Curious Matter Aftershow - Star Hunter Part 1 (with special guest Colin Ferguson)
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Hello, everyone. Welcome to the Curious Matter After Show. I'm Alison Hayslip, and my co-pilot here is Alyssa DeVries, and we are going to be your hosts as we take a deeper dive into this season's episodes. We're going behind the scenes to learn a little bit more about these stories and their authors, and of course...

geek out on our collective love of all things sci-fi and horror. Now, tonight's episode is live on Twitch every other week. So all of you out there in the podcast land, you can come over and join us at twitch.tv slash effing funny. You get to ask questions, you get to interact with the team, and you know, who knows, maybe win a prize or two.

So tonight on the show, we have the unbelievably talented star of Star Hunter, Colin Ferguson. We also have the multi-talented creator, writer, and producer of CMA, Jonathan Pezza. I feel like we are missing Colin, though. Where did the man go? Oh, is he? Oh, I'm right here. Oh, there he is.

I just looked over and your screen was still black and I was like, oh no, did anyone warn him we were starting? Yeah, I got like the curtain over it. I can like, oh. You're fancy like that. Yeah, yeah. Hi Colin, welcome to the show. Jonathan, welcome back. Thank you. Congrats on a really kick-ass start to a series of five, apparently, as Alyssa told me, which is amazing. Only just the beginning.

Colin, had you gotten to listen to this at all or was this your first listen after your recording? - Oh no, I listened to it earlier on in the week. And what I love about what Jonathan does is sort of the soundscape. When he pitched the idea in the beginning, I was like, "So it's like a radio play." And he's like,

no. And then he describes it. I'm like, so a radio play and it's not, it has, it has a soundscape. That's just unbelievable. I love it. I know. I was really interested to see, cause you even just know from the title that this is going to include so much action and how, how,

how do you portray action in audio form only? And again, I'm just like shocked listening to it being like, oh yeah, no, I can see every scene in my head. - Yeah, that's weird, isn't it? Isn't that weird?

I don't know. It's a lot of work. Yeah. So wait, Jonathan, tell us a bit about the work. Tell us about, I mean, cause you also, you edit these episodes too, right? So yeah, I record, I engineer, I mix, I edit, I design, I master. It's all part of the one kind of through process process.

Yeah, this one was actually really cool because we used some new technologies. We've been doing binaural by doing 3D emulated space in the last few episodes.

But this one, we had like a special performance rig that we could use to make the monsters. So like I could just be behind the mic going, and whatever. And the monsters would have a series of different performances and calls that I could basically set up so that I could perform them live. And all the Foley's performed live now. So like I just basically go...

and the feet walk and the clothes move. And it's what a lot of the studio films are using now, this performance software. And what is binaural 3D emulated space?

So, yeah, well, it's the reverb and everything actually exists in a modeled engine that basically creates the room and the room has a ceiling and a floor and all these different characteristics. We also use something called like modeled impulses, which is super technical. But so we use real reverbs from like the forest and mix that in as well.

So there's a lot of different things that go into like making it feel real and like

It's been a process over time trying to figure out like what it is that makes you go, oh my God, that's right there in front of me. And I see it and not do too much because that's a really like thin line to the point where it becomes like too much and your brain can't understand everything. And it seems like you were able to use, I really liked the computer program who spoke to you about each of the

predators they were coming across. Oh, the hunter's guide. Yeah. Yes. Yeah. Yeah. Yeah. Um, that's actually a real performer, Blythe Renee, um, who's like in borderlands and in, um, a bunch of other stuff. Uh, but funny enough, a lot of the other voices were actually AI performers. We have, I'm using a new system, um,

So the other computers are actually AI, but also like the news anchor who you wouldn't have been able to know. There's actually a couple other little parts that were performed by AI voices. I thought they were all live performers. I didn't, I wasn't saying that. I meant the computer program in the story. Yes. But now hearing that there were actually AI voices. Oh my gosh. Yeah. You're smarter than I am. That's what I've learned over the course of this conversation.

