Following the success of its first season, the Spotify Original scripted audio collection Quemar Tu Casa is again with a second installment that’s bringing extra fright and delight to followers.
Created and written by Caso 63’s Julio Rojas, Part II of the Chilean collection picks again up with the story of Lina and Julieta. After beforehand managing to flee the dreaded Casa 669, the pair now finds themselves on the doorstep of one other, equally unnerving home: La Invernada. As they step contained in the partitions of this immense and scary construction, followers are immersed in a world containing many secrets and techniques . . . and many individuals who shouldn’t be trusted.
Along with Giannina Fruttero and Magdelena Müller, who voice the aforementioned protagonists, the forged of Quemar Tu Casa options Mariana Loyola, Pedro Campos, Gabriela Hernández, Maitén Montenegro, Elvira López, Marcela Salinas, José María de Tavira, and Arturo Ríos.
Central to Quemar Tu Casa’s sinister and chilling environment is its immersive use of sound. Along with real-world soundscapes, the collection incorporates a masterful rating, which is as soon as once more helmed by Chilean composer Carlos Cabezas.
For the Record caught up with Julio to debate La Invernada’s primary character vitality, his hopes for the way forward for audio-based storytelling, and the particular methods Quemar Tu Casa makes use of to evoke worry in listeners.
Why is audio such a compelling medium to inform a horror story?
Audio is a type of communication that forges a connection of intimacy and has accompanied the human species for 1000’s of years, warning us of risks and serving to us to outlive. Listening to somebody inform tales—particularly scary tales—in entrance of a campfire has been a technique to defend us from the hazards that lurked outdoors. Some of that also stays at present, like when children get collectively at a camp or a sleepover. Someone at all times finally ends up telling a scary story as a result of worry unites the tribe and permits the group to really feel a collective sense of safety.
Are there sudden methods sound is used so as to add horror or suspense?
Julio Rojas
There are a number of methods we achieved this, and so they revolve round utilizing sound to duplicate the sources of terror or suspense that we expertise in every day life. The most essential is silence, which is an especially efficient system in creating suspense.
When the sound out of the blue stops or there’s an eerie pause, the viewer anticipates that one thing is about to occur. At the opposite excessive is using sudden and sudden sounds: a door that slams shut, an object that falls, a chook that flies by. Just because the predictable generates tranquility, the unpredictable prompts the alert system.
Finally, there’s ambient sound: The background sound is the nice generator of atmospheres of terror or suspense. In the case of Quemar Tu Casa Part II, it’s the noise of the ocean, the sounds of the home, the wind, and the storm. Perhaps it connects us with the worry that we ancestrally had of the weather that we couldn’t management.
Your final podcast, Caso 63, took off worldwide. Do you assume Quemar Tu Casa might observe an analogous trajectory?
I believe tales that faucet into our fears at all times interact audiences, and Quemar Tu Casa has all the weather: a unbelievable forged that includes proficient actresses like Giannina Fruttero and Magdalena Müller, an ideal director in Natalia Grez, the musical work of Carlos Cabezas, the assist of the manufacturing firm Fábula. They all contribute to making a considerate and immersive audioscape that triggers the precise feelings in listeners. I believe this season will probably be nicely acquired.
Quemar Tu Casa has a robust sense of place. How does the presence of the home contribute to the general story?
It’s very important for listeners to really feel the presence of the home—on this case La Invernada—as a personality itself. To accomplish this, it was essential to create dialogue and sound that permit listeners to actually visualize the home on the sting of the abyss.
We put emphasis on describing the objects within the rooms—describing the finishes, the flooring, the tower, the footsteps on picket flooring, the wind blowing by the home windows, and the ocean on the rocks. One of the conventions of the horror style is the concept that each home has a previous, which is why the collection explores previous occasions of tragedies and supernatural encounters that occurred in La Invernada.
By combining these parts into an audio narrative, we’ve aimed for an immersive expertise the place listeners join with the characters on an emotional degree. In quick, we wish listeners to really feel afraid.
What position does postproduction play in creating immersive atmospheres?
It’s the important thing issue that lets listeners expertise the collection as an audiovisual expertise. Thanks to postproduction, they’ll create a real reproduction of actuality and “watch” an audio collection of their heads. When the story, efficiency, and postproduction come collectively to type a triangle of artistic concord, listeners cease experiencing every half individually and begin “seeing” the sound.
What are you wanting ahead to because the world of audio storytelling continues to develop and develop?
I’m wanting ahead to audio-based narratives turning into as in style as different types of leisure, the place it’s producing issues like fan communities and cultural moments.
I additionally hope that the brand new generations of screenwriters see it as a legitimate medium for telling tales—like they do cinema, tv, literature, or theater. Audio was the primary human type of communication. And in a means, audio narratives are returning individuals to that origin.
Ready to dive into the shudder-inducing world of Quemar Tu Casa? Stream the primary episode of Part II under, or begin from the very starting.