The Zone of Interest - crew, film crew
The entire team, the film crew of the film "The Zone of Interest"
The Zone of Interest (2023)
Timing:
1:45 (105 min)
7.012/10
2547
2547
6.791/10
39008
39008
7.3/10
164000
164000
Film crew
Director
Producer
James Wilson
Producer
Ewa Puszczyńska
Producer
Executive Producer
Reno Antoniades
Executive Producer
David Kimbangi
Executive Producer
Ke'Lonn Darnell
Executive Producer
Writer
Casting
Simone Bär
Casting
Magdalena Szwarcbart
Casting
Alexandra Montag
Casting
Jacqueline Rietz
Casting
Gniewko Falana
Casting
Editor
Paul Watts
Editor
Art Direction
Katarzyna Sikora
Art Direction
Supervising Art Director
Joanna Kuś
Supervising Art Director
Katarzyna Sikora
Supervising Art Director
Costume Design
Małgorzata Karpiuk
Costume Design
Stunts
Tomasz Jarzębski
Stunts
Franciszek Zuzak
Stunts
Jakub Bartosiewicz
Stunts
Kacper Wierzbicki
Stunts
Patryk Radziszewski
Stunts
Arkadiusz Suwalski
Stunts
Kamil Kozłowski
Stunts
Dawid Giera
Stunts
Production Design
Chris Oddy
Production Design
Stunt Coordinator
Jakub Kostrzewa
Stunt Coordinator
Set Decoration
Joanna Kuś
Set Decoration
Katarzyna Sikora
Set Decoration
Makeup Artist
Tomasz Sielecki
Makeup Artist
Sound Re-Recording Mixer
Original Music Composer
Co-Producer
Bugs Hartley
Co-Producer
Bartek Rainski
Co-Producer
Second Assistant Director
Mieszko Falana
Second Assistant Director
Director of Photography
Camera Operator
Stanislaw Cuske
Camera Operator
Bartosz Toboła
Camera Operator
Sound Effects Editor
Joe Mount
Sound Effects Editor
Simon Carroll
Sound Effects Editor
Brendan Feeney
Sound Effects Editor
Visual Effects Supervisor
Guillaume Ménard
Visual Effects Supervisor
Bodie Clare
Visual Effects Supervisor
Supervising Sound Editor
Script Supervisor
Marzena Poplawska
Script Supervisor
Hairstylist
Tomasz Sielecki
Hairstylist
Still Photographer
Agata Grzybowska
Still Photographer
Jakub Kamiński
Still Photographer
Visual Effects Producer
Harry Landymore
Visual Effects Producer
First Assistant Director
Marc A. Wilson
First Assistant Director
Thanks
Sanford Lieberson
Thanks
Jane Robertson
Thanks
Production Manager
Małgorzata Bereźnicka
Production Manager
Novel
Martin Amis
Novel
First Assistant Editor
Andreas D. Nold
First Assistant Editor
Foley Artist
Jacek Wiśniewski
Foley Artist
Sound Designer
Art Department Coordinator
Jadwiga Bochenska
Art Department Coordinator
Assistant Editor
Ludwik Sielicki
Assistant Editor
Foley Editor
Natalia Lubowiecka
Foley Editor
Dawid Konecki
Foley Editor
Kamil Kwiatkowski
Foley Editor
Ewa Mazurkiewicz
Foley Editor
Props
Marek Zagdański
Props
Key Grip
Tomasz Sternicki
Key Grip
Location Manager
Eugene Strange
Location Manager
Grip
Rafał Kołodziej
Grip
Michał Kucharzewski
Grip
Hervé Renoud-Lyat
Grip
Second Second Assistant Director
Dominik Watin
Second Second Assistant Director
Visual Effects Production Manager
Marja Maccotta
Visual Effects Production Manager
Archie Lodewyke
Visual Effects Production Manager
Music Supervisor
Bridget Samuels
Music Supervisor
Makeup Designer
Waldemar Pokromski
Makeup Designer
Foley Mixer
Michał Wilczewski
Foley Mixer
Filip Stefanowski
Foley Mixer
Songs
Joseph Wulf
Songs
Music
Joseph Wulf
Music
Focus Puller
Anna Bogacz
Focus Puller
Katarzyna Świetlikowska
Focus Puller
Łukasz Skwara
Focus Puller
Jakub Kierski
Focus Puller
Filip Baczuń
Focus Puller
Maciej Król
Focus Puller
Marek Puzia
Focus Puller
Digital Imaging Technician
Krzysztof Zawieja
Digital Imaging Technician
Krzysztof Wlodarczyk
Digital Imaging Technician
Production Sound Mixer
Tarn Willers
Production Sound Mixer
Video Assist Operator
Krzysztof Swiderski
Video Assist Operator
Konrad Kowalczyk
Video Assist Operator
ADR Recordist
Oliver Vorderbruegge
ADR Recordist
VFX Editor
Sam Paul Toms
VFX Editor
Charlie Nevett
VFX Editor
Digital Compositor
Maxwell Alexander
Digital Compositor
Charlotte Larive