I mean, so Jonathan, you, you know, you're, you're adapting all of these stories from their original, uh, you know, book form basically when, when you're scripting these out, are you also scripting out the sounds that you think you're going to be using, or are you just scripting out the, the dialogue and then like filling in the atmosphere afterwards once you listen to it?

I mean, I almost want to let Colin answer this as the reader of the script is like how it came to him because I have a process, but it, but it's,

You can speak to that, I think, a little bit better. I can speak to that? Yeah, well, not the writing aspect of it, but the way that I... I mean, the way that I... I mean, the way that I write them, like, screenplays. I mean, I don't really add anything else. Yeah, you do. It reads cleanly, and it reads sort of as a normal episode of television or something would, which is so odd that it translates so differently to sound. And I'm sensitive to sound because I have hyperacusis,

which means I hear everything too loud. I always thought that I just had better hearing than everybody else. And then I went to an ENT and he's like, it's not supposed to be like that. So I'm very sensitive to sound and it's very pleasing to my ear to listen to, which is a testament to what Jonathan does. - Oh my gosh. I didn't even know that was a thing. - Neither did I. I just thought it was awesome. And he's like, no, you're broken. I was like, oh, that's worse.

- But you're like, but broken in a good way? - Yeah. - Like a superhero maybe? - Hopefully. - You're going to like stop a crime from happening with your supersonic hearing at some point. - Well, I was always curious why I was the only one who'd put my fingers in my ears when like a police siren would go by 'cause it's so loud. And I was like, wow. And everyone else is like just sort of doing this. And that was the answer.

Wow. There you go. I have two questions. I have two questions. They're so off topic, but who was Nick Jonas in Jumanji and was the other game Moncala? Yes. The other game was Moncala. Okay. All right. All right. You nailed them both, Colin. Get Jonathan to give you a t-shirt and a mug. Oh man. Okay. So Colin, I loved it.

You know, when the episode first starts and I knew you were in the episode, but I didn't know when you were appearing. And then it's like your voice first comes up and you're just so like, it's just so like, well, yeah, and it didn't work out again. And I was just like, there's Colin. But how how was it? I mean, you know, Jonathan's intro to the podcast talks about

the uh the language that it didn't even exist at that time so it had sort of a different sci-fi vernacular to it so Colin what was it like for you with this very specific language style I mean did it did it feel at all familiar based on other stuff you've done or was this a bit out of this world to use a pun nice nice um yeah it was it was a bit crazy to start with because I'm not um

as experienced in just doing audio type stuff. And Jonathan walked me through the style of it from the very beginning. And he very kindly, he's like, Hey, do you want to start with a scene? Like one of the scenes in the middle? And I'm like, no, the monologue. Let's start with the giant monologue. Right. Because that's it.

It's the first thing. So we started with that. And the good news was I'm now whatever it is, like three and a half months post-op on a shoulder surgery. But at the time, I was six weeks and I just had a setback. So I'm not sleeping. So I wake up and I'm basically talking like this. He's like, perfect. I love it.

Don't change a thing. So we locked that in. And then as I heal and my voice returns to its register for the next couple of weeks, he's like, yeah, so lower, lower, you know, go back to that. So we found it in the beginning, but we went back and forth over the first paragraph

for at least 10 minutes, I would say, just to find the style. And he said he's learned a lot through doing these that like you have to indicate a little more than you would in conversation with the dialogue and enunciate a little better because whereas you sort of want to go, I find with current television, a little muddled, you sort of want to, you know, just because it makes it a little realer.

