Issue link: https://digital.copcomm.com/i/1546033
7 6 P E R S P E C T I V E | J U L Y / A U G U S T 2 0 2 6 M I L E S T O N E S Remembering the Life of Thomas John B Y D AV I D L . S N Y D E R , P R O D U C T I O N D E S I G N E R On February 11, 1978, I received a call from Art Director Jim Tompkins. He said he was just hired to art direct the 50th Annual Academy Awards by Tom John, the Production Designer, and ABC TV. He offered me the Assistant Art Director position. We were given space in the decrepit Dressing Room Building in the abandoned Paramount lot. Tom had his office and Jim and I shared what would be the drafting room. Tom was a man of few words and amazing ideas that he would sketch out and then hand over to Jim and I to realize into scale working drawings. Pencil-on- vellum. Tom's theme was Busby Berkeley revival. There seemed to be no effort in the avalanche of sketches pouring out of Tom's pens and pencils, along with his unique personality. A memory of Tom's sardonic sense of humor followed my complaint regarding the lack of proper craft service on the Paramount lot. One morning as I was pouring the lead onto vellum, Tom walked in with a grocery bag and tipped it over my board, dumping ten pounds of candy bars on it. He never said a word and went into his office. I worked next with Tom on Taxi. Tom handed me a sketch of the set, more of a conceptual rendering of the TAXI Int. Garage set. He had me re-engineer it into preliminary 1/4-inch scale plans and elevations. They were sent over to the Paramount Studios mill for construction.Then Tom asked me to design a logo for the series. Producer David Davis went to New York and shot the footage to marry to the artwork. After Taxi, I only saw Tom socially at his home up in the now demolished Sunset Plaza Apartments. In 1980, on the recommendation of Taylor Hackford, I was hired to production design the filmed version of the Broadway musical Zoot Suit. When the 1980 strike hit, all television Art Directors and Set Designers were laid off. Only the feature Art Directors (now commonly known as Production Designers) remained. John Lloyd, Henry Bumstead, Bob Boyle and me. Within days, the MCA Universal features Art Department was also furloughed. Soon I got a call from Lawrence G. 'Larry' Paull to join him on an independent feature titled Dangerous Days. It wouldn't shoot until 1981 but would work on design for six months. I took the job because another show I had already started called The Greatest American Hero had shut down. When the strike ended, I got a call from