GTCF #12: Trevor Pryce - Creator, Animator & NFL Football Player


In episode 12, Trevor Pryce is interviewed by Ron and Cyndi Gula about his latest efforts to bring animation and movie making to Baltimore. We discuss his NFL career, how he got into animation and film making, the fantasy animation Netflix series Kulipari, his current movie, series and video game productions at Outlook and how we can get more young adults into high tech jobs. Plus we name drop Mark Hamill, Ben Roethlisberger, Keith David, JJ Abrams and many other sci-fi and sports icons.


Ron Gula: [00:00:00] Hello, welcome to Episode 12 of the Gula Tech Cyber Fiction show, Cyndi Gula and I'm Ron Gula. And today we're going to be interviewing NFL superstar science fiction, extraordinary animation expert, Trevor Pryce, Trevor. How's it going?
Trevor Pryce: [00:00:16] What's up, Ron and Cyndi. Thanks for having me here. This is a beautiful place. I am impressed.
Ron Gula: [00:00:22] Thank you. Thank you very much. We worked hard on trying to put a modern studio in our home during the time of COVID. So appreciate you coming out today. Trevor. So you're not our typical science fiction cyber security guy that we have, right?
Trevor Pryce: [00:00:38] Yeah, very quickly. Okay.
Ron Gula: [00:00:38] Can you tell us about your past?
Trevor Pryce: [00:00:40] Let me see. I was born in Florida. Ah, no I was born in New York. I've lived in Florida all my life. And I wound up, Oh, I wound up you can discover this. Yeah. Discovering this thing called football. Have you guys heard of it?
Ron Gula: [00:00:54] We have. Is that the round one?
Trevor Pryce: [00:00:55] Is it Nope. It looks like a f- a funny triangle was flattened on the side. So I wound up playing football and I wound up being pretty good at it. Genetic plays a big part in that [laughs] as you are fast twitch muscles in size. So that's how that works. I wound up accepting a scholarship university of Michigan, but even though this whole time, I was always into music and art and, funny thing I was, I'll tell you a great story.
In middle school. I was a great artist, drawing a great artists and then puberty hit, and I lost all control of my limbs, so my hands didn't quite do the same thing. So I was like, screw this, I play sports. But I used to take like very small drawings and make them very big, right? I say like small drawers or Mickey mouse making very big, or a guy on a bike. And I had his character with added a duck hair and all kinds of crazy things.
So anyway, so I went to University of Michigan. And while at Michigan, I wound up discovering the music studio. They had one on campus, and I taught myself how to use computerized digital performer and drum machines and keyboards and notation all the time. I couldn't. And you had to know music theory to get into class.
I didn't know, music theory. But I didn't know notes. And I knew none of that. So what I did, I just made some beats and send it to a professor and he was like, fine, whatever. You can use it as a great thing, thank God. [laughs] so anyway, so that's how I wound up keeping my artistic part of me alive, while we were still practicing football. But I was far from home from Florida. So I Michigan, it was very far so I transferred to Clemson. I wind up getting, I wound up getting good at football. I got drafted. And then when you have money, you start doing things like buying your own studio equipment.
Cyndi Gula: [00:02:26] [laughs].
Ron Gula: [00:02:26] There you go. Said.
Trevor Pryce: [00:02:28] As a necessity, you buy your own studio equipment. That became the beginning of where I started. I started where I am now.
Ron Gula: [00:02:35] Excellent. So when you were done with with college, you got drafted into the National Football League and they think about NFL.
Cyndi Gula: [00:02:43] NFL.
Trevor Pryce: [00:02:44] NFL that's what you call it.
Ron Gula: [00:02:45] Did you actually have a moment where you were thinking about maybe just going into music and arts?
Trevor Pryce: [00:02:50] The day I got drafted.
Ron Gula: [00:02:51] The day you got drafted.
Trevor Pryce: [00:02:52] Or, and I'm not, this is not a joke. Like after the first practice, I was like, I don't know about this man. And I was like one of the better ones. And it was tough. Because you wind up, you look like at my size, there's not a whole bunch of kids walking around my size. And NFL, they're all your size. And it was a shock to the system.
I saw the biggest human I've ever seen in my life when I walked in the first day, his name was Brian Habib, brian was six foot, seven, 300 pounds. He's cut out of granted. He was an offensive lineman. I looked at. I was like, he looks like a Wrestle Mania character. And I was like, scared of him but little did, I know I was also his size, but I just wasn't built like that.
He had a long tours, he take his shirt off and he was like a silver back gorilla. He was so big. And I was like, Oh my God, fast forward a year later, he was released by them. Or I pay for Seahawks. I beat Brian, a beat to death. That next game, I was like, Oh, I can not wait. And he was terrified of me. That was the beginning of... An- and what happens is every six months as an athlete, you get six months off.
So those six months I would engrain myself in something music or art or drawing or something. You know what I mean? Just keep, guys like Neil Smith used to say you can't burn the candle at both ends. When I was a football player, I was just a football player off season. I wasn't a football player,
Ron Gula: [00:04:13] at six months? So we're going to get to science fiction and animation. So we have three constituents who kind of constituents viewers, [crosstalk 00:04:46] [laughs] holy cow. We've got the cybersecurity folks we'll talk about how this relates to cyber in a minute. But we have a lot of people who want to have a science fiction, and also have a lot of entrepreneurs. And we've experienced a lot of entrepreneurs who maybe they're an amazing consultant.
Maybe they're a cybersecurity person for the national security agency, and they get out and just you're going into the NFL. They're like, they thought they were a big fish. Now they're just one of many other vendors. So you had a little bit of buyer's remorse, but you stuck with it. You never really lost that passion for animation and music?
Trevor Pryce: [00:04:47] No, because I had nothing else to do. And what happens to a young kid when you give them that kind of money, bad things happen. So I was like, let me find something to do with myself and my time. So I ingrained myself with the music business because I've always wanted to make music and I can play instruments, or I can pick one up. And know how to tune it and get something out of it.
So I started making music and I started making instrumental hip hop music. Because I can't sing nor can I rap. So it was like, I'm just going to show off my musical acumen. So I bought a bunch of like you, I built a studio in my house. I built one studio in my first house, which was like just pissed me like I was just figuring out.
When I moving to my second house. My ma- my console was so bad at and knock a wall down to get it into my basement. And, and the funny thing is when we moved out of the house, the guy that was taking care of the console was something like 1985 was a 56 channel board. It was big, like this room, and the guy that said, he was like, oh, what, it's going to take it out. I was like, Oh, let me get the contract and knock the wall down, he said, no, it comes apart.
What! What do you mean it comes apart? He just took it out in pieces [inaudible 00:06:30] like walking up the steps, like in piece by piece. And I was like, okay, whatever. So long as you never lost it, it starts to change from music to writing. When we license a song to a Fox movie, like one of the, one of the bands of my label Fox picked it up for a movie. And they were like, Hey, you're an NFL player. Do you want to come, do press, do you want to come to the studio?
I ain't never been to a studio lot. This is 2007. I had never been, I've been to Hollywood, but all the music businesses was in the East coast. So I spent all my time in New York. So Robert Craft, who was the head of music at Fox, was like, hey, come to the studio, I'll show you around. I walked in the Fox movie a lot and went back there. And when you walked on it, the first thing you saw was like, stage one. And it was Darth Vader on the side of it.