Digital Compositor
Hannah Sornay
Digital Compositor
Jonathan Atkins-Pott
Digital Compositor
Pete Baxter
Digital Compositor
Sanju Travis
Digital Compositor
Other
Franz Rodenkirchen
Other
In Memory Of
Martin Amis
In Memory Of
Simone Bär
In Memory Of
Colorist
Gareth Bishop
Colorist
Post Production Supervisor
Richard Lloyd
Post Production Supervisor
Researcher
Lucy Pardee
Researcher
Michał Śliwkiewicz
Researcher
Sound Engineer
Jim Ogden
Sound Engineer
Sound Assistant
Beresford Cookman
Sound Assistant
Production Coordinator
Molly Moffatt
Production Coordinator
Dominika Połomska
Production Coordinator
Witold Franczak
Production Coordinator
Visual Effects Coordinator
Beth Marshall
Visual Effects Coordinator
Samuele Pasquali
Visual Effects Coordinator
Visual Effects
Daniel Gilligan
Visual Effects
Visual Effects Compositor
Gregory Corraze
Visual Effects Compositor
Giovanni Facci
Visual Effects Compositor
Line Producer
Magdalena Malisz
Line Producer
Sound Mix Technician
Declan Ilett
Sound Mix Technician
Mateusz Stasiak
Sound Mix Technician
Ashley Smith
Sound Mix Technician
Second Assistant Camera
Karol Masiarz
Second Assistant Camera
Executive In Charge Of Production
Nathan Reinhart
Executive In Charge Of Production
Matte Painter
Rick Kamp
Matte Painter
Matchmove Supervisor
Xavier Goubin
Matchmove Supervisor
Rotoscoping Artist
Alex Frost
Rotoscoping Artist
Matthew Hale
Rotoscoping Artist
Lewis Powis
Rotoscoping Artist
Luke Beckett
Rotoscoping Artist
Duarte Castelo Branco
Rotoscoping Artist
Simon Firth
Rotoscoping Artist
Maxime Gouilloux
Rotoscoping Artist
Adam Middleton
Rotoscoping Artist
Sophie Newton
Rotoscoping Artist
Francesca Pappalardo
Rotoscoping Artist
Lucas Poncon
Rotoscoping Artist
Celine Pourcelot
Rotoscoping Artist
Robyn Roach
Rotoscoping Artist
Sara Roxanne Rydding
Rotoscoping Artist
Assistant Production Manager
Maja Krężel
Assistant Production Manager
Łucja Dylewicz
Assistant Production Manager
Kornelia Kamieniarz
Assistant Production Manager
Maciej Wąsiel
Assistant Production Manager
Title Designer
Alex Breuer
Title Designer
Administration
Agnieszka Stanek
Administration
Elżbieta Śnigórska
Administration
Magdalena Plucennik
Administration
Translator
Maciej Falkowski
Translator
Emilia Puszczyńska
Translator
Sound Editor
Maximilian Behrens
Sound Editor
Digital Intermediate Producer
Sarah Morowa
Digital Intermediate Producer
Roto Supervisor
Jenny Gauci
Roto Supervisor
Josh Black
Roto Supervisor
Katherine Melville
Roto Supervisor
Special Props
Joanna Sikora
Special Props
Damian Skrzek
Special Props
Anna Ciasto-Cytowicz
Special Props
Adrian Budzyński
Special Props
Digital Intermediate
Krzysztof Wlodarczyk
Digital Intermediate
Dialogue
Lukas Feigelfeld
Dialogue
Assistant Camera
Bartosz Toboła
Assistant Camera
Data Wrangler
Marcin Laskus
Data Wrangler
Jakub Cmiel
Data Wrangler
Marcela Paniak
Data Wrangler
Jacek Wielgosz
Data Wrangler
Marcin Laskus
Data Wrangler
Executive Visual Effects Producer
Aimee Dadswell
Executive Visual Effects Producer
Additional Casting
Katrin Vorderwülbecke
Additional Casting
Mix Technician
Declan Ilett
Mix Technician
Camera Car
Filip Jurzyk
Camera Car
Marek Rolka
Camera Car
Script
Marzena Poplawska
Script
Catering
Piotr Koszniec
Catering
Marta Zieja
Catering
Beata Lewicka
Catering
Roman Kupis
Catering
Master Lighting Artist
Konrad Pruski
Master Lighting Artist
Underwater Director of Photography
Aleksander Pałasiński
Underwater Director of Photography
Digital Intermediate Data Wrangler
Lindsey Studholme
Digital Intermediate Data Wrangler
What's left behind the scenes
- Director Jonathan Glazer ordered remotely controlled cameras to be installed in the house and garden so that the actors would not know if they were being filmed at any given moment, and if so – whether it was a close-up or not. This allowed the actors to fully immerse themselves in what was happening.
