The recent spotlight on sound designer Johnnie Burn<\/strong> highlights an extraordinary journey of creativity and ethical considerations in recreating the sounds of Auschwitz<\/strong> for Jonathan Glazer\u2019s Holocaust drama, The Zone of Interest<\/a><\/em>. With an Oscar now adorning his mantle, Burn’s commitment to authenticity and respect shines through his detailed process.<\/p>\n Glazer\u2019s film narrates the unsettling true story of German SS officer Rudolf H\u00f6ss<\/strong> and his wife, Hedwig<\/strong>, 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<\/strong>, Burn delved deep into his methodology, emphasizing the importance of not sensationalizing the atrocities.<\/p>\n According to Burn, Glazer\u2019s vision was to use sound to subtly suggest<\/em> 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.<\/p>\n To capture these raw emotions, Burn attended various real-life events<\/strong>. He collected sounds from the 2022 Paris riots against work and pension reforms, gaining what he described as \u201ca good source of French-sounding prisoners.\u201d 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.<\/p>\n \u201cYou’re not really hearing the spoken words,\u201d 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.<\/p>\n Burn\u2019s innovative techniques are not isolated to The Zone of Interest<\/em>. His collaboration with Jonathan Glazer<\/strong> dates back to 2013\u2019s Under the Skin<\/a><\/em>, showcasing a sustained partnership that pushes the boundaries of cinematic soundscaping. Additionally, Burn\u2019s expertise extends to the works of acclaimed director Yorgos Lanthimos<\/strong>, contributing to the auditory landscapes of films like Poor Things<\/a><\/em>.<\/p>\nAn ethical journey through sound<\/h3>\n
Respecting history through sound<\/h3>\n
Field recordings for authenticity<\/h3>\n
The philosophy of real-world soundscaping<\/h3>\n
Collaboration and innovation in sound design<\/h3>\n
A peek into ‘Bugonia’<\/h3>\n