glass to vibrate,

just like a microphone.

So the glass of the window
itself served as a microphone.

Tests were conducted
at various locations.

It turned out
to be very effective.

The device was initially used
on the American embassy.

And later on the French
embassy, and so on.

Then it was given to the KGB.

I later received an award for it.

Of course, everyone expected
technology to come to every home,

change everyday life forever, make it happy,
and create paradise on Earth.

A piece of earth
I will take with me to Mars.

Taymyr, we can hear you,
but we cannot see you.

'At the station everything
is well under control.

Nothing excessive...'

'Beginning!'

But then the age of stagnation began.

Technology was very slow and reluctant
to come to people's homes.

The variety of goods in stores kept decreasing.

There was now a supply shortage.

People had to get creative.

Specialized thick magazines published diagrams,
instructions and sketches that people created.

You could use them to build anything,
if you were patient enough:

a motorized bicycle,
a chair, a lawn mower

or even a super heterodyne,
from available materials.

Housewives were able
to make hundreds of recipes

out of 5-6 types of products.

'We lift off to space'

It was around 1969-70
that television came.

You could buy a television set,
but there were no antennas.

You had to have
connections to get one.

So, we had to make them.

A lot of people did that.

You had to find
your own solutions.

Life is a complicated thing.

There are good times
and bad times.

I can't say that
it was all bad.

But also not that it was good.

In those days, electro-musical
instruments were

practically not available.
This was a big problem.

At the time of Brezhnev,
any instrument was very rare.

Only Houses of Culture
could afford them.

It was not possible
to buy them for cash.

There was a factory in Moscow

that produced
the 'Alisa' synthesizer.

I would go there and
meet a workerat the fence.

For a liter of vodka he'd
give me the motherboard.

No keyboard and no body.

I'd later connect it and
make a good synthesizer.

Sadly, these instruments
are not made anymore.

It's getting harder
to find them.

Their components are drying out,
the plastic parts are yellowing.

The only reason they are
not thrown out

is that they are very heavy.

- Does it work?
- It does.

- 300 is ok for you?
- 300? Ok.

- Here you go.
- Need a bag?

- It's ok, thank you, bye.

To raise people's spirit,
the decision was made

to utilize the waste of the military machine and
turn it into something more or less useful.

And there was a lot of waste.

Enough even to make all kinds
of electro-musical boxes.

The musical boxes reminded
a bit of synthesizers,

the ones that rock musicians beyond
the iron curtain played so masterfully.

Beyond the curtain there was
freedom and plenty, as rumor had it.

In the 70's I studied at the Institute
for Physicsand Technology.

I was stated top-secret.

I was not allowed to travel abroad
or talk to foreigners.

It was impossible
to buy any electronic parts.

So some people stole them from
the factories and sold them to others.

This is how the whole Soviet
industry was working.

It was almost legalized.

Of course it was not really legal.

But even ministers considered
theft a positive element.

Without theft, Soviet technology
wouldn't have developed at all.

There was a fun group of guys,

who were seriously
into electronic music.

They also built synthesizers.

It turned out that they
were from the KGB.

They helped us a lot.

They stole everything they could
from the KGB headquarters.

Their factory also
built cover panels.

I will never forget how I got the
first cover panel for my Vocoder.

I had a meeting at 3 a.m.
right by the Lubyanka KGB building.

There was a guy on
every corner on the lookout.

I stood there waiting for the panel.

They brought it.
I grabbed and ran.

I felt like I'd be chased.

That's how it was at that time,
in the late 70's and early 80's.

A very strange time it was.

I live in Sverdlovsk since 1963.
I spent my whole life

and my whole career here.
And took the first steps

in radio electronics and music.

I accidentally heard that one
of the local factories was

developing and manufacturing
musical instruments.

The factory was for
electro-automation,

now it is named 'Vektor'.

Factories produced specific things,
not only for civil needs.

They had to make
consumer products.

Like cups, teapots,
pots and pans.

Since our factory belonged
to the radio industry,

we wanted to do something
related to radio electronics.

The word 'synthesizer'
was considered as too modern

and was not appreciated.

A synthesizer is something
western and alien.

So it was called
'instrument with expanded abilities'.

It was veiled.

I had the Moog circuit.
I copied and tested it,

it was interesting.
But it was patented,

and my dignity did not
allow me to simply copy it.