Ron Gula: [00:06:37] Nice.
Cyndi Gula: [00:06:37] [laughs].
Trevor Pryce: [00:06:37] And he was 50 feet tall. And I was like, I am not making another frigging note of music, whatever this is, I'm doing it. So my way in, and I asked him this, you want to talk about ego? I said, you know what, Rob, I want to score. X-Men three. It's not a joke. I was not lying. I was like, I had a demo of some sound sounds like so much, like some kind of soundtracks. I was like, [inaudible 00:07:41] yeah. I was like playing keyboards.
And I was like, this chord sounds good. I was like, I can score it. He said, I want to play quarterback for the Packers. If you can make that work, I will give you the job.
Ron Gula: [00:07:14] That's awesome.
Trevor Pryce: [00:07:15] And I went touche and that was the end of that conversation.
Cyndi Gula: [00:07:19] [laughs].
Ron Gula: [00:07:20] But that got you interested in doing other things than music. So you started getting into writing this.
Trevor Pryce: [00:07:26] Yeah. So funny enough, and this is a true story. I still want the score film. That's how I got to writing. So my thing was, I'm going to make a film so I could score it.
Cyndi Gula: [00:07:35] [laughs].
Trevor Pryce: [00:07:35] And that's not no joke. [laughs]. And I came up with a movie idea. And again, I have six months of time. So I do not have time in six months forego at the practice, to deal with the assistant. So I called the president of Sony and he picked up the phone, and I sold him a movie over the phone. He was like, yeah, it's a great idea of call your lawyer. I was like, great. I want to make a movie.
So I wasn't worried about the idea was great, but I was more concerned with what was the musical sound like? There was no script, but I was like, it's going to sound like this. You know what I mean? But then somebody finally told me, you're looking at this backwards. You are good enough as a writer, to write and make movies. Someone else was scored an F and movie, man, don't worry about that. So that's how I that's how my life changed. Music became fifth behind story and ideation and production and those types of things.
Cyndi Gula: [00:08:21] Wow. That's great. I I- I think it's interesting just from your background that you just have an idea and just go for it. And but at the same time, you did listen to other people and who were able to get in to your mind and say, think of it this way.
Trevor Pryce: [00:08:41] Yeah. Because I didn't have a choice because you fly flying by a CD of pants. And again, when you're a professional athlete, anybody will pick up a phone once. They'll always pick up the phone once, they will not pick it up a second time, unless what you say the first time says, Oh, I will listen to the second call. So you better has something intelligent to say or some interesting to say, when the president of Paramount, says, [inaudible 00:09:53] how can I help you? And you go, Oh, [inaudible 00:09:55] you better have something to say.
So that became my calling card in that respect. It was like, I would take time to come up with something great that I could do in 10 seconds. You know what I mean? 'Cause I knew I wouldn't have a lot of time with these people and I didn't have a lot of time. Like I had to go work out and I was like, look, I got five minutes. You want to talk and blah, blah, blah. But you have this. And every time I taught somebody, I take a little bit from the conversation.
I take a little bit and add that in. You know what I mean? And I'll tell you the story about Cooler Party. This is also true. Cooler Party was called Poison. When I first came up with it, that was the name of it. It was about Poison Animals. And I went and saw an executive at Discovery. And it's the whole thing about listening, right? About the taking, taking expert advice. So I went and saw executive to Discovery, and she was like, it needs a big Epic name, need a bigger name, Poison doesn't work. It's a great idea.
It's fun. It's great. And this could be, you need a big, it needs to be bigger. And I was like, okay.
Ron Gula: [00:10:01] Also reminds me of maybe an '80s, '90s hair band.
Cyndi Gula: [00:10:05] [laughs].
Trevor Pryce: [00:10:05] [laughs]. Bigger. And I was like, and I'll never forget her face. I don't remember her name, but I could pick her out of a lineup. And when she said it, she was like missing something. So I went and emailed a professor of Aboriginal studies in University of Canada. And I was like, please translate the word poison for me in Aboriginal. And he gave me 50 different ways to say it 49 of them. I couldn't pronounce. Kulipari I could, and I'm pretty sure I'm pronouncing it wrong. I'm, [inaudible 00:11:28] positive. But is Kulipari in my mind. That's what it is. So you have to take those pieces and some advice you get, you're like, that's dumb, but some of it you're like, Whoa, this is, I didn't. I never thought of it that way. So I am all about that part. What are you going to learn if you don't listen? Nothing.
Cyndi Gula: [00:10:52] Yeah. So you mentioned Kulipari. Tell us more about what that is healthy about when story?
Trevor Pryce: [00:11:01] So Kulipari was interesting because, that was on a time I just got I got an agent, I see him sign me a big Hollywood agency. And they were like, you need to create some kind of IP or something like that. So that was also around the time that Planet Earth started coming out, like 2007, 2008. And we were all seeing these high definition, fast frame rate cameras and slow motion of the World. And everybody, I was in [inaudible 00:12:22] that planet earth, like Holy cow, like what is, and there was a, there was one shot.
I never forget it. There's a tree frog jumping from one tree to the next and they shot him in hi- they shot him a high speed. They slowed him down. And a frog stretched them out looks like a person. And the- the tree frog was like [inaudible 00:12:43]. And before you got to the other branch, I was like, I'm making that into a TV show. He landed here. So that's that was beginning of Kulipari.
Now what people don't realize a lot of people now, I didn't know, but I'm terrified of frogs. I've been my entire life yet. Y'all didn't know that, did you?
Cyndi Gula: [00:12:00] No.
Ron Gula: [00:12:01] No.
Trevor Pryce: [00:12:01] Terrified, terrified.
Ron Gula: [00:12:03] Only the Pittsburgh Steelers knew that.
Trevor Pryce: [00:12:05] Only they knew that they put frog and Ben Roethlisberger Jersey, he would have been safe instead of me trying to pound him into the ground. But I grew up in Florida and what would happen when it rain? All the frogs went up in the street to get the the heat and they don't get run over by cars. So there was frog guts all on my block, so terrified. But I'm not scared of poisonous frogs.
So that became the ideation. Okay. Poisonous animal, frogs and then I was like, okay, what part of the world has Disney not gotten to Australia Aboriginal, but it was a process of elimination. What are we, not done frog? We have not the poisonous frog. Where are we not done them, Australia Aboriginal culture. So anyway, I came up with Kulipari as you see on, there you go. It was there. I had it a second ago.
So I came with Kulipari. And I wrote a treatment for the books. My agents took that treatment. And they sent it to Abrams, the book company.
Ron Gula: [00:12:58] And what is the treatment?
Trevor Pryce: [00:12:59] So treatment is basically you take these two, 300 and 266 pages. You put into two pages as a story, but here's what the story beats are. Here's the characters here's what's going to happen is really a synopsis. It's like it's the back of a book, just six pages longer, right? Rather than you have to read the whole thing. But honestly, what I did is I hired Sanford Green, a comic artist, right? He's a Marvel comic artist.
He's doing his own thing right now called Bitterroot. That was optioned, by the guy who directed black Panther. Ryan Coogler. So at Harvard, Stanford Green to do the designs, the first set of designs and I was in season. I never forget it. We were playing Kansas City and I was in my hotel room talking with Sanford about the Kulipari designs. And I was like, I have a, in five minutes about the offensive line. Can you please hurry this up? So he wound up I wound up hiring him, and I paid him and he designed the first six, four, five characters.