- Martin Amis, the screenwriter and author of the novel on which the film is based, died on the day of the film's premiere at the 76th Cannes Film Festival.
- Sandra Hüller's character tells her friends that her coat is 'From Canada'. This was the name given to a vast warehouse on the territory of the concentration camp where items taken from prisoners were stored.
- Thanks to the numerous cameras used during filming, director and screenwriter Jonathan Glazer had over 800 hours of footage by the beginning of the editing process.
- Director and screenwriter Jonathan Glazer did not want the audience to see all the atrocities that took place in the concentration camp. He wanted them to hear it. Therefore, sound operator Johnny Burn compiled a 600-page document describing significant events in the history of Auschwitz, including eyewitness accounts and a detailed map of the camp. This map allowed for precise determination of distances between points and the range at which sounds could be heard. Burn spent a year compiling a sound library, which included sounds of production equipment, the crematorium, furnaces, the trampling of shoes, gunshots, the clatter of railcars, barking dogs, and screams. Since many French people were brought to Auschwitz, Burn used screams from protests in Paris in 2022. Sounds of drunken guards were provided by recordings made at a train station in Hamburg.
- Filming began in the summer of 2021 near Auschwitz in Poland. Filmmakers hoped to shoot in the actual home of commandant Rudolf Höss, but the house was in terrible condition due to its location on a UNESCO World Heritage site. A suitable building was found nearby. The filmmakers began planting trees as early as April 2021.
- The Höss family's residence was not authentic, however, the scene in the basement was filmed in a real basement of a house where the Höss family once lived.
- The image of the young Polish woman was based on a certain Alexandra, whom director and screenwriter Jonathan Glazer met while gathering material for the film. At the age of 12, she was a member of an underground organization and rode her bicycle to the concentration camp with apples for the prisoners, and her actual bicycle and dress are shown in the film.
- Almost the entire film was shot in natural light, and a thermal imaging camera was used for the night scenes.
- Once Sandra Hüller decided not to play roles of Nazis, convinced that actors, consciously or not, try to give their characters a certain glamour. Therefore, Jonathan Glazer gave her an unglamorous role.
- Jonathan Glazer's screenplay has very little in common with the literary source – the novel of the same name by Martin Amis. Amis's novel tells a fictional love story, told from three different points of view, often in a comedic language.
- The film depicts a Hoffmann kiln, invented and patented in 1858 by German engineer Friedrich Hoffmann.
- The sound of a motorcycle engine is audible in outdoor scenes. Among Rudolf Höss's staff, there was a designated person who started the motorcycle to drown out screams and gunfire.
- Director Jonathan Glazer ordered the installation of remotely controlled cameras in the house and garden so that the actors would not know if they were being filmed at any given moment, and if so, whether it was a close-up or not. This allowed the actors to fully immerse themselves in what was happening.
- The protagonist, played by Sandra Hüller, tells her friends that her coat is “From Canada.” That was the name given to a massive warehouse within the concentration camp grounds where items confiscated from prisoners were stored.
- Jonathan Glazer's screenplay has very little in common with the literary source material – the novel of the same name by Martin Amis. Amis’s novel tells a fictional love story, narrated from three different perspectives and often using a comedic tone.
Did you like the film?
Auditions in India
Casting calls in USA
Castingi w Polsce
Кастинги в Україні