I wanted to find my own way.

I tested for a few months.
And I came up with a filter

that still amazes everyone.

It is unique in having
almost no radio components.

Still, it is controlled by voltage,

provides multiple waveforms

and is tunable in the
entire acoustic spectrum.

And it has only two microcircuits,

a bunch of resistors and
not a single condenser.

Even our electricians
couldn't figure out how it works.

Honestly, it sounds a little dirty.

When a synthesizer fails,
it is nothing serious.

When the failure occurs
in other sections,

an expensive machine tool might
break or an airplane might crash.

Here, it was all produced
in the same departments.

The design of the front panel

should reflect the character
of the instrument.

Decorative elements
were designed

to resemble a caterpillar belt
or the engravings on a barrel.

We intended to create
a military analogy,

so there was a khaki-colored model.
That's how we learned to do it.

Everything had to be monumental,
like the Kalashnikov,

made for all times.

The Synthesizers made from
waste parts were unpredictable.

Most of them were unsuitable to play music;

they just produced cosmic sounds.

And some of these sounds were banned,
for ideological reasons.

Vanya Sokolovsky was my band
partner from Nochnoy Prospect.

We started in the late 1970's,
early 1980's.

We wanted to do
electronic music,

but we did not have
the technical resources.

So we used everything that
we could get our hands on.

It was considered improper to use
Soviet synthesizers for stylish music.

These huge coffins,
hard to steer,

with unpredictable sound.

Due to the overall shortage,
any musical instrument,

any synthesizer
was extremely valuable.

Something about it was ritual,
almost sacral.

We recorded electro pop,
rock-n-roll and twist,

quite cheerful dance tunes
that had a certain success.

It wasn't really pop music.

We were still in
an alternative scene,

in some kind of
intellectual underground.

We played in dorms,
at dance events and parties.

The equipment and safety
measures were very poor.

A couple of times,
I got electric shock

when I touched
a cable or the microphone.

It feels nice when
it's not too much.

However, electricity is
a terrible force.

But this did not scare me off
from electricity.

Noise, for example, includes
all the music in the world.

Hi, how is it going?
I'm here, like we agreed.

It's nice here, fresh.

- How was your trip?
- Not bad. A bit hot.

Where is it,
what you promised?

- In perfect condition.

- A Yunost! How did you manage
to keep it, not break anything?

- Do you remember when
we played like that?

- That pop-rock with
pitch-bend and chorus.

A great piece.
I used to have one.

- It has a strap and everything.
- Great.

- The manual, too.
- Andrey, so can we come to an agreement?

- I think so.

- You won't get in trouble, will you?
- No

- The other one is in use,
but this one is not officially listed?

- Ok then, will 1000 work?
- 1000 euro!

- No, rubles.
- No, 1000 rubles is too little.

- How much do you want then?
Realistically, for a friend.

- Is 3 ok for you?

- You think 3? What about
a discount? For your buddy?

- 2,500.
- Fine, ok, it's a deal.

- Wrap it up!

- Tell me, do you perform a lot?
- Yeah, once in a while.

- Is this a dance floor?

- No, they normally dance there.
They take out the chairs.

- The projectors, the sound
equipment, all from abroad?

- China.
- Well-functioning China?

- Yes.

- Well, the main thing is that there
is enough air in here when it's crowded.

- Not really, it is stuffy when it's crowded.
- Really?

Well, what can you do.

- Let's go. Walk me out?

After the brave experiment
of materializing the communist ghost,

a huge territory was filled with various
garbage, entangled by endless wires

that were leading to nowhere
from nowhere for no apparent reason.

Perestroika - reconstruction - began.

The Iron Curtain fell.

But they never actually reconstructed anything -
they just took down cables

and started selling them to the West
as a scrap metal, at a rather low price.

The Russian deconstruction knew no limits;

there was nothing they would stop for.

They dug out cables, sawed arms
and machinery into pieces.

Electrification minus Soviet power

unexpectedly equaled a medieval market
plus subsistence farming.

The Lenin formula worked as well
in the opposite direction, too.

The market did its black deed.

Then, as a result of terrible urban
mutations, the New Moscow arose.

The air of Moscow is
very inspiring for me.

Being able to inhale impurities

stimulates creativity,
to a certain extent.