And with this... Mumblecore. Yeah, but not whispery, right? Not that TV whisper where it's like, yeah, we better go get this idea. So, yeah. So, yeah. So it was a process and he very...

gently and kindly walk me through it. Did you have a favorite part of this episode to perform? Oh, this episode. You got me on the word this episode. I didn't want you to spoil anything. Just at the beginning of this. Yeah. Am I allowed to say that? We really are. Yeah. There's don't, we can't don't give away anything. I don't think there's too many twists and turns. All right. Come on. All right. You know? Okay. Yeah. So my favorite thing in this episode is sort of how is the cliffhanger probably on the tail end. Yeah. Because it does. It's,

Cliff hangers are so common these days. It's great to have one where the whole plot deepens instantly and the thing cracks open and then you're like, oh, this is the movie we're watching. Right. And that was one of those cliff hangers for me. I mean, let's let's talk about that. You know, Rass finding Elise is like an incredible cliffhanger. Is every episode going to end with something that.

shocking now or have you have you set us up all us all up and then we're gonna be like wait wait wait where is this going no that's the reason I one of the reasons I actually went for this you don't want to say that like off the bat but every time you think you understand what Star Hunter is it twists on you and it's really a very awesome ride that's gonna just go places you didn't expect it's gonna be fun

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I'm so excited. I just want to jump in and remind chat that you can ask us questions and we will get our guests to answer them. We did get a great, great question from D-Man asking Colin about his process and how it was hearing about the episode. But of course, we've already discussed that. So come in with more questions.

Yeah. Sorry I beat you to your question, D-Man. Yeah. But about that question, though, I mean, I remember when Jonathan told me about it in the beginning and with all the twists, and he told me the entire plot of all of them when we first chatted. And I listened to it, and I was like...

That's a lot. You know, like that's, you know, and then he said, and I read them and they're so well written. Like they're, they're incredibly well written. And so it feels very natural as it's going. And that's, again, I credit to Jonathan. He's a really good writer. Jonathan, let's, let's, let's, let's dive into the writing a bit more because you've adapted this.

but from the novel of the same name by Andre Norton. But I feel like you touch on it a little bit at the beginning of the intro to the podcast, but what are the changes that you have made in this adaptation? I mean, there's a lot. I think that, um,

It's a short novel. It's like between novella and novel length. I think a lot of the world. So you're like, let's make it five parts. Yeah, exactly. It needed it because there's, I feel like there's a twist for every part. And that's why I was like, oh, that's why. But it's, it's, it's different in the sense that there were like ideas in there about like, uh,

equality, like that the future and the promise of the future didn't necessarily promise that everyone was going to win. And that was something that I grabbed onto right at the beginning and was like, oh, the haves and the have nots are a big part of this. And that's really relevant. And, and so you can take that and you can make that kernel grow into something much bigger and become the basis for the world we're in actually. That,

this future is one where it's become like a land grab, where the richest keep getting richer and the people that aren't on these family trees in these NFOs, which is like corporations that are family based, where anybody on the family tree

basically never has to work in their lifetime. They make money just by being a part of the family. And then there's everyone else who's just figuring out what they can do to survive on not just one planet that's fallen apart, but hundreds and hundreds of colonies.

I mean, I don't know how anyone could relate to that these days. I know, right? She says, try and hold back tears. That's one of the things that drew me into it is you just, you're like, okay.

It's got this like Jurassic Parkiness, this fun and you're on this adventure, but it's ultimately about characters who have and characters who don't. And like they're all stuck in situations together, you know? Right. Like how does that work? So now I definitely caught the musk.

Easter egg in there. Someone said they were from the Musk clan, right? The Musk clan, yeah. Sponsoring the planet. Right. Are there any other Easter eggs in there that we may have missed? I'd say there's a lot of tiny ones because I like writing in things that are kind of conversational back to the other sci-fi stuff that

like it inspired this and then that inspired the way to adapt it. And so it's like, there's little homages to Jurassic park. There's little homages to like predator, like over here, like the way he says over here with the reverb was like, I just want to homage that moment from predator. Um,

The, you know, the Xeno rodent is described as being like just a normal like alien, like a Xenomorph. It's basically a tiny Xenomorph as it's described. Like that gets squashed and then starts melting his shoe. There's lots of little things like that throughout Xenomorphs.

And there will be more to come. There's definitely a lot more as the world broadens out. - Awesome. - My favorite things. My favorite things are still coming. - Oh, great. - Oh, yeah. His favorite critters are coming soon. - There's more critters coming. - Yay.

