alliek414

I've been struggling lately to turn a lot of ideas I have into actual stories. I kind of feel like my writing mojo has taken a temporary leave of absence, and the harder I look for it, the harder it is to find. It has been incredibly frustrating.

This morning, in Warren Ellis' BAD SIGNAL e-mail, he said:

At least half of all writing involves just sitting and staring into space. Letting your brain out to hunt down ideas, bringing them back all warm and bloody between its teeth.

This is something that I knew to be true, but had temporarily forgotten. As writers, it's vital that we meet our deadlines, of course, but we also have to build time into our work schedule to read books, take walks, visit doctor whisky, play with our dogs, and do the other things that may not look or feel like work, but are integral to our creative process.

Thanks for the reminder, Warren, I needed to hear that.

When I wrote my w00tstock post, I totally forgot to mention that we put some video interludes into the show, to make sure that we were giving the maximum A/V Club experience to the audience.

There were some very funny shorts, including Mister Bungle getting the Riff Trax treatment, the credits for Jonathan Coulton's television series, Monkey Shines, (that was cancelled after the first commercial break), and this parody commercial for Trader Joe's, which is exceptionally hilarious if you've ever shopped there:

I also neglected to mention that Kid Beyond wrote a book of puzzles he created called BOGGLE Crossdoku, and Molly Lewis has a CD of her kickass music ... you know, because it's getting to be that time of year when people typically give gifts to other people. 

Also, whenever I say "...forgot to mention," I have to say "BEWARE OF HITCHHIKING GHOSTS!!1"

Back in the old days, before Twitter exploded into the phenomenon that it is now, I got a message from Greg Grunberg. Greg plays Matt Parkman on Heroes (this information, which most of you don't need, is provided as a public service to the seven of you who do), and has been in every JJ Abrams project since JJ started making movies in the pre-old days.

Greg and I traded several messages about a bunch of different things, and then he sent me a private message that said something like, "JJ needs voice actors for Star Trek. Would you be interested in doing that?"

"Well, let me think about this for .00005 seconds," I thought. "I love Star Trek, I love voice acting, and ... why am I still thinking about this?!"

I replied in the affirmative as quickly as my fingers could get the thoughts out of my head.

Shortly after I sent my reply, I had a different series of thoughts that went something like this: "This is way too good to be true. This has to be a prank. Someone is fucking with me and I'm going to be the butt of a pretty mean joke." But then I had still another thought: "I'm not famous enough to be Punk'd, and Greg Grunberg doesn't seem like the kind of person who would do something mean, anyway." I was, as they say, cautiously optimistic.

About 24 hours later, JJ Abrams called me. It was an entertaining conversation; I couldn't believe he wanted me to do work on his film, and he couldn't believe that I wanted to do it. He asked me if I'd be interested in playing some Romulans, and I think I held my hand over the phone so he couldn't hear me squeal in delight before I calmly told him that, yes, I thought I could do that. I don't recall precisely why, but we agreed that it would be extra cool to keep it a secret until the heat death of the universe, an uncredited bit of awesome that only a handful of people in the world would know about ... unless we told them. (In fact, as far as I know, only a dozen people in the world knew about this until some meddling kids and their dog at Viacom found out about it this summer, and said we had to give me credit and stuff.)

I met JJ at an ADR stage a few days later, where he told me the entire plot of the movie (and, for the record, hearing JJ Freakin' Abrams tell you the plot of his Star Trek is even more awesome than you'd expect) and showed me some of the scenes that I'd be dubbing. I ended up providing voices for all the Romulans on Nero's ship, including the guy who tells him that "it's time" at the very beginning of the movie. (Yeah, how cool is that?)

I was distracted for the first 15 or 20 minutes before we started work, because I kept expecting someone to come out from behind a screen with a camera to laugh at me, but when I was given my dialog and recorded my first take, I knew that it was really happening.

I thought it would be really hard to keep my squee under control, but when I stood there in the darkened ADR stage, three pages of dialog in front of me, sitting in the soft glow of a single dim light clipped to a music stand, I was able to put my inner awkward superfan into check long enough to be a professional actor. I mean, I was working for JJ freakin' Abrams on Star frekin' Trek, so maybe I could rise to the occasion, you know?