So it was the first four, so there's four main Kulipari frogs the word Kulipari means poisonous. It's four poisonous frogs. And it's one non-poisonous frog, who Kulipari is about. And what was interesting was I don't think anybody read my treatment. I know for a fact, when Abrams signed my book, I know for about, they never read it. It looked at the art and they were like, yeah, we're gonna make this, we'll figure out what it is later because I was, would've talked to my editor the first time she called me.
And Susan was like, "Yeah. So tell me about the story." I was like, "Do you not read the six pages I gave you?" And she was like, "Not really we saw the pictures. And it was great." So that's how I got here and we backed into it and then she read it. And then they put me with an artwork when an author and me and him wrote the book together. So that was how Kulipari started. At least from a print standpoint.
Ron Gula: [00:14:43] I think that's a really funny lesson because a lot of entrepreneurs on the cybersecurity side they'll make a 30 page, 40 page PowerPoint slide about why you should invest in their company or buy their product. And very few customers or investors actually read the whole thing.
Trevor Pryce: [00:14:57] It's funny, I have a I've learned that it took me awhile to come out first PowerPoint slides, right? 70 pages. I said, no, this keep going. It gets better. No, it doesn't my man. They were like, no, we need three pages. What we, and the thing I'm starting to tell like my own employees, when we're pitching stuff, I might, these people come from the same place you come from, right? You don't have to spook fool speak them. Once you give them an idea, their brain works the same way as us.
We could switch sides of the table and you can pitch me my own idea. And my brain says, okay, so now these days with COVID and Zoom calls with pitches, it used to be, these meetings were hour long, not they're 15 minutes. You know what I mean? It used to be, you come in and pitch and we shoot the garbage around [inaudible 00:16:53]. And then you spend 40 minutes trying to explain your idea. And as soon as you said your idea, they wrote it inside their own minds. So now I pitched like this story about a kid with a sword.
Ron Gula: [00:15:51] [laughs].
Cyndi Gula: [00:15:56] [laughs].
Trevor Pryce: [00:15:56] What else do you want to know? So that's what I started doing. I said, what else do you want to know? So anyway, so that's, that became my kind of calling card.
Cyndi Gula: [00:16:03] So you wrote three books. Yeah. Army frogs-
Trevor Pryce: [00:16:07] Was the first one. Number two was The Rainbow Serpent. And then number three was Amphibians' End. Funny story about Amphibians' End, as you can see by the front, it is destruction and bad things happening to the main character. And when we turned into the the manuscript Abrams hated it. They hated it. They were like, Susan was like, "We're not putting this out." I said I'm not writing anything else. So there you go. They started to love it. Once they started to realize when I was doing like, I wasn't a Game of Thrones thing before Game of Thrones, or maybe not because those books are 20 years old before, the TV show, like I, I've watched four episodes of Game of Thrones in my life. And this has been called Game of Thrones for kids. And-
Ron Gula: [00:16:46] That's funny.
Trevor Pryce: [00:16:47] And I'm like-
Ron Gula: [00:16:48] Conclusion were supposed to be bloody and double crossing. Harry Potter ended that way. [inaudible 00:18:10] ended that way.
Trevor Pryce: [00:16:54] Yeah. And my job as a storyteller was always to be ahead of the 12 year old kid that's reading this. 'Cause if they know what's happening, if they can, they've gotten to the point now they can tell just like anybody else can tell a story. I know what's going to happen. And I'm like, no, you don't read it. You know what I mean? So I'm zig and zag I throw you off the cliff, you know what I mean? That you have to do that because there's so much of this stuff.
And unless you have something for them to hold on to that surprising, it doesn't have to be good or bad. It has to be surprising. You know what I mean? So I'm, I that's my thing.
Cyndi Gula: [00:17:28] So the books were very popular, very, and then-
Trevor Pryce: [00:17:34] And then Netflix came knocking. One of the executives, his son read the books, his son knew them. So at that same time, I had hired a production company and I green lit my own show. Because Cartoon Network picked up Kulipari. You guys didn't know that. Cartoon Network picked up Kulipari at the same time Abrams did. And they wanted to pair this version of it with Thundercats. And Thundercats nobody watched. Nobody watched it. So they wrote an adventure time and all the comedies started coming back around.
So they were like, we're going to make it into a comedy. And I was like, no, you're not give me my show back. So they gave me my show back. So other choice was, I can go back out with Kulipari and go talk to Disney or go talk to whoever was available.
What's this Netflix thing. Oh that's cool. They have money. Sure. Let's do that. So we wound up signing with Netflix. Because again, when executive his kid new books, so his kids, his kid, his son signed it, not him. He was like, dad do this. And I happened to be sitting in his office. And funny thing is I hadn't written a third book yet when when we signed. So I was like, I had the manuscript. You want to give it to your son? He said, no, we'll wait till the book comes out. Because we actually wanna look at the book and the artwork. It's a full color book.
So we greenlit it and started making, I- making my first animated show, which was a bear, and I was in, it's being made in Canada. I live in Maryland. I don't know. I'm like just getting stuff. I'm like, yes, I don't know, can be changes. And then once he draw it, guess what? You can't change it.
Ron Gula: [00:19:00] So what's the technology like when you animated movie for Netflix. [crosstalk 00:20:32] anime series.
Trevor Pryce: [00:19:05] Anime series. So the, so it is the first one was puppeted. So what puppeted it means is, the characters are basically puppets. They're not hand drawn they're pieces. And if you watch certain shows, you can tell which ones are puppeted because they move, the 2D animation moves robotic. Even though it moves like this part of the arm, doesn't move only this part. And when you animate by hand, you have to move this joint to move this joint.
But when you puppet it where this is a separate layer, this is a layer, this is a layer, the heads of layer, the bodies later, they just move like this. And this part doesn't also, if I could stop this part of my arm moving and do this, it doesn't rotate. So that's the puppeteering. But what that puppeteering does is you, us three are all animators on a TV show, right?
You draw a frog, little bit different than I draw my frog. Which we different than you draw your frog, when you puppet it, it all looks the same. You know what I mean? But also when you puppet it, you can't turn the character. He's in basically one angle. So if you watch Kulipari, season one and two you notice they don't rotate. 'Cause the puppet, we have, you based have strings on them, digital strings that you move them, but you can't turn them this way, because it's only, they only face one angle.
But you never see the back of anybody. It's a bizarre thing. But the fight scenes Rahan animated it. And how they did that is they take the puppet head. They put the head here, does the head could, you could pull the characters apart. Here's the puppet head and we animate the bodies flowing. So there's parts of it that it like slithery oh, that's so cool. And then the parts of it are like, I hate it. I hate it. So we have decided we're doing a third one ourselves at my studio, and we're hand animating the entire thing. So the camera angles are different and you can be way more creative. And I'm like, they send me stuff and I'm like, flip the camera this way. They're like, a hard that is, I'm like that's why I pay you. You know what I mean? And not me.
Ron Gula: [00:21:07] And then what do you get? So you're in your office and you're based in Baltimore, right? So you're in your office, you're outsourcing this animation. They, are they sending you back? Vimeo links movie?
