Then I gave him clear eyes and a yellow mouth and a high red collar. Next, I went out to my hot rod shop and painted it with purple metal flake and thought it looked kick-ass. Once I was happy with it, I got out some sculpey and sculpted his head. That evening, I did a handful of drawings and tried to find a design theory for him. Ash Brannon said to me, “Ken, you’re the only one here who’s done comic books so why don’t you draw us a Zurg? It won’t be for the show - just a placeholder for the storyboards.” And I said, “Okay.” There was no Zurg design and the guys needed one when they began working on the first few scenes of Toy Story 2. Courtesy of Ken Mitchroney.Īt first, Zurg was just a name that Andrew Stanton came up with for the first film. The very first drawing of Emperor Zurg, drawn by Ken Mitchroney (Buzz sketch by Ash Brannon). Shortly after that I was hired at Pixar and moved to the Bay Area - which I love - and began working on Toy Story 2, Monsters Inc, and a little bit of Bug’s Life, too. I knew that was the future, so when he told me they were looking for people, I told him I wanted in. When I saw Toy Story a couple of years earlier, I was blown away by it. Which, originally, was going to be a direct-to-video sequel to Toy Story. Suddenly, my buddy Jeff Pidgeon - who I’d worked with on Tiny Toons - stops by and begins telling me about Toy Story 2. My staff and I did a lot of good contract work, but it was all hand-to-mouth and about eight years later, I was shutting it down. So I moved to Florida and opened up Last Laff Studios. I’d worked on a bunch of cartoons, but I was newly married and tired of sleeping on my friends’ floors. Ken Mitchroney: Well, about 1990, I quit Hollywood. Inverse: How did you come to work at Pixar? Ken Mitchroney recording voices for Mighty Magiswords in 2016.
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