We recorded dialog for about an hour or so, I guess, and when we were finished, JJ invited me to come with him over to the mixing stage, where he was going to watch a reel of the film.

Um. Okay. Yeah, I think I can do that. I texted Anne something like, "Probably never coming home again. I'm going to stay here with my new best friend JJ Abrams and watch as much of Star Trek as he'll let me."

So you know that scene where Kirk climbs out of the pod, runs away from the monster, and eventually meets Spock Prime in the cave? I got to watch that scene over and over, as they made the wind sound colder, then warmer, then colder and more fierce. I got to hear the roar of the monsters deepened, softened, made more terrifying, made louder, made softer. I got to hear the fire in Spock Prime's cave crackle more, then less, then more again, because the wind outside was now colder and more fierce, so it should probably be a warmer fire.

It was one of the coolest things in the world to watch, not just on screen, but in the room, too. The way JJ interacted with the other creative people in the room as they mixed the sound, the music, the foley, and everything else that we tend to just take for granted when we're in the theatre watching a movie was just fascinating. I don't know if all directors are like this, but he didn't let a single second go by like it was any less important than another.

Sooner than I'd would have liked, though, I began to feel like I was just hanging out, and even though I knew I could have stayed longer and watched more, I decided that it was best for me to leave before I overstayed my welcome.

JJ and I thanked each other, talked the way you do in Hollywood about maybe working together again in the future (ohpleaseohpleaseohplease oh please, Steve the Fruitbat, please make that happen) and I walked down the now-dark streets of the studio toward my car. I kept it under control until I drove out of the lot, at which time I bounced around in my chair like ... well, like a guy who loves Star Trek and just got to work on Star Trek would bounce around.

They digitally-altered my voice to sound like different people, but when I saw the movie, I could definitely tell that it was me underneath the effects. In fact, there's one moment near the end of the movie where one of the Romulans is yelling at Nero, and it's my plain old voice without any alterations. I bounced in my seat when I saw that in the theater just like ... well, you know.

Everything I could possibly say about w00tstock has already been said by Paul and Storm, who made a lovely list, and Molly, who made a comic that captures exactly how I felt the whole time we did our shows.

I loved feeling the terror and exhilaration of trying something totally new (The Trade, with music) that was raw and unrehearsed enough to allow for surprises every night.

I loved how totally geeked out we all were to be working with each other, too. I mean, I knew it would be cool to meet Adam Savage - the guy's a freakin' genius, after all - but I was unprepared for how completely and utterly cool, kind, and enthusiastic he was. And his 100 wishes are wonderful, especially that he, like I, wishes for his children to have careers that they love.

I loved feeling like we were creating something unique and special, that people would be talking about long after it was finished.

I loved how much fun we had every night, even though I was exhausted down to my bones by the time we finished our last show Wednesday night (actually, Thursday morning).

I loved how wonderful the audiences were at all the shows. Geeks truly are the best crowd, because even when they heckle us (I'm looking at you, Los Angeles front row) it was done with enthusiasm and love. Yes, even the hecklers were, in their own way, supportive.

I loved that we released the entire show under a Creative Commons license, so anyone who wanted to could record and share the show online. There are tons of videos at YouTube and pictures at Flickr, as a result. 

I love that I can blockquote myself right now:

someone recorded all of w00tstock 1.1 from Los Angeles, and uploaded it. It's an audience recording, so you can pretend you are actually sitting at Largo next to the guy who recorded it! If it's the guy I think it was, he had a magnificent pimp hat on. If it's not ... well, now you know that there was a guy at w00tstock in LA with a magnificent pimp hat, and you have yet another reason to wish you were there, sukka.

>I love that that recording was done on a freakin' iPhone, and it sounds fantastic.

I saw a post this morning that pretty faithfully recreates the show in Los Angeles from YouTube videos, so rather than try to duplicate that for all three shows, I thought I'd share a couple of my personal highlights, in video form:

First up, a wonderful compilation ... almost a montage ... from the LA show:

Here I am, recreating the moment when Luke Skywalker saw the smoking hulks of his aunt and uncle. This probably isn't as funny out of context, but if you were at the show, you'll know why I was so amused by this. By the way, the flapping hair in the wind was all Molly's idea, and it killed at all three shows.