Critters. Sweet. So let's talk a bit about the recording process of this because you definitely, I mean, Colin, you're the star of this episode. If Star Hunter. What? But, you know, you have these three people who are on this safari with you and there's clearly a lot of like cross-chattering conversations going on. So it felt very much like an ensemble piece in those moments. Was

was that still all recorded separately like you did on Eddie Cobalt or Colin, did you actually get to work with anyone while you were recording? No, Jonathan refuses to allow us to meet. It's really controlling. So,

You're in your box. You're in your box. I'm scared if you meet, you'll have too much artistic ideas. I can't control you in groups. No. No, I actually asked that question when we got together the first time. I was sort of saying, how does this play out? Because it does feel like everybody's there together. And no, I have a little studio in my basement, more of a murder room than anything else.

It used to be a grow room that the previous owners had. So it used to have like-- Wow. Everything's made of silver. And yeah, it's awful. So I went down there. And it's very quiet. And we just went-- Oh, good. Yeah, exactly. I think it was originally built as a cannery in the basement where she would do all of her canning. But it has all these things on the wall. I certainly hope it was for canning. Right. Or it's legit a murder room. Yeah, exactly.

And we just record down there and it takes, I got to say, it takes it out of your voice. Oh, yeah. Or maybe that's a statement that I don't know how to use my voice. Probably both. No, I'd say two or three hours is the most anyone can probably put in. Yeah. Okay, good. Yeah, you're not alone. I mean, we're also doing like action stuff with yelling and like faux whispers actually really hard on your voice. Yeah. So, yeah.

Oh, sorry. I was going to say, I actually just finished up my first like proper ongoing animated gig, which was very cool. I can't tell him about it. Otherwise I would, but I can talk about the process at least. And Colin, just speaking to what you were talking about, like doing something over a period of time, you know, they would, they would play a voice, like they play previous things that I did so I could match it. And half the time I'm like,

when did I say that line? Just remembering and remembering how you spoke when I wasn't even doing like that much of a voice, but it still was like, oh, I was in a certain register that day. And so that's where I'm at. But even just doing a 30 minute session sometime, I'd walk out of the booth and I was like,

exhausted. Well, yeah. And if you and I are just starting, there's that paranoia too, because you don't meet the other actors. And so Party of Brain's like, they're all better than me, right? That's probably like, I'm the one you struggle with. Yeah. Everyone just nails it. I'm the one that you have to chop up their lines to like Frankenstein, something usable together. Yeah. And then when you hear it with other actors, you're like, oh, I wasn't even expecting this.

Yeah. That kind of, you know, just all the voices, how they all sound together. It's really incredible. I mean, I'm learning so much as I go along between that and this podcast, honestly. Well, I mean, I felt that way when I listened to it myself and there was the sort of...

British voice. I was going to say there's like a nasal block British voice, which is so good. He basically had COVID when we recorded. So that's Jack Bowman. It's great. It's amazing. He's so good. Yeah. He's also like one of the most experienced audio drama producers in the world and cameoed for us in this.

So he's judging you constantly. Yeah, yeah, that's true. I don't know. I don't know if this is going to be... Yes, it's great. Just do it. I mean, Jeff, that's a great question. Like, where are you finding... Where are you getting all these people to do these voices from? My assumption is that you just have a lot of amazing friends and you're asking them to sign off. And family, as you keep hearing in the credits, just pezza, pezza, pezza. If he had COVID and I'm post-op, probably a hospital is what I'm thinking. That's exactly right, yeah.

It's been a process, you know, so in in season one, it was like friends and family. And a lot of those people have stayed in the troop and I've as they've gotten better. And as we've learned more about doing this, like I've tried to expand roles and write roles for people and do different things. But also like this season and with the help of the the FN funny team who've been wonderful, we've been starting to reach out to other people. And that's how we found Colin.

