[on
Il figlio di Saul (2015)] I designed the Hungarian exhibition in Auschwitz in the Auschwitz museum over a decade ago, so I had all the research and almost everything ready. The blueprints of those buildings [gas chambers and crematoria] survive. They were found in the offices after the liberation of the camp. There is all of this data about how it was designed. That is a striking phenomenon. It's a very thoughtful design. It's professional work. It was hand-drawn, so it's really this almost human touch in the drawing. But it really raises the responsibility of professionals in general, whether you accept a job like this or not. Sometimes my stomach would shrink to think that someone in the morning was taking a shower and was thinking about how to create a more effective crematorium. [2016]
