Sound studio

INTERVIEW: sound designer Udit Duseja and the experimental documentary All Light Everywhere

All the light, everywhere is a film by Baltimore filmmaker Theo Anthony (rat movie) about the intersection between cinema and surveillance, and the work of sound designer Udit Duseja wraps it in subtle sonic tension.

In All the light, everywhere, viewers will see the world from satellite images of downtown neighborhoods to ground-level police body camera footage. The film delves into the world between these two distant points to address the significant cultural and technological aspects of surveillance. What philosophical debates should we have when it is so easy for technology to be objective and logical, but also open to manipulation and abuse? The film is part documentary, part experimental arthouse film with an important message to convey.

PopAxiom speak with Oudit Duseja to become a sound designer and create the pseudo-sci-fi sounds of All the light, everywhere.

overall sound

Udit started life in a small Indian town named Gwalior. “There is a lot of culture and history. As a child, I learned and practiced Indian classical music there, which trained my ear and laid the foundation for understanding sound.

“Later in life, I moved to Mumbai where I met people working in the film industry. I started as an intern, learning on the job and quickly figured out how to add sound to an image can change the meaning or bring a film to life.

After Mumbai, Udit did a Masters in Edinburgh and then moved to London. Since then, he has worked on American, British and Indian films.

“Every sound you add to a movie is somehow self-aware,” Udit explains his philosophy. “You have to make sure the sounds have meaning. Then you can shape the narrative within an audience.

Is working with sound learned or understood? For Udit, it’s a skill that develops as someone works, but it can also be a talent. “You can’t teach someone to have a musical ear. But it is also growing.

“It’s also so collaborative,” Udit explains the final truth of being a sound professional in the film industry. “Cinematography can influence the way I design a shot. Everything informs how you approach the film, which ultimately comes from a director.

For Udit, good directors are those who give others the freedom to express themselves. Although each project is different and has its challenges, he finds “the comfort of being in a studio environment and exploring what I can do with sound”.

On All the light, everywhere

“I met Theo across America, a short I worked on that won awards and even became an installation at MOMA,” says Udit. The short caught the eye of director Theo Anthony, who liked the atmospheric sci-fi sound and found it interesting. He wanted Udit to do what it had done in the past, but in a more minimal way.

In the words of Udit, All the light, everywhere is an “experimental documentary film” produced by Memory Sandbox, and distributed by Neon. “It’s a vision of surveillance and weapons. He finds narratives within this subject. How guns and cameras overlap; the whole idea of ​​”shooting” at something.

“It goes into the archive and comes back,” he explains. “It’s a brilliant film. So, for me, it was about creating a minimal atmospheric sci-fi documentary soundscape. I tried to create unexpected links between technology, weapons and surveillance. So the result was to critically illustrate the effect these things have on our lives.

The film was designed during editing. The structure was as if the archival footage interacted with computer screens and surveillance software shots. “You move from the archive to the future,” says Udit. “So the idea for me was to illustrate that through sound. The invasion of technology. How it has changed and changed us over the years.

“The soundscape was built using room tone buzzers and subtle electromagnetic sounds to represent the technology that’s always staring at you,” he continues. “Shooting allowed me to do that. There would be mouse clicks, crackles, and off-screen beeps to build tension that would build with each scene.

Working with Udit’s design was composer Dan Deacon’s score. “He already put down his music when it came to me. So there was plenty of room for the sound to help tell the story. The mix was also made really loud, almost like an assault on the viewer, and then it cut out a lot of silence and little technical sounds.

“The sound wants to put you in the story,” he says, “It was a lot of fun using the minimal sound design theme.” However, his initial approach used more sound. “They knew what they wanted and we took it out. It was a great collaboration. Rather than sounding more like a sound effect, the purpose of the soundscape was to create atmosphere.


Udit’s work is versatile but with an amorous bent in one genre. “I would love to work on a science fiction film. This is the genre I can get into. But everything works!”

“I’m working on a film based in Nepal and directed by an Italian director about a tiger cub and a child,” he says of one of two projects he’s working on but can’t talk about yet. “I recently completed a borderline sci-fi/post-apocalyptic audio game installation by British artist Aliyona Larinova. It’s about two sisters exploring storytelling while there’s an apocalypse outside. It’s quite interesting and fun to create the world inside and outside their room without any visual reference!

East All the light, everywhere on your watch list?

Thanks to Udit Duseja and Impact24 PR
for making this interview possible.

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