And through Colin, we found Tiffany, who you guys will meet next after show, who plays Elise. And yeah, it's just a slowly expanding thing now that I think people get what it is that we're doing and that it's kind of cool, I hope. I love the idea of having an audio drama troupe.

like yeah yeah like there's the shakespearean troop and here's the audio drama troop we do everything together it's great also amazing like there we you know every episode i email everyone and everybody starts helping on social and they you know the moment you call and you're like i freaking missed the line or i f'd something up can you get on your yeah i'm right there you know like it's like so many things like that and and the the

the cast has just been so wonderful both of these seasons. - I'd love to go back to talk about the process a little bit with respect to that, because I'm not being experienced. Jonathan comes over and he sets up the mic and we set up the whole thing.

and then the first time we do it he calls and he's like okay download this this setting that setting that setting this setting you know do this this is how the mic works you got to touch this tap this move that and so you're he's walking you through not only the performance but also all the technical on your computer and the mic

to get what it is. And it happens so simply that you sort of go, "Oh yeah," without thinking he's working two jobs at the same time, you know? And it's impressive. It was a lot. - So Jonathan, where do you find the time to do literally everything?

I don't sleep much. I'm actually, I'm, I'm, I'm, yeah, I'm a, I'm full time on an HBO show right now as a lead editor. And it's, I'm doing this. I wake up at five in the morning and I edit for five hours prior to starting my shift. And then if I have to do weekends and nights and stuff, my it's, it's a, it's a sacrifice right now because, you know, I think that's what it takes to put something like this out. You know, the, the,

the industry doesn't quite know that we're here yet. We're starting to make reaching out. Hopefully this will actually start, you know, supporting itself so that time can be dedicated directly to it. But yeah, no, it's a sacrifice right now to make it work. So this is truly, truly a passion project for you. Oh yeah. And for my family, like I have to say, like my wife, Mayuko, she's so amazing. And like, you know,

this season is going on for months and it's like months of me just spending all my time in the basement working on this stuff. And, and they've been amazing. Yeah. So I know that there's been, and when you spoke about like the industry just sort of starting to recognize that audio dramas are here, but I'm also seeing that there are audio dramas that are now being bought to be turned into TV shows, which is,

great for the creators, obviously. But then at the same time, I'm like, but are we just going to be switching, like taking a project and switching the medium it's available in? Is that possibly a goal of yours to get one of these? Sure. I think it is, but never at the expense of creating the audio story that is the absolute version of what it can be, like pushing this medium first.

it is starting to expand I mean there was a huge announcement today with uh with uh last known position which was a number that's what I was talking about because that's my buddy show John yeah yeah John's great yeah yeah um no I mean I chatted with John yesterday yeah he's uh that they did such a great job um but yeah but that's I think what's happening is that Hollywood is realizing that you can use audio dramas and IP farm you can test something out here you can see what works what doesn't work

And then you can expand it into a visual media. I think that there's a part of that I would love, which I would love to take like Karnacki into that place. And I'd love to maybe take second variety into that place. But I think there's a part of that the idea that like,

you know you take this you take this pre-existing ip you make it your own in this space but you're also because these are meant to be movies the idea that they could be at that other experience is like built in right yeah i mean there's something to it when you're like it's always exciting when the industry looks at you and goes we love what you've made let's make it into something quote unquote bigger because then there's there's validation to how good the story it is but

The these audio dramas that you're putting together is an art form, an entirely different art form in and of itself. So it's almost like the validation should come from the for the actual project, not just that it's a good story. Thanks for showing us it was a good story. We're going to pop it over here now.

and i think it does i mean we i think you know we just joined with realm in the realm network and they've been super supportive and they've been trying to make sure that that audiences are aware of us that we weren't able to reach before i mean that's the biggest thing it's like when people hear us i think they're really excited about what what they're they're getting from cma um it's just about trying to reach those ears because

The audience is in podcasts, but the audience doesn't quite know yet that audio dramas are this way. I didn't. All I'd ever known was podcasts. And so I thought radio play a bunch of voices like a podcast, but listening to it for the first time, you don't understand how monotonous it is.

