Alan said that before he got the Serenity script, Joss called him and told him to call him so they could 'talk about the script' when it was delivered, so he knew something was up.  Joss explained to him that in order to really raise the stacks in the final battle with the reavers, he had decided to kill off Wash in a totally unexpected and sudden way so that the audience would really be in suspense for the final battle - because, literally, if Wash could get killed, then anyone could die in that final battle with the reavers.  And Alan said that when he saw it onscreen, that Joss had been right, it really heightened the suspense of the final battle.  Plus, he says that if - and they have all talked about it - IF there is another movie (or even a reincarnated series someday) Joss has promised that both Wash and Book would be part of it.  And there is so much back story they could do, like during the actual war before the Browncoats lost, that he could easily do a prequel and include the 'deceased' characters.

Alan also had some great stories to tell about Nathan Fillion (in fact, he took pictures of all the fans with his camera phone because he said Nathan told him to bring back pictures)  I decided to ask him something that only I would probably know about him to ask (at least of the 'scifi' fans there) and I raised my hand.  He looked at me to call on me and then made this funny face like "Why are you raising your hand when I know you" and we both laughed.  He explained to the whole room that we knew each other and we used to hang out together when he was a member of the improv troupe back in his Dallas days.  I laughed and said it did feel kind of strange to be asking him a question but said that I would be good and not mention the parties or anything.  So I asked him, since he has such strong improv skills, if any of the directors he'd worked with had allowed him to improv much.  He talked a little about his days with Rubber Chicken and how what he learned in that group was what enabled him to give the audition that got him into Julliard.  He did say that Joss would never allow anyone to 'tinker' with his dialogue (which is understandable, since Joss writes brilliant and beautiful, very distinct 'languages' for his shows and characters) but Tim Minear had allowed Alan a little leeway at least once during an episode of Firefly and his adlib made it into the final cut.  He also said Betty Thomas (28 Days with Sandra Bullock) had really encouraged him to improv and used some of it in the film.

Of course, someone asked Alan to sing since many know he took over for Hank Azaria in Spamalot on Broadway.  Having heard Alan sing during the improvised songs they did in Rubber Chicken, I had to laugh about that.  And Alan did try to set the fans straight, that just because he starred in a Broadway musical does not mean he is a great singer.  But he is getting lots of offers for musicals now, despite his not being a real 'singer' - which he seems both amused and bemused by.  He even participated in a workshop of the musical Xanadu (musical theater folk will be familiar with the 'buzz' on it) where he was singing alongside a number of Tony winners and nominees and he felt very 'inadequate' vocally.  But despite his lack of vocal prowess, I doubt anyone of those Tony winners could hold a candle to his comedy and improv skills.

There was lots more he talked about in the session and I could take up a lot more blog space with it, but I would rather tell the best part of the whole day with Alan (and I'm sure it was the same for him)