Johnnie Burn’s journey into ethical soundscaping for “The Zone of Interest”

Crafting the sounds behind a chilling narrative

The recent spotlight on sound designer Johnnie Burn highlights an extraordinary journey of creativity and ethical considerations in recreating the sounds of Auschwitz for Jonathan Glazer’s Holocaust drama, The Zone of Interest. With an Oscar now adorning his mantle, Burn’s commitment to authenticity and respect shines through his detailed process.

An ethical journey through sound

Glazer’s film narrates the unsettling true story of German SS officer Rudolf Höss and his wife, Hedwig, who lived with their children next door to a Nazi death camp. The disturbing sounds drifting from the death camp across the wall play a pivotal role in delivering its emotional and psychological impact. Speaking at the BFI London Film Festival, Burn delved deep into his methodology, emphasizing the importance of not sensationalizing the atrocities.

Respecting history through sound

According to Burn, Glazer’s vision was to use sound to subtly suggest the horrors of mass industrial murder without resorting to overt dramatization. This decision, rooted in historical respect, led them away from merely simulating distressing noises. Instead, Burn sought real-world sounds that could authentically convey the required emotions.

Field recordings for authenticity

To capture these raw emotions, Burn attended various real-life events. He collected sounds from the 2022 Paris riots against work and pension reforms, gaining what he described as “a good source of French-sounding prisoners.” Similarly, he visited lower-league football matches in rural Germany to record the aggressive shouts of young German men. This approach ensured that the sounds were both genuine and contextually appropriate.

The philosophy of real-world soundscaping

“You’re not really hearing the spoken words,” Burn explains, highlighting that the essence was in capturing natural responses rather than synthetic recreations. This philosophy not only respected the sensitivity of the historical context but also added a layer of authenticity that staged recordings could never achieve.

Collaboration and innovation in sound design

Burn’s innovative techniques are not isolated to The Zone of Interest. His collaboration with Jonathan Glazer dates back to 2013’s Under the Skin, showcasing a sustained partnership that pushes the boundaries of cinematic soundscaping. Additionally, Burn’s expertise extends to the works of acclaimed director Yorgos Lanthimos, contributing to the auditory landscapes of films like Poor Things.

A peek into ‘Bugonia’

Burn also shed light on Lanthimos’s next feature, Bugonia, worked on by Jerskin Fendrix—a collaboration that began with Poor Things. Remarkably, Fendrix composed the entire score based on a cryptic “three-word brief,” with the cast and crew providing no additional script insights. This unconventional method underscores the innovative spirit driving Burn’s projects.

Burn’s reaction to the film was unabashedly enthusiastic. He described watching a recent cut as “incredible,” particularly praising the final scene as “extraordinary.” Such high regard from a sound designer of Burn’s caliber speaks volumes about the creative synergy behind Bugonia.

Soundscaping as a narrative force

The intricacies of sound design go far beyond mere technical execution; they encase the power to shape a story’s emotional texture. Burn’s work on The Zone of Interest is a testament to how sound can ethically and respectfully narrate the most challenging stories. Through real-world soundscapes, Burn preserves the integrity of historical narratives while ensuring a profound impact on the audience.

Continuation of excellence

Johnnie Burn’s body of work exemplifies the pinnacle of sound design, blending innovation with ethical practices. Whether it’s the calculated distress of Auschwitz in The Zone of Interest or the avant-garde techniques employed in Lanthimos’s films, Burn’s contributions are redefining how sound can elevate cinema’s narrative art.

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