Trevor Pryce: [00:21:15] Back then?
Ron Gula: [00:21:16] Yeah. What's that?
Trevor Pryce: [00:21:17] I was getting Pete. I was getting dotmov. You know what I mean? And you get it in pieces. So you get the first storyboards, and the storyboards are blue and red and blue and white. And then you get a background with red, blue, and white, and then you get red, blue, and white with the voices. And then you get red, blue, and white with some music, and then you get a little bit more color and it's pieces and pieces of layers.
And it is starting with a blank page. And then there's drawing the same thing on top of it, seven times four, a four, what I did in Netflix series. But it was all shot in Canada.
Ron Gula: [00:21:50] How did that work with Netflix? Did you, did they just give you, like what part of the viewings they pay you when people watch it, do they pay you upfront? What does that business model look like?
Trevor Pryce: [00:21:59] They pay up front. So it was a, what they, what it used to be as a Netflix has changed. So when I signed, they had 50 million subscribers. They're not 300 million subscribers. So you can imagine how it's changed, but back then it was, they would license just their set of rights. So they would say, okay, what's your production budget, gave them a number. They said, we will pay half for one set of rights.
So in 2016, there was five sets of rights. There was subscription on demand, video on demand, which has Netflix and Hulu and whatever. There was video on demand, which is like Comcast. He paid for one to get one or Apple TV. There was TV and DVD. Okay. One of those was gone, right? DVD's gone. TV's next. They were like, we don't care about the rest.
We're going to pay half. And we just want subscription, video on demand for our thing. You keep your IP. I'm talking to Netflix now about something else. And they're like, no, we're taking everything. And this is, we're not doing that again. And that has changed because of Disney. So their business model is not pay by view. It is, we are going to buy this upfront for this amount of money and go away. And what they don't do what they said, what they didn't do. Then they didn't cut you a check. They give you a contract. And that contract was good as gold to any bank on planet Earth, because it says Netflix on top of it. So whatever it says, you give it to the bank and the bank gives you the money. And then they, after you deliver the show they pay whatever the contract says in quarters. So you get a check every quarter, but two years.
So they just kick the can down the road or they used to. Now that I'm not, I guess they're giving you bags of gold bullion or something like that.
Ron Gula: [00:23:38] So you're the director and the producer for the Netflix series, which means you got to, do the plot lines. You got to pay for what you wanted. Netflix kind of signed off on it, but you also got to pick the voice actors.
Trevor Pryce: [00:23:51] I did. I got to pick all the ones I wanted.
Ron Gula: [00:23:52] What was that like? Anybody interesting?
Trevor Pryce: [00:23:54] Yes, we have. We got, okay. So the most important one was the lead character Darel. That was the most important one. And we wound up using a kid named Josh Keaton who he had been Green Lantern, he had been Spider-Man. And what would happen is the producers, the physical producers, right? I'm the producer, as far as it's my ideation, it's my money, blah, blah, blah. But someone has to go physically to do it, 'cause I don't know any cast and directors.
So they sent me like 10 people reading the voices of Darel. And I'll just close my eyes and say, does that sound like him? And he was closest. And I was like, that's because I had no idea what Darel sounded like. I knew what Lord Marmoo sounded like the scorpion Lord. Why don't we keep David? That was easy. I knew what [inaudible 00:26:25] sound like it and we wounded up with Mark Hamill.
Ron Gula: [00:24:36] The Mark Hamill?
Trevor Pryce: [00:24:38] The Mark Hamill. And what was really funny was they like, eh, he didn't read, everybody else read. Keith David didn't read. He didn't read. Wendie Malick didn't read.
Ron Gula: [00:24:49] What does that mean? You didn't give lines and he decided-
Trevor Pryce: [00:24:52] Nope. I didn't, give-
Ron Gula: [00:24:52] [crosstalk 00:26:45] Mark you really got be on script [crosstalk 00:26:46]
Trevor Pryce: [00:24:54] Or gonna say Mark you have to audition. He didn't audition. He was like, "You want Mark Hamill?" I was like, "Yes," "He'll be here next week." Great. So the first thing he wants to do, he had no idea what he was doing. He was like, "What am I here for?" Read this man? So I gave it, so what was funny was when he showed up either like he did in the force awakens, he had the whole beard, he had the whole stick. He had just got off a flight from Abu Dhabi. He had just gotten there two days earlier.
And he said to me, he had read the books on set. [inaudible 00:27:18] Abrams said, what does that is that, Oh, this thing I'm doing it. I was like, we're paying you. You don't have to we're already paying you. Don't have to lie to me. I already you a check. But the thing is, he goes in a booth. The first time I'm sitting there I'll say Mark do this. He said, what do you think about this voice? And he started going into old year and this is what he says, and I have a recording of it somewhere. So the whole thing about Kulipari, the poison makes them powerful. So if you don't have poison, you're not powerful. So he goes, "And then the frogs had the force. Poison."
Cyndi Gula: [00:25:54] [laughs].
Ron Gula: [00:25:54] [laughs].
Trevor Pryce: [00:25:56] Very funny, man. Can we get to it? And time is money. So he was excellent. And I took pictures with him and the whole thing, and he did a great job. He actually did three characters. Because you pay voice actors, not by character. He pay him by the day.
Ron Gula: [00:26:09] And he's a pro. He does, he did stuff for the Justice League. He played the Joker. He's been in a lot of awesome-
Trevor Pryce: [00:26:14] But you know what, he does the same voice. It doesn't it isn't like he has two voices. He is a man. And then he has [inaudible 00:28:25], look, man, this, those are that's it, there is no third voice [laughs].
Cyndi Gula: [00:26:25] But it's great?
Trevor Pryce: [00:26:25] But it's great.
Ron Gula: [00:26:26] Keith, David has been in some really really-
Trevor Pryce: [00:26:28] He has one voice. [crosstalk 00:28:33] He is Keith David.
Ron Gula: [00:26:31] He was in, They Live, right?
Trevor Pryce: [00:26:36] He was in Poison-
Ron Gula: [00:26:37] Transformers? Was it dark fame?
Cyndi Gula: [00:26:40] Dark Fame.
Trevor Pryce: [00:26:40] That's Frank. Frank, what's Frank last name? The voice director, he star s- he was star scream and everything. So when he did [inaudible 00:28:54], he is this star scream. So if you listen to [inaudible 00:28:58], you hear [inaudible 00:28:58]. It was interesting, but he's also the director. He's also the voice director and he's very fast, had to keep the energy up real fast. So I learned everything, when we were recording, like I had to learn this on the fly. Like I was like, okay, how's this word, man. You know what I mean?
And the funny thing is the sound editor he edited while we were shooting... while we were doing it. So I do it now and I just press record and we just recorded thing. And I have to go back through that nonsense and be like, Oh, that part, when I got it from them, it was finished 10 minutes later. So it was interesting.
Cyndi Gula: [00:27:21] So you're very popular. The book picked up the Netflix series picked up Comic-Con.
Trevor Pryce: [00:27:28] Yep.
