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  • Johnnie Burn is a British Film Sound Designer, Supervisor and Re-Recording Mixer working on films that use sound well, in London, New York & LA.



    Recent work is the immersive soundscape and sound design of Jordan Peele’s NOPE.


    His first film outing was Jonathan Glazers' extraordinary UNDER THE SKIN, which led him to meet director Yorgos Lanthimos in 2015 to work on THE LOBSTER, THE KILLING OF A SACRED DEER in 2017 and The Academy Award winning THE FAVOURITE in 2019. Johnnie had great success with Trey Edward Shults’ WAVES (2019), and more recently the incredible Francis Lee's AMMONITE.


    Before movies, Johnnie honed his skills on many of the best sounding ads and music videos of the last few decades, and has been lucky to have worked for icons including Travis Scott, Madonna, Prince, George Michael, David Bowie, Richard Ashcroft, UNKLE and even The Spice Girls, designed the sounds you heard on SKYPE, and continues to grow the HUGELEY talented team @Wavestudios London, New York and Amsterdam.

  • NOPE


    "What they've orchestrated as the soundscape of this film is otherworldly in a way so haunting that I literally had nightmares just about these sounds. Some of them come from terrestrial terrors, allowing Peele to suggest scenes of grisly violence without making a gruesome visual spectacle. Instead, off-camera attacks are seen in shrewd glimpses, but the violence hits hard because of the wet, pulpy thuds of the blows coming down. You don't need to see the blood when you can hear it." MASHABLE.COM

    Here's How the Sound Design of 'Nope' Creates a "Creditable" Entity NO FILM SCHOOL

    "Sound design so good it'll make you say #Nope!" @SLASHFILM

    " “Nope” has been hand-tooled for the kind of presentation you can only get in a real theater — preferably Imax, to take full advantage of the film’s striking production design and eerie sound mix, which ranges from a thunderous, cinderblock-shaking roar to the kind of hush that isn’t so much a stillness as a sonic vacuum: the kind of silence in which you hear nothing but your own heartbeat. Kudos to sound designer Johnnie Burn"" THE WASHINGTON POST

  • Ammonite

    by Francis Lee

    click 4 trailer

    Ammonite is fiercely sensorial. Johnnie Burn’s sound design wraps the protagonists’ world in the unrelenting coastal winds and crashing white water that drags through the shore’s shingle - SIGHT & SOUND REVIEW



    watch the trailer?

    Johnnie Burn’s sound design, too, is thoroughly in sync with the characters — at a painfully suspenseful moment, a referee’s whistle splinters the air like a death knell — and a propulsive soundtrack of vintage and contemporary songs infuses and drives the twinned narratives, lending some sequences a modern operatic sensibility - THE HOLLYWOOD REPORTER

  • the killing of a sacred deer


    There is a fantastic sound design in The Killing of a Sacred Deer from Johnnie Burn, who, along with his musical team, create an immense atmosphere of chilling horror, intense psychological musings, and euphoric orchestral releases, that become the emotional cues for the viewer to be engulfed b - UK FILM REVIEW




    Johnnie made a short about the Super immersive Sound Design and mix of THE FAVOURITE, watch it here

    While this film could have been played very straight from a sound perspective, you and your team made a lot of bold sound design decisions that really lead the narrative. Can you talk about those decisions? Interview with Korey Pereira at DESIGNING SOUND


    by Yorgos Lanthimos

    here trailer here



    This seminal film uses sound like no other

    Still the reason the phone rings! - HERE IS THE TRAILER

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