Thea von Harbou (1888 – 1954) was a German actress, author and screenwriter. Her first husband was the actor and director Rudolf Klein-Rogge, whom she married in 1914. She married Fritz Lang in 1922, and they collaborated in the following years, writing the screenplays for Metropolis and M together. They divorced in 1933, possibly because Thea had joined the National Socialist German Workers Party in 1932. Lang left Germany in 1934. Harbou wrote the script for Der Herrscher (1937), starring Emil Jannings. The movie celebrates unconditional submission under absolute authority, eventually finding reward in total victory. After the war she was detained by the British military government, and did unskilled labor. After receiving a working permit, she continued to write scripts. She died in 1954, aged 65, in Berlin.

Erich Pommer (1889 – 1966) was a German-born film producer and executive. He was a genius producer and businessman on both sides of the Atlantic, Erich Pommer was the driving force of fifty years of German film history. He was involved in the German Expressionist film movement during the silent era as the head of production at Ufa from 1924 to 1926 responsible for many of the best known movies of the Weimar Republic such as The Cabinet of Dr. Caligari (1920), Dr. Mabuse, the Gambler (1922), Die Nibelungen (1924), Mikaël (1924), Der Letzte Mann/The Last Laugh (1924), Variety (1925), Tartuffe (1926), Faust (1926), Metropolis (1927) and The Blue Angel (1930). He later worked in American exile before returning to Germany for a time after the war.

Günther Rittau (1893 - 1971) was a German camera operator and film director. After study of science in Berlin, Rittau started his career in 1919 at the documentary-film department of Decla, later at Universum Film AG. From 1924, he was active as a feature cameraman. His experiences with the documentary film production and the production of trick photographs let to the development of his style. Metropolis (1927, as camera operator) and a propaganda movie U-Boote westwärts! (en:U-boats westwards!) (1941, as director) are considered to be among his best artistic achievements. After WWII, he returned to filmmaking only in 1954. He was active into the 1960s. In 1967, he was awarded Filmband in Gold.

Günther Rittau (1893 -1971) was a German camera operator and film director. Heu originally trained as an optical instruments technician. He began photographing films in the '20s and worked as a lighting director through the early '30s. His experiences with the documentary film production and the production of trick photographs let to the development of his style as seen in Metropolis (1927, as camera operator). For a time he became a director of average-quality films. Following WWII, Rittau again became a cinematographer.

Otto Hunte (1881-1960) began his career as an artist in a Munich experimental group, was an outstanding contributor to the success of the German film industry in the 1920s. Hunte was Lang's major designer, bringing his experience as a painter to the director's architectural background. He created the great landscapes of Die Nibelungen , the futuristic constructions of Metropolis and The Girl in the Moon , and the Mabuse films. After Lang's escape to exile, Hunte remained in Germany, working with Von Harbou on many of her films and even designing the notoriously anti-semitic Jud Süss.

Erich Kettelhut (1893-1979) was apprenticed as a stage-set painter, studied drawing and painting at the Kunstgewerbeschule in Berlin, and held various appointments at provincial theatres. Kettelhut's specialty was above all architectural models, as well as the special effects necessary to make his trick building appear as actual architecture on the screen. As on Metropolis, Kettelhut worked mainly with Gunther Rittau, a cameraman with a great interest in special effects. Thanks to his diversity, Kettelhut remained in demand as a set designer after the end of World War II. Shooting of Die 1000 Augen des Dr. Mabuse (The Thousand Eyes of Dr. Mabuse, 1960) brought him and Lang together once again. With Lang's last film, Kettelhut also left the cinema.

Karl Vollbrecht (1886-1973) was an art director, production designer and set designer. Films include Das Testament des Dr. Mabuse (1932), M (1931), Spione (1928), Metropolis(1927) and Die Nibelungen: Siegfried (1924).

Gottfried Huppertz (1887 -1937) was a musician and film composer who played a major role in German cinema of the 1920s. Huppertz was the logical choice to provide the music accompaniment to Metropolis. Huppertz's music for this movie was composed while it was being shot, rather than at the conclusion of the production, and with the additional time at his disposal, the composer achieved a level of quality that was extraordinary. His music for Metropolis incorporated both Romantic-era and modernist stylistic elements to accompany different sections of the movie, even as he also worked in quotes from familiar musical touchstones such as "La Marseillaise" in the scene where the workers rebel. Some of its highlights were released on a 78 rpm album, a rare honor for a film score of the silent era.

Aenne Willkomm was born in 1902 in Shanghai, China. The fantastically creative costume design for Metropolis, where the wardrobes of luxury and penury, want and freedom are clearly defined, was a masterpiece. She interpreted her own vision of the future by playing off the character’s personalities with her designs. Yet as wonderful and fantastical as they may be, they do feel a little dated, even by the film's own standards in 1927. Aenne Willkomm died in 1979.

Eugen Schüfftan (1893 -197) was an Academy Award-winning cinematographer. He invented the Schüfftan process, a special effects technique that employed mirrors to insert actors into miniature sets. One of the first uses of the process was for Metropolis (1927), directed by Fritz Lang. The technique was widely used throughout the first half of the 20th century until it was supplanted by the travelling matte and bluescreen techniques. Schüfftan won the 1962 Academy Award for Best Cinematography, Black-and-White for his work on the film The Hustle