Cyndi Gula: [00:27:29] You have a following in that area. You even have little wonderful little-
Trevor Pryce: [00:27:34] Yes. Mattel, this wonderful. Oh, there you go. This wonderful company. I called them randomly again, my, again, I could just do this. So I called them and I said, "Hey, you guys know a Kulipari?" They were like, "Yes, come see us." Great. And we wound up doing a deal and we wound up selling a bunch of them on Amazon. And then the world changed. What was happening is I was in the cusp of everybody going, wait a minute. Why am I helping you get rich? And I have my own IP. So Mattel, even they love Kulipari. They drop at same time. They dropped Kulipari, they also dropped DC comics. 'Cause they were like, we have Barbie and Hot Wheels. Why are we selling someone else's toys? When we get none of the backend. We have, we are printing up plastic for somebody else kind of thing. And the world became that when Disney side decided they were going to go in a streaming business and pulled everything from Netflix and everybody went, I have mine. I'm going to hoard it. You know what I mean? So we were, if we had come along 10 years earlier, we knew we'd be decent comics.
Ron Gula: [00:28:37] You're designing this intellectual property, but you want to be everywhere. Like books, movies, Netflix, you're going to do video games.
Trevor Pryce: [00:28:45] Yes we are. So we're doing we're right now. We're doing a we're doing a VR game. That is very like I can play it now. I don't like VR. It makes me sick. But when people love it. But we also did a Xbox and Sony, both sent us dev kits for our console game. The so- Sony had us pay for Xbox just send us one. We don't know who sent it.
It just showed up at an office when they had the new Xbox showed up. It came out in Christmas. It showed up in June, just in a box, no name on it. I was like, who do I call? And they're like, nobody was there. So we started doing, we were starting to become a game developer and this part of the country is very good at that.
And very popular with that. And lots of people that do that, what we're having trouble with is turn- turning some of those game developers into filmmakers, right? Could they think a certain way? And from a technology standpoint, it's all about how much painting you do on stuff. Like how many polygons you put on things. But video game, polygons real-time polygons are really low. Film is really hot and they just don't get it.
I'm like, no, it needs to look real. And because of that, we decided to get into gaming, because we said, okay, they're good enough. Even the young ones that we get that come out of school, they're good enough to make a game. They're not great enough to make a film yet. But we're getting, some of them are getting there now.
Ron Gula: [00:30:10] So the technology of making games, can you do things like leverage 3D models from the movies so that maybe you can walk a scene in a movie, right?
Trevor Pryce: [00:30:19] So that's the future man Unreal Engine, right? That's what we use. So Unreal Engine, the program is all in one, all encompassing thing. And there things also been because of their rendering technology, the films and games should be the same thing. And so how was it explained to me was, if you make your movie in Unreal Engine, you make a 3D movie in Unreal Engine. That's you playing the character. I should not be at a let go of the game control. You should be put to move the character.
So that became the idea. That's not real in impractical, right? Because the amount of polygons and the amount of data that has to happen. So what we have to do with our same models, but we'll say 3D models, same backgrounds. We have to strip 50 layers off of it. So you can actually play, but it looks the same. The characters are same size, the characters, the same model, just not as high Def.
Ron Gula: [00:31:18] But eventually we are going to get this ready player, one type of experience-
Trevor Pryce: [00:31:21] Eventually we are gonna get there-
Ron Gula: [00:31:23] The Indiana Jones and the Indiana Jones movie.
Trevor Pryce: [00:31:24] Yeah. It's coming. It's as clear as day it's coming and has PlayStation 5 under Linden five comes out in a couple months. At least we're getting one in a couple of months because we got one of the Unreal Engine grants. And they really like us as a company. They'd be like, what we're doing. They like that we use Unreal Engine for everything, right? Because the rendering costs the most, when you do this kind of stuff, that's what makes or breaks companies.
So the VFX company that made Lion King, Jon Favreau. Jon Favreau, even though he understands it, he wanted them to render everything. And they were like, is expensive, man. We can't keep doing it. And he's you're going to render it. I work for business. You're going to do what I tell you to do. So he looked at a shot and they'd have to cook it. They'd have to spend 50 grand for 20 seconds to cook it and he'd go, okay, we're going to change it. We'll be back.
What? So they stopped doing it. This is a fact, I know for a fact that at some point they were like, you have to, we're not rendering this. You have to sign off on it. The render it we're done. So that happened at the end.
Ron Gula: [00:32:28] Has the technology progressed since you were outsourcing, what are some new types of technology you're using to short-circuit some of that process.
Trevor Pryce: [00:32:36] So one of the things we're doing is motion capture is performance capture, right? There's like Avatar does that. When James came in at a time, it's like the world that changed. So I didn't know. I learned this when I wound up getting in this business that you move the cameras less. Cinematography is not a thing like we're doing our movie, our Kulipari live action and reboot. We, the shoot, we don't use cameras. The facial camera for the actors and the body in the suits, just go into Maya.
There's no cameras on my set. And I remember watching Robert Rodriguez direct Alita. And they, and I guess somebody said to him like why he was directing the actors, where we gonna put the cameras. We move the cameras later. And I was like, ah, but it's facts. You do move them late. Like you don't have to storyboard stuff because let's get data. And once the data is inside Maya, the animation software that we all use, once it's in there, then you take the camera and put it wherever you want.
Ron Gula: [00:33:30] You don't have to mess with lighting-
Trevor Pryce: [00:33:32] None of that. Now the part that... doing it later actually takes longer. It'd be better off if you did it on set, but you can't do it. I said, it's inside a computer. So that thing is with 3D, you can also do perpetuity. Like we figured out how to do a perpetuity. So when we started doing more 2D stuff, that looks like rigging, and it looks like hand animation. It's motion capture.
Ron Gula: [00:33:56] So we've talked and said about your company, but tell us about your company. What is the name? And...
Trevor Pryce: [00:34:02] Sorry, our is called Outlook company or Outlook CEO or the animation students called OVFX, which was the simplest way I could come up with it, Outlook VFX. I like that works. We're based in Baltimore. You know what happened to me, at least I had a choice of saying, Oh, do I arcade, do I pack up and move to Hollywood? Or do I try to do something a little more interesting and try to put a flag down in a part of the country that has, I think, talent. 'cause there I had the opportunity.
So one of the things I learned living here, I retired was, there's an art based here, but there's a tech base here as well. And that's what it became. It was like, we have a kid who has been poached by the way. He no longer works Under Armour, grabbed him by the head and walked him out of my studio. But he goes to Johns... He went to Johns Hopkins. He did not get an art degree. He's good enough artists, but I point this kid and any piece of software and be like, go figure out Houdini. Houdini is a $10,000 piece of software and he'd go, okay.
And then three days later, I'm like, "Holy molly," Like he is that good. And that's why he no longer works for me. So that language that he speaks and he's doing something with technology, for Under Armour, he's doing IT for Under Armour. And he was working, he was making a frog for me. And making, he made the ocean stand up like this. Like I was like, Hey, you know what I want to happen. I want the ocean to tilt like this, the ocean tilts one of my shots.
And it's like real water and it tilts. So we wound up staying here. I wound up staying here because of the art school, but also because the Cybersecurity industry and the Gaming industry and all that stuff has converge into this part of the country more than anywhere else. Because of, and there's a lot of art school because not that many of them. But like MICA is a real art school. MICA has its problems that they're trying to figure out how to teach kids how to be professionals and not artists.