Like I have a hard time listening to podcasts ad nauseum because it's, it's the same tone, you know, again and again. And it just sort of hits you a little hard after a while. Whereas this is all over the place and it's much more pleasing to listen to easier to have in as you're doing something totally running around. Yeah. Yeah. Chat is having the same reaction as we are. Death queen Vax, our amazing technical director said, it's really amazing how I can picture everything because of the acting and the background sounds. It really is an immersive experience.

And to me, it feels almost more like a movie than a podcast. It really transports you. I mean, I'm a visual artist as well as an audio creator. So for me, I see everything. I know the blocking. I know where they are in space. I know what happens.

camera I kind of want to be on like if I'm picturing a wide shot or a close up like and I try to translate that into the design like characters aren't always right up against you there sometimes they're a little bit farther away they feel a little bit back as long as you can understand what's going on and and feel like that space is real that's like that to me feels like the right way to do it

But yeah, I see every I've like every scene I have a picture. And if I feel like the goal is if somebody else gets something close to that picture. Yeah, I mean, it's it's truly a medium in which you you cannot take a shortcut.

Like, you know, I don't know about you all, but like, you know, when you're in math class in school and they constantly tell you, you have to show your work, show your work. I was the person who was like, I know it's this. Why do I have to show how I got there? And you learn as you get older is because if you're not showing how you got there, other people aren't coming along on the journey with you, you know? And I think that's, you, you, you cannot skip a step in this medium. Otherwise you're,

we are not having that picture. And if we don't have that picture in our head, we don't have the story. Yeah. When I used to do. Oh, sorry. Take it away. I was just going to say, like, I spend hours trying to download specific effects or finding different things, like just downloading thousands of effects at a time, trying to find things from the different libraries that that I subscribe to different sound libraries so that I can have access to a lot of stuff very fast. Hmm.

- Yeah, economy is always the hardest. It's always, you know, if you've got tons of screen time, what is this? Do I want to install an update really while I'm doing this? No, I don't. But economy is the hardest. When you have lots of screen time to tell a story, you have lots of places where you can put this in or that in or the other thing. But when you're trying to do it all in a very condensed period of time and a very, you know, just through sound, you gotta nail it. You can't make mistakes or people go, huh? And they're lost. - Yeah.

All right. I want to, I think we got to start wrapping this up, but one final question to the two of you.

if you had the chance to go on an alien hunting trip on an unknown planet, would you go? - Collin's gonna be like, "I'm in!" - I'm in! - As soon as my shoulder's healed, count me in! - Exactly, I'll go with a bad shoulder. That's gonna be amazing. - Yeah, I feel like I've been there, I'm going to Hawaii. - That's amazing. - I'd be on a beach. - I mean, I say that I have a son, so if it's to Mars and I'm gonna be away for three years,

I couldn't leave him for that long. Oh yeah. That's you're, you're, you're too responsible. Right. But if he, if he didn't exist or if he, if he hated me, then I'd be gone in a heartbeat. You know, I'll show you, I'll disappear. Yeah. Wow. Good. All right. Well, I think that's a great note to end on. Absolutely.

Awesome. All right. Thank you to our guests, Colin Ferguson and Jonathan Pezza for joining us tonight. Everyone listening, please make sure you like and subscribe wherever you are. Please follow us on Twitter, Instagram, and Facebook under the handle at CM Anthology, or check us out online at www.curiousmatterpodcast.com. The next episode of Curious Matter Anthology Star Hunter part two.

will air on Realm on June 28th. And we will be back here on June 30th at 6.30 p.m. Pacific time for the next After Show. So make sure you join us on twitch.tv slash effin' funny. Our technical director tonight is Death Queen Vex. The Curious Matter After Show is presented by FN Funny and the Knightsville Workshop and distributed by Realm Media. So until next time, I'm Alison Hayslip. This is Alyssa DeVries and we've been your hosts. Stay away from water cats and thanks so much for listening.

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