Kid Beyond absolutely blew my mind when he performed Wandering Star by Portishead ... using only his voice to create loops. If you think this is incredible on video (and it is) you should see him perform live, especially if he brings his video mashups.

Finally, everything Molly did was simply brilliant, and her cover of Toxic is sensational, but I just adore her song about breaking up with Wikipedia:

There's more, of course. Paul and Storm got a lovely pair of, um, undergarments thrown at them in Los Angeles. The acoustic Date My Avatar was great. Jeff Lewis did comedy as Vork, and completely killed. Kasper Hauser made me laugh so hard at the 1.0 show I bruised my medulla oblongata. I've known Chris and Mike forever, but I'd never actually seen them perform as Hard 'n Phirm in person until the Los Angeles show, and I wish I hadn't waited so long to enjoy the majestic wonder of El Corazon live. Josh Cagan seemed a little bemused that we'd added him to the show, but after seeing what he did to just 30 seconds of Roger Corman's Fantastic Four craptacular, I hope he'll come with us for 2.0. And, oh yes, three different versions of The Captain's Wife's Lament, each longer and more ARRRRRRRRRtful than the last. Those two videos (I can't find a video from 1.0 at the moment), do a great job of capturing how much fun we all had together.

When Paul and I talked about w00tstock a million years (or a couple months) ago, we hoped that it would be successful enough to justify the time we would need to put into creating it, we hoped we'd have fun working together, and we really hoped we'd draw enough people to make it worth doing future w00tstocks.

I don't think we ever seriously worried about having fun together, but I was very worried about actually drawing an audience. When we sold out two shows in San Franciso, and only had 20 or so seats left vacant in Los Angeles - where it is notoriously difficult to get people to come out to see shows - we knew that in the future, there will be w00tstock v2.x.

I want to thank everyone who was in the show, and especially everyone who came to watch us, for making the three days of w00tstock so memorable and wonderful. I can't wait to do it again.

Holy crap! It's time for Memories of the Futurecast.

Memories of the Future, Volume One, covers the first 13 episodes of TNG, so each week, I'm choosing something from one episode, and performing an excerpt for you. It will mostly be from the synopses, which is where I think the real humor of the book lives, but from time to time, I may work in some things from the other parts.

Three important things:

1. This does not mean the book comes out in 13 weeks. It comes out much sooner than that. In fact, it is available right now! Woo!
2. These are not excerpted from an audiobook. These are recorded specifically for this podcast. I'm not sure if I'll do a full-length audiobook, yet, but I'm open to the idea.
3. Did I mention that you can get your very own copy of Memories of the Future, Volume One, right now, for $19.87, or as a $10 DRM-free PDF? Okay, just checking.

Episode Notes:

• The Memories of the Futurecast works hard to earn its [EXPLICIT] tag. You have been warned.
• Our theme music this week is Harvey Danger's Wine, Women and Song, from their third album Little by Little. HD has made the entire album available for download, for free, from their website. I think it's worth paying for, though, so toss some coins their way if you agree.
• This week's show features THE BATTLE (or, "What's that Rattle? It's a Ferengi exacting his blood revenge.")
• Memories of the Futurecast finally grew up and moved into its own apartment. From now on, you can find new episodes at MemoriesOfTheFuturecast.com. It probably won't work for a couple of days, but should be working by Wednesday at the latest. 
• Single! Turgid! Episode!
• Memories of the Futurecast has its own Podcast feed, too! For your convenience (and great justice) you can get your podcast fetcher-o-doodle and stick feeds.feedburner.com/futurecast into it.
• This is the last full episode that I'll post here at WWdN:iX, so subscribe or bookmark or tattoo the new URL if you don't want to miss a 
• Memories of the Futurecast takes the A train.
• Memories of the Futurecast is 12.4 MB this week.
• Memories of the Futurecast is 26 minutes long this week.
• Memories of the Futurecast wonders if anyone even reads the shownotes it works so hard to write.
• Memories of the Futurecast gets busy ... sometimes.

Okay enough notes! Let's get to business:

Download Memories of the Futurecast Episode Nine