“Hello, my name is Jonathan Glazer and I am the writer and director of “Zone of Interest”. We therefore open the sequence with a prisoner gardener, one of whose tasks is to clean the boots of Rudolf Höss, the commander. So everything you’re going to see in this scene was shot simultaneously with 10 cameras. We watch Hedwig Höss here with her friends having fun – it’s a typical weekday morning in the Höss household. The cameras just filmed these women in the kitchen, they are rolling simultaneously with the cameras here filming this girl. And it’s a character called Aniela, who was real and who lived and worked in the Höss house as a servant, as so many local Polish girls worked in the SS houses for themselves and their families. I follow her in this sequence rather than the main characters, because it’s really one of the only moments in the film where we get to see, connect with, and spend time with, essentially, a victim of these atrocities. She’s not a Jewish girl. She’s a local Polish girl. As long as she keeps her head down and continues her work, she will be safe. So that’s really what you’re seeing here. I remember it, I remember it, it was being invisible. This is what she had to do, and do everything as if her life depended on it. Each action is therefore carefully studied here. She is truly fantastic. The goal of filming — using all these cameras simultaneously was because I really didn’t want to have the artificial construction of a conventional film to tell this story — rather, to see them anthropologically, as if we were a fly on the wall, really, and just observe how they behaved and how they interacted, and don’t get caught up in the kind of screen psychologies that one gets when using close-ups, and camera lighting. a movie, etc. All you saw was: there is no film lighting at all. It’s all natural light. No lighting is used in the film and everything is shot simultaneously. And the effect also, I think, puts the spectator in the same time as the actors. So we’re sort of locked into a sort of present-tense atmosphere, as if this thing is actually happening. There’s nothing to treat in the same way we usually treat films. It’s really a kind of Big Brother effect. And what she does is obviously she gets the commander’s boots. He is in a meeting. He comes back from the camps with blood on them, and she lets him know they’re ready. These guys in this scene are two senior engineers from a crematorium company called Topf & Sons, who built and supplied crematoriums to the various concentration camps. – [NON-ENGLISH SPEECH] “The tone of this scene is really like they’re selling air conditioning units. Because for them, in reality, that’s all that mattered to them, human life. In fact, they see them as pieces of this scene, not as human beings. And the card it shows here is called the Ring Furnace, which was the latest design. They never got to build it, but it was the latest design in crematorium technology. And he hopes that Rudolf Höss will buy it.” – [NON-ENGLISH SPEECH]
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