If the air is cleaner, as in
most European cities,

something else happens.
For me, as an urban monk,

the air in Moscow
is very inspiring.

And the smells.
The air is not formatted here.

The ideology of standardization
hasn't reached it yet.

Descartes said,
'I think therefore I am.'

I say, 'I arrive at the studio,
turn on the equipment;

I hear sounds and turn knobs,
therefore I am.'

What I like about the
Soviet instruments is

that they are imperfect.

In their coating, their
design, their keys.

But at the same time
the instrument tells you:

'Hey, I am messed up. Probably,
you are, too. Let's try it together.'

On a western device, you push
a button and get a result.

On a Soviet instrument, you push
a button and get something.

These instruments are unpredictable.
As is life in Moscow, in Russia.

Since they are part of the life
that surrounds us.

Let's assume that the
phenomenon of Russian life is,

as Lenin said, 'inexhaustible
as the electron'.

Then the native Soviet
synthesizers also have this quality.

They translate some kind
of profound lifeline,

the beginning of which was laid
by the great October Revolution.

Electricity holds not one world,
but many worlds.

There are wars and sex,

the cosmos is born there,
and it dies there.

And when you switch off
an analogue instrument,

you know it goes to sleep

and tells you: "Let's not part for long.
Please, switch me on again.

I also want to live,
if only for some time."

The artifacts of a disappeared
soviet civilization could still be found.

Then there came archaeologist dealers,
and some strange avant-garde inventors

that used both dealers and artifacts
for their own purposes

Those purposes would be very difficult
to explain to an ordinary person.

In a manner of speaking, it was hard
to say who's in front of you

a genius or a madman.

Though in Russia it is quite common case.

Actually, there is
no system at all.

If a system exists,
you can plan the outcome.

You have an idea of
what you want to get.

You build it into
a certain musical style.

Everything that sounds or
generates sounds has the right to be.

At some point I might be more
interested in never-ending experiment.

Then I am in motion.

For me, the process of creating
is more interesting than the result.

Chaos interests me.

In chaos you can find different
directions and sonic lines.

You notice one angle today,
a different one tomorrow.

You can keep studying
the chaos endlessly.

- This track will be about ten minutes,
any longer will be boring.

- And if we play it for two hours?

- It won't be interesting.
At least I would get bored.

- You want it to be
interesting all the time?

- Why should I waste
my time otherwise?

- When something is boring for
a long time, it gets interesting again.

- Really?

- If the concept is that I can't play,
maybe we should change something.

- What do you mean by 'can't play'?
You are not at school,

where they'd tell you
'you can't play'.

- Ok, if we don't have a concept at all,
no problem.

- Why is it no problem?
- If there was an idea, for example punk...

- Olga, why do you always want to classify things?
- I do not.

- Go with the flow.

You keep searching for this
interaction, for playing together.

- There's an overall concept.
And then we say 'now improvise!'

- And everyone goes, Ah, now improvise!
We're all improvising together!

Like in the crowd,
like in communism!

And what if someone says
'I don't want to improvise,

I want do my own thing.'
What are you going to tell him?

- Hold on, isn't the improvising and
the doing-my-own-thing one and the same?

- Hello, Dad!?
Can you hear me?

- Maybe I am too demanding
for the first rehearsal.

- Actually, we didn't rehearse,
we recorded an album.

A rehearsing musician is one that cannot play.
I told you that 10 times already.

Any professional will confirm this.

- I'm not against rehearsing,
I'm just not interested in it.

I want the music to occur
and catch it on tape.

When you keep repeating
the same thing,for some purpose...

Sure, I did it in the 80's and 90's.

I don't care for it anymore,
you know?

Not because I'm against rehearsing.

Or because I'm this
stubborn dilettante.

- Hello, Mom, do you hear me?
Dad called me several times,

I don't know why. I called
him back, he didn't answer.

Ah, got it. We are finished with
rehearsing, I'll be home soon.

It is working, thank God!

Hi. It's Alexey from Moscow.

What is the weather like
in Saratov?

Rainy? Sorry, man;
it's basically the same here.

Well, I brought a Venec 3201.

It works; a full set:
passport, manuals, strap,

brown leather cover,
in sound condition.

I would like to have 4000 for it.

Because I brought it for you
and I paid 3000 for it.

Richard, I have good news for you.

The modulators are all there,
it is not even scratched.

