- Presented the Biophon, his method of producing talking films, as the headlining attraction at Berlin's Apollo Theatre in August 1903.
- Oskar opened Berlin's very first cinema at 21 Unter den Linden on 15th June 1896.
- Berlin, 30th June 1900: Formed his own production company, Messter Projections.
- St. Louis, Missouri, and its Olympic Games of 1904, is where Oskar used his Biophon to shoot his first films which contained a synchronised soundtrack.
- At early time he also produced records of stage performances, among them "Rapunzel" (1897), "Hänsel und Gretel" (1897), "Die bösen Buben" (1897), "Walküre" (1898), "Schlussszene des II Aktes aus "Der Fall Corignan" (1898) and "Der verliebte Reservemann" (1898).
- Oskar Messter produced many movies at the beginning of his career with normally self-explanatory titles like "Schlittschuhläufer auf der West-Eisbahn" (1896), "Vor der Albert-Brücke in Dresden" (1897), "Umsturz einer Mauer" (1897), "Stapellauf vom Kreuzer Wilhelm der Grossen" (1897), or "Seine Majestät Kaiser Wilhelm II in Stettin" (1897),.
- When he sold his companies they were integrated to the UFA. Oskar Messter himself retired from the active film business in 1918.
- Many of later famous silent movie stars made their debut in movies of Oskar Messter in those years, among them Henny Porten who became one of the most popular German silent movie stars. Also other stars earned their first spurs by Oskar Messter, among them Emil Jannings, Werner Krauss, Robert Wiene and Carl Froelich.
- He donated his collection of historical film equipment to the German Museum in 1932.
- In 1897, he already offered 84 films showing a wide variety of scenes. Four years later, he restructured his company into separate firms for film production, distribution, and the manufacturing of optical equipment, including film projectors.
- To his other milestones belong the development of the slow motion camera, the camera for microscopical shots, the realisation of the very first newsreel and the foundation of the Sascha-Messter-Film together with Sascha Kolowrat-Krakowsky.
- From 1909 to 1917, his film company produced 350 films.
- In 1936 he published his biography called "Mein Weg mit dem Film".
- The film pioneer and producer Oskar Messter finished an education as an optician by his father who possessed a firm for optical equipment. This was essential for the later career of Oskar Messter.
- When the film became established in the 10s and many directors realised movies Oskar Messter remained an important producer in the film business. In the next years he realised more feature movies and less documentaries. Henny Porten founded her later fame in those years and took part in many of his movies.
- Oskar Messter continued his career as a producer in the new century and he was also always interested in new inventions. Among others he realised the first so-called "Tonbild" movie by combining a gramophone and the pictures on the big screen.
- He took over the management of his father's company in 1895 and only one year later he developed his first own film projector. Soon afterwards he opened the first cinema where he demonstrated his first own movies to an enthusiastic audience. The movies were documentaries of contemporary events and showed partially everyday entities, partially huge occasions. But everything was interesting and fascinating for the film unacquainted audience.
- Messter built and sold his first movie projector in 1896, one of the first projectors using a Geneva drive to achieve the intermittent motion of the film. He is often credited with inventing this application of the Geneva drive, but both Max Gliewe (also in Berlin) and Robert W. Paul in London independently built projectors using this mechanism for film transport at about the same time. Gliewe later joined Messter's company, and together they produced highly successful projectors - already in his first year, Messter sold 64 units.
- Only in 1924 he realised a movie again for the last time called "Der Sprung ins Leben" (1924).
- In April, 1918, all of the Messter film companies were sold to the newly-founded UFA monopoly for 5.3 million gold Marks, becoming one of the cornerstones of the gigantic concern that would dominate the German film industry until the end of 1945.
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