I had a kid that told me one time from MICA. He's MICA is not a trade school. You have to realize that they don't... He's that's what they teach. They teach us how to express ourselves through 2D and 3D and puppeting and all of these other of things. It's not a trade school. So you're trying to get us like animate, like real animators. We're not real animators. I was like, fair. And then I fired him but he did give me that information.
But I knew the tech language that was spoke here. We could figure out kind of anything if there was an IP to play with.
Cyndi Gula: [00:36:22] And the gaming area and people from the gaming-
Trevor Pryce: [00:36:25] Is Hunt Valley and Bethesda, there's a company that was bought here for $8 billion.
Ron Gula: [00:36:31] Yes. So let's talk about that. So you're based in an opportunity zone. You are working with a lot of people younger than us, right? I call them [inaudible 00:39:31]. [laughs] How many of them have degrees? How many of them are certified? How many of them are just raw talent?
Trevor Pryce: [00:36:45] I would say the grease is certified. I would say 90% 10% is talent. Wha- what we've gotten to, I have a new saying that my studio, mindset is more important than skill set. That's a true thing because it has changed so much in the two years I've been doing it that, schools can't teach what we teach. Because they have to spend more money getting new computers. We just bought some new video cards. We can only buy one.
There was only one in the country, but it's a video card that chops through Unreal Engine and makes it rendering take that, nobody else has one, like MICA doesn't have them. Cal Arts doesn't have no art school in the country has, unless you want to repurpose 8,000 computers on your campus and you can't do that. So the skill set if you have a base knowledge and certified in some kind of way about this stuff, we can teach you the rest. If you are passionate about it and you want to learn.
One of the ones doesn't have a skill set. He's a tattoo artist. We had a tattoo artists. Tattoo artists are great artists. He's been working on the same tree now for a month and a half, but it is a wonderful tree. He knows what happened. And here's the thing I figured out to him. Everybody's making assets for a movie about 3D movie and they are like going in and like stem and painting leaves.
And I'm gonna take the camera and go back to leaf like this. And I'm like, you just have to deal with that. When it happens, like we have our best, our lead kind of prop design guy, Patrick, he's working on Lord Marmoo's tent. Lord Marmoo he lives, the scorpion lord lives somewhere. He lives in a place called RM, but he has a tent. So when, whenever they go attack us a place that he pops up his tent.
So Patrick is making like a net. He's making a net that has frog skulls in it on the tent. He's been working on net now for three weeks. It's the best net you've ever seen in your life. And it's not going to be seen, that the, you have to make everything as if you don't put a camera on it this close, but you don't. 'cause again, we move the cameras later. So I understand this. You spent three weeks making the best net.
I love it. The net is great. Nobody's going to see this and that, but we don't know that to move the cameras. So everything has to be made with such detail, right? I can't say, oh, don't worry about that one. You can do that on set. If you're making, if you're making a Marvel movie.
Ron Gula: [00:39:03] But you could use that for a game. Absolutely down the road. And maybe if there's a Snyder cut [crosstalk 00:42:11] we can use this from [inaudible 00:42:12]
Trevor Pryce: [00:39:12] We can Snyder cut the dog mess out of this. Believe me. It'd be so easy.
Cyndi Gula: [00:39:17] But again. You're I know we've spent all this time talking about Kulipari, but you are looking, your studio is looking well beyond that. You're looking for, this is more of the mid level. And then you have other things that you have done that targeted more adults, but then you also have preschool and the younger generation.
Trevor Pryce: [00:39:36] Yeah. So right now as we are ramping up animation, I signed a preschool show. The only thing in my studio, I've not created something called Benny blueprints. That was created by a woman named a young artists named Claudia Medina. And it was her senior thesis. I was looking for animators through website. I find people, I saw her senior thesis, which was called BB18 about this blue rabbit and his robot. And I was like, ah, that's funny. She used someone else's thing for a senior thesis.
No, it was hers. I called her at 1:00 AM and she was like, who is this? I was like, just show up at a studio tomorrow and worry about who this is. And she showed up, but I signed her and she's been working on Benny blueprints now for about six months.
And it is stunning, absolutely salute is stunning. And I don't have to go down there. They have their own. And I just, I pop in every so often. And she has a red headphones on she'd Benny looks like her. And it looks it. So that's one thing I was working on. We're also gonna start getting to live action. I have a lot of action universe based on a comic book that I wrote called Foster Broussard Demons. [crosstalk 00:43:52] Oh wait. Oh, it's Foster Broussard: Demons Of The Gold Rush. So my favorite movie of all time is Pirates of the Caribbean at World's End.
Cyndi Gula: [00:40:45] [laughs] That why you're [inaudible 00:44:01]
Trevor Pryce: [00:40:46] People hate it. People absolutely hate it. It is the biggest movie I've ever seen. I don't care how big you think I'm Avenger's End Game is, nothing bigger than two pirate ships in a mouse drum going around [inaudible 00:44:13] age. I like a car chase, nothing bigger than that. And if they do that now it'll look even more real than it does then.
But that technology back then rendering that I'm like, how long did that take? How many people, how much did y'all pay for that? Then we be like, it cost $6 billion to make. So other parts of the Caribbean. So Foster Broussard: Demons Of The Gold Rush is prior to the Caribbean at world's End. I am just doing a gold rush. It's the same as, it almost has some of the same story beats and I don't care. So there's a lot of action universe based on this and we'll eventually make this.
But we are going to, we where we are, we're based in Baltimore, in a building and got a whole building. That's a big building in East Baltimore to try to reconstitute the neighborhood across almost as another building. We just we just leased that has a state has a space big enough for one there's Lucas films. StarCraft stage is called a lead stage. And I just started people stopped calling and StarCraft because I didn't mean Mandalorian. It's called a lead stage.
And Epic games is going to help us build it. They're not going to pay for it, but they are saying we are going to come help you when you're ready to do it. 'Cause you have to have a, you have to have a 30 foot high ceiling, any of that 6,000 square feet to build a screen. So then we build that screen. We can put actors in front of it and they'll be in 1843 Coloma. And we point a camera at it and it look real. We don't have to render it. We don't have to, there's no green screen. We're not using any green screen. And we will shoot this movie with no green screen, in a box and it's going to be spectacular.
Ron Gula: [00:42:26] That's phenomenal. That's phenomenal. So for the young kids listening, like how do we get more young black men, young women into tech, whether it's animation or cybersecurity. What do you do? What can we do?
Trevor Pryce: [00:42:38] I, you have to recruit them. So you have you got, I know you guys heard about LAIKA and Bowie state. So you know, LAIKA the woman at the, woman that row one, a woman that runs LAIKA loves Kulipari, she loved her son, loves it. I met her a long time ago. But Bowie state, but I called Bowie state. I talked to the guy that, that said, if this is how you do it. I talked to the guy that, that is running that program.
And I said, look, you have to tell me how you did this. How did you get LAIKA, to give you puppeteering stop motion animation. And how did they go from LA and skip over the entire country? One of a Bowie state because Florida Full Sail University teaches what I'm looking for. They teach it more than anybody else in the country. Them and Gnomon teach it the most. And Bethune-Cookman University, a historically black college university, is 40 minutes from Full Sail. So there's a connection there, but you didn't go to Florida. You went to Bowie State, you went over Southern university in Texas. You went, Oh, we're all in HBC in the country. And one of it, Bowie State. So I asked a guy at Bowie State. I said, "How did you do that?" He said, "I didn't," Said, "They called me out of the blue, out of the blue." And I said, "What do you mean?" he said, "I pay the phone with it. And there's a lady from LAIKA." And she was like, "Hey, do you guys want to teach, stop motion?" And he was like, "Yeah, sure." He thought I was gonna be an internship program.
She was like no. We're going to pay for you to do it. We're going to start a program. And I said, did you ask them why they called you? He said, no. He said, I didn't even ask him deal. He was like, Nope, I didn't. He said, I learned not to ask questions like that because then you can get a real answer. He said, okay, we'll do it. And so that's how it's going to be done.
It has to be proactive and force people to do it.
Ron Gula: [00:44:21] And we like to say, you have to be purposeful.
Trevor Pryce: [00:44:23] Purposeful. And so we're doing the same thing, a Morgan state. Like I called actually, no, they called me and they're like, Hey, can you help us? And I was like, yes, I can help you. So we're doing the same thing is we're going to Mor- we have for Morgan state kids right now, interns, one of them is really good. Two of them are writers, right? So you have to get into that part of it. The problem is, again, the technology that it takes to do to be good at cyber, to be good at 3D animation, to be good at gaming, it changes so rapidly the schools can't keep up.
So it takes somewhere like LAIKA, take somewhere like Outlook, take somewhere like Google Tech to say, we can fund that part. State of Maryland is asking us to help in Cambridge, they're starting it. They want to start a entertainment kind of thing in Cambridge. And they came to our office and he was like, okay, what do we buy? And what was like, how much are you willing to spend? And it's not a question of spending all the money.
It's a question of having the gear. So when you do put up the white flag and say, come here, when kids sit down, they can actually do what... Unreal Engine has Epic has sets up, said to us. I told him we're doing it. I said, look, when that's real, we will come in. When that's real. And you just have things set up, we will come and help with education. How do we get kids to come there? 'Cause that's the thing I said to them was like, how, who in Cambridge, Maryland wants to work for Outlook.
And that's the question you have to ask the answer. But I think it's, I think it's purposeful, like you said, it's purposeful and it's at times you have to force it in.
Cyndi Gula: [00:45:53] And you have to make it exciting.
Trevor Pryce: [00:45:55] You have to make it exciting.
Cyndi Gula: [00:45:56] You have to make it want to come and great culture. And it sounds like you've had a lot of fun in your own studio.
Trevor Pryce: [00:46:04] F and romper room. I'm like everybody get back to work please. And they're there all night long. I have left the end of my office at seven o'clock and homegirl was bringing her dinner in. I was like, I got to go. I don't know how long you gonna be here, but I gotta go.
Ron Gula: [00:46:18] Awesome. All right. Let's close out with talking about science fiction.
Trevor Pryce: [00:46:21] Yeah.
Ron Gula: [00:46:21] What do you watch? What do you like? What, and we include superheroes and stuff in that. So what motivates you? What's impressed you, whether it's on TV or in the movies?
Trevor Pryce: [00:46:29] The Justice League thing impressed me. Jack Snyder's Justice League impressed me.
Ron Gula: [00:46:32] The re-cut.
Trevor Pryce: [00:46:34] The re-cut impressed me a lot because it was it was four hours and it did go by fast. My son and I watched it and it went by, it was slick in that way that he find a way to make it watchable. So I'm watching that. And when I watch is watch for is not just the VFX and I'm starting to see, because I'm at the point now when you guys look at certain things, just in a, I see the tricks in that. I can see the tricks in Justice League.
I could see to scenes, like I see the parts that are spiced together. And I was like, ah, okay, the grass is not moving. Oh, well done kind of thing. So I watched it for that reason, but then I got into the story and it was great in that respect I'm looking forward to Kong vs Godzilla. That I'm looking forward to because again, the scenes, right?
The reason why the city looks the way it does, it lights the characters in a certain way. So that's why the city, that's why you see the fight scenes side they, they did. That was a style- that was a stylist choice. It was a lighting choice. You have to do that when you have these two gigantic monsters, because if you turn the lights on it, that was daytime.
They look bad, they look terrible, if you just like, if I get in the King Kong model and just have a walk around on my computer, in broad daylight, and I'm trying to chase up, you look at it, and be like people aren't gonna believe that's a real monkey. But if you light the city with those fluorescent lights at nighttime, then it looks like a real monkey, then it looks like a real lizard.
Cyndi Gula: [00:47:53] So do you actually enjoy this stories?
Trevor Pryce: [00:47:56] As it starts to happen though, you start, I started to see the foolishness, right? Lion King was notorious for it. If you watched part of it, if you watched like some of the camera over at [inaudible 00:51:54] and watched the characters walk, when you're walking the ground, the grounds that the ground doesn't react at all, the grass doesn't move, the dust doesn't move, is there because they're walking in blank space and then you put a ground on the room.
So when you don't animate the grass, I'm like, Oh, that's you see, as you see his foot walk through the blades. And you're like, ah, y'all couldn't move the camera on. You know what I mean? So you start to, so I stopped enjoying that kind of thing. So I watch sports.
Ron Gula: [00:48:35] In Virtual Reality 3D sports?
Trevor Pryce: [00:48:37] I've not done that yet. I have not that yet because when they did a thing where you can put the glasses on and being in court side at NBA game, I'm I'm not sure. It's just me though. I have the parallax messes with me. You know what I mean? But again, we're making a VR game where we're likely making it for Sony. Like I'll find out tomorrow, Holy cow gotta get prepared for that call.
Ron Gula: [00:48:57] So what do you think of Disney? Disney's bought Star Wars. They bought Marvel. They bought The Muppets. They're streaming all of it now. And that kind of changed the industry. How does, how do you react to that?
Trevor Pryce: [00:49:07] I react to it by saying there is still more left out there. The thing, my animation, the thing I've learned, and I've been told this by animation travels the world. Most things don't, representation matters, but it's a frog. So nobody's offended by a frog, and Avengers The Muppets, those such big properties that, that they're winning that fight. They're going to overtake Netflix. And everybody knows that, Netflix knows that.
So Netflix is starting to pay attention a little bit more to me. And funny. I can't, I have done a lot of work with Disney and because they have all these things, it is hard to even get there, it's hard to get them to get an email back. And again, I know these people by like cell phone numbers so I think they have found a way and saying IP is how we win the game and exclusive IP. So in the case of Kulipari, we are looking for a place to put it exclusively. Roku is a thing, so there's places in parts and companies that are looking at that type of thing, but I'll give you, I'll give you an example. So we are talking to Nickelodeon about the stuff that's not Kulipari. 'Cause they passed on Kulipari, they passed on it instantly. And the reason they pass on, they said, we have turtles. Like what does that do with the frogs?
They were like we can't put that, we can't put the frogs on TV. We have the turtles because what if I was told this? What if people stop watching yours? When they watch ours, we have invested in hundreds of millions of dollars in this turtles. We can't do that. You know what I mean? No, if you have something that is car based, we can do that. But those two are too similar. You know what I mean? So we started to have that problem, and everybody's going to have that problem, Sony has missed up at a bunch of IPS.
They tried to VIN diesel thing with the dude with a gun in the don't get killed, guy, whatever-
Ron Gula: [00:50:54] Fast And The Furious.
Trevor Pryce: [00:50:55] No, no-
Cyndi Gula: [00:50:55] That's one good.
Trevor Pryce: [00:50:56] That's good. That was fine. But I forget Bloodshot-
Ron Gula: [00:50:59] Oh, yeah. Yeah.
Trevor Pryce: [00:51:00] The very-
Ron Gula: [00:51:01] Didn't see that one.
Trevor Pryce: [00:51:02] Nobody saw it. It's like the variant thing. Very uncommon is that was supposed to be the beginning of a universe. So everybody's looking for some kind of universe. And universes are expensive. They're also hard to write.
Ron Gula: [00:51:13] Unless you have John wick.
Trevor Pryce: [00:51:14] Unless you have John wick and I'm hoping that Nobody is good. I've heard it's terrible. But I hope that somehow John Wick and Nobody kind of cross, they should. They are written by the same people.
Ron Gula: [00:51:27] Wow. Where do you think you made one other comment about the future here, that television is going to be dead pretty soon. So what do you mean by that?
Trevor Pryce: [00:51:33] I think paying for it's going to be dead. So the next thing that we have coming and I've started to sound push my kids and tables and NEXTGEN TV. So NEXTGEN TV is free 4k HDTV. That's based that's internet base. So with 5g and everybody having these big televisions, it's like, why am I paying for this kind of thing? Because it's very difficult to get somebody to pay for anything that's not day in date, which is sports. You know what I mean? Or the local news. So once, once sports and local news are figured out I think cable TVs don't have a problem because even universal who has Comcast, they're trying to figure out how to get out of Comcast, but I know that, so there is a sense of it's not that the product's not great.
The content is great, but FX and Hulu, if I'm paying for Disney+ I get FX and Hulu. So why do I, why would I put that in my cable bundle? You know what I mean? So it's, it has nothing to do with, there's nothing... there's something bad or, oh, it's a bunch of garbage no. Everything on TV I can, at least I can right, as of right now, I can get at Roku and Pluto and Netflix, there's a way to bundle that stuff. So I think paying our cable bills, 300 bucks a month or whatever it is, ridiculous, whatever it is. I think that's going to go away as soon as they figure out how to make local news and NEXTGEN TV and 4k, free 4k. That's where it's all going.
Ron Gula: [00:53:00] Yeah. It really reminds me of the early '90s when you would get a cell phone and then sprint would send you a, if you cash, this check will switch your phone line. And then you'd get one from AT&T the next month. That sort of thing. It's not exactly like that now, but I really feel like we're signing up for stuff and then we're turning it [crosstalk 00:57:33] we're done with that episode, all right let's turn that off.
Trevor Pryce: [00:53:18] I to see what the Justice League thing with HBO Max. Did it really work, right? There was so much hype on it. And did it drive subscription that people sign up for HBO max for a month? And then get rid of it to watch Justice League.
Ron Gula: [00:53:31] And that's the one-time thing. I would have happily paid for that. Just like you pay for it on [crosstalk 00:57:55]-
Trevor Pryce: [00:53:34] I would have happily, I would have happily see it in the movie theater.
Ron Gula: [00:53:37] That's too,
Trevor Pryce: [00:53:38] You know what I mean? I would have happily to see it in the movie theater.
Ron Gula: [00:53:39] Did you see Tenant?
Trevor Pryce: [00:53:41] I've seen Tenant twice. I saw it in the movie theater. Yeah. I, and I saw it on a plan- I watch it on a plane. So I was at, so I'd heard from some people that Tenant was great. So I was like, I'm in. So me and my wife and my son went to watch Tenant, my wife was like, "What is going on?" I was like, "Be quiet. I gotta hear what this guy's talking about."
And now Christopher Nolan has a thing where he doesn't want you to hear what's going on. So the voices, you can't hear what's going on over the noise. And I think it's a great artistic choice. That Tenant was bonkers as all hell.
Ron Gula: [00:54:09] If that's a great artistic choice, let's go back to the Snyder's Cut. What did you think about the three, four frame resolution there that was kind of-
Trevor Pryce: [00:54:15] Yeah, it was odd, right? Because it's supposed to be it's supposed to be max IMAX. Like we're cutting our movies. If I export 4k, if I show it to you, it's too wide and that there's a black bar on top. So that's what he's trying to get. He was trying to get rid of the black bars. So he did it like this. And then you put an IMAX theater. And IMAX screen is this wide, but it's this tall, that's what it was.
So I, I was bugged out when I saw it. When I first saw it, I was like, I thought he was doing this on Twitter. They were like no, that's the way to movie is. That's the framery, that's how it's cut. But it supposed to be IMAX. You know what I mean? So if you get to see it in IMAX, it's a glorious picture, but it looked funny on my TV. It was six inches missing on both sides. You know what I mean? It was kinda weird, man. But I enjoyed it.
Ron Gula: [00:54:57] Awesome. Where can people go to learn more about you and Outlook?
Trevor Pryce: [00:55:02], a center for our lose- our newsletter or Twitter and join the Kulipari and join the class... That's the easiest one. I think we have OVFX page, right? I'm way too busy to be doing social media. It is a thing though. Like one of my artists who's "Hey, why don't you let us do it?" I said, because you're supposed to be drawing. That's why, so I'll do it.
Ron Gula: [00:55:24] That's awesome. Cyndi and I thank you very much for coming to our channel today.
Trevor Pryce: [00:55:28] Absolutely. Absolutely guys.
Ron Gula: [00:55:29] And...
Cyndi Gula: [00:55:30] Oh, I just wanted to, you have such a interesting path.
Trevor Pryce: [00:55:35] [laughs].
Cyndi Gula: [00:55:36] Is there anything that you want people to understand regarding how to get where... go forward without knowing where you're going?
Trevor Pryce: [00:55:45] I, so- some of it is, some of it is I told my son this last night, I said, there's a safety net under you. People will catch you as long as you're walking on the rope. You have to go up there, son, if you go up there, people go, with people that don't get where they are. They don't go up in the rope. They stayed out here. And I think you have to, people are available, right?
Is people like, I get random emails all the time, like random. And if it's somebody that I feel like, again, the mindset is right. I'll forward them to this person on Apple or afford them inside our company and say, Oh, let me give you a chance, let me give a thing. An- and sometimes they're not talented, the point is you reached out and you just make somebody's day when you reach back.
I do it all the time. I do it all the time. So the risk you take and do not be afraid of no. But no is not failure. No is a success 'cause you have to be, you have to have something to be told no about. If you have something, you succeeded. When someone says yes or no is an opinion. The great poet Laureate Drake said, we play an opinion-based sport. There's not facts of this. If someone likes Kulipari, that's an opinion. So don't be afraid of that. But you have to get up on a tight rope. People will catch you, if you're up there and we see you dangling, look at you, but you have to take your butt up there. So that's what I'd say. Just go try and time and the longer you're there, more likely you are to get across the rope.
Cyndi Gula: [00:57:16] That's great.
Ron Gula: [00:57:17] Excellent. All right. Thank you very much, Trevor Pryce for coming on Episode 12 of the Gula Tech Cyber Fiction show. Thanks again, Trevor.
Trevor Pryce: [00:57:26] Absolutely guys. I appreciate it. This is great.