There are 3 buttons, 4 switches
and 1-2-3-4-5 levers to regulate.

I haven't tried it out,
but everything is in place.

Ok, just let me know,
come over and have a look.

That's it. Everything sold ...

... basically.

- How are you?
- Fine.

- You feel this?
- Yes, I like it.

- It has a very good pitch.

- Maybe I'll take it. I don't have
a Kvintet and it is not too big.

- It is compact and
comes with the original case.

- How much do you want for it?

- 1.800 for you.
- We'll talk about it.

- It's got a headphone jack
and one for a sustain pedal.

- All the keys are ok?
- Yes, you can check it out.

- By the way, it's quite a rare one.
- It's in good shape.

- That one is messed up.

- What's the problem?
- The bass sound gets stuck.

- How much do you
want for that one?

- 500. I'll sell at the price
I got it for.

- You know, I'll take it.

- I just took it to keep up my source.
Careful, the screws are missing.

A flow of immigrants burst into Russia,

but not from the West, as everyone would
have preferred, but mostly from the East.

They finally brought private trade
back to its legitimate spot.

What used to be reason for arrest
now became the principal activity of people.

They called it - business.

At this point, a new fairytale starts.

A Chinese folk tale, so to say.

- How much are the guns?
- 250 each.

- And the small Cheburashka?
- 300.

- And this microphone?
- 100.

Chinese toys are
dangerous for children.

They are made of plastic
that can't be inhaled.

The paint comes off and
stays on the tongue

and doesn't leave the body.

And the solder used to assemble
the circuit is lead.

Let's get to know each other!

Do you like to play? Let's play!

One, two, three, four, five,
let's play hide and seek.

We are going to be friends.

The Chinese idiots, how can you
make something this poorly.

Do you like to play? Let's play!

One, two, three, four, five,
let's play hide and seek.

For me, Chinese toys are
a great chance to get new sounds.

They are made in a simple way.

They break, but you do not mind.

And to break them is sometimes
not even that easy.

Because of their simple sound generators
they are quite flexible for circuit bending.

Here the magic
has started already.

It does not scare me to randomly
short-circuiting any pin.

Experience tells me that even
knowledge cannot always

catch all the possibilities
of electric chains.

Any result, if it is
somewhat stable

and does not lead to the loss
of the device, is a result.

This system is made of garbage.

All these colored modules
are separate.

All made from waste products.

I make it into a single complex,

so that everything
can be connected.

Maybe this is the
first Russian modular.

- Meow!

- There is something catlike in it.

- Great thing.

- This is you, Richard.

- German.
- You can really tell.

- It is crafted by engineers.

Looks good and
is very pragmatic.

- It stopped working.
- It stopped working forever.

- It will work again.

I am saying this, Dima,
without any compliments.

But your instruments are
much more interesting.

Why did you
praise this one so much?

It is an object of
a capitalist mode of production.

- I sometimes don't mind this
capitalist mode of production.

I think we need to choose
a third way.

To unite their potential and

pragmatic approach

with a bit of Russian craziness.

Then it is going to be
more interesting.

If you fall completely
into Soviet nostalgia,

you get a bit lost in time.

The ghost of communism fell into oblivion.

Perhaps it left this planet forever.

The new leaders had no interest
in investing much into costly experiments;

they needed the money for themselves.

When Lenin died, his embalmed body
was put into a sarcophagus

on the Red Square, where he lies
for almost a century now.

What they were hoping for is a mystery.

But hope in Russia is the
last to die, as people say.

Hope lives forever.

... needed to solve
a series of problems.

- Mr. Theremin,
did I understand correctly -

did your work come
to the issues of eternal life?

- Yes, yes.

- So your work is incredibly valuable,
it helps find immortality.

- Yes, in fact, I was working
on two problems.

The first was
an anti-aging treatment.

1 year of treatment
can reduce age by 4 years.

So, a few years of treatment,

and you look 25 again.

And have the abilities of a 25-year-old.

That's what we call rejuvenation.

The second is when a person died
but was left whole.

Not blown up in pieces
during a blast.

Just when a few mechanisms
malfunctioned -

the heart, the lungs.

Then it would be possible
to revive the person.

We knew how to do it.

We had the knowledge
to restore people's life and health

as it was before death.

These are the 2 methods I created.

And they have been tested
in lab experiments.