Issue link: https://digital.copcomm.com/i/1490572
1 2 4 P E R S P E C T I V E | J A N U A R Y / F E B R U A R Y 2 0 2 3 M I L E S T O N E S James Murakami 1931-2022 B Y P A T R I C K M . S U L L I V A N J R . , P R O D U C T I O N D E S I G N E R I think it's safe to say that Jim Murakami was my very first L.A. friend. In August of 1994, I had arrived in town, from clear on the other side of the country, with few belongings and zero contacts. A listing in the Tuesday edition of The Hollywood Reporter led to a cold-call to the Crimson Tide Art Department and was answered by a jovial, yet gravelly voiced Jim Murakami. He graciously and patiently gave me his time, answering all my questions, describing the project and his responsibilities as Art Director. And to my abject joy and surprise, he invited me to visit him at the Culver Studios, where the submarine sets were being constructed. I remember him then as both gracious and modest. While soft spoken, he never seemed at a loss for words. I could sense immediately that he had a wealth of knowledge and was eager to share. The talk came to a close when we entered the sound stage and I stood before the control bridge of the USS Alabama, sitting atop a monstrous steel structure I would come to know as a gimbal. This experience inspired me to my core and lit the fuse on my passion for the art of filmmaking—one that is forever linked to my friend Jimbo. A couple of years passed, and my network of contacts grew, and I had some luck gaining work on some great films. It eventually led to an interview on a project called The Game, with Jim Murakami as Supervising Art Director. Entering the drafting room of the rented Hollywood space serving as the Art Department, I immediately spotted Jimmy far back in the corner, facing the door. His glasses were down the bridge of his nose as he was busy drawing something I had yet to A A. JAMES MURAKAMI. B. COURTROOM SCENE FROM CHANGELING, 2008, FOR WHICH MURAKAMI RECEIVED AN ACADEMY AWARD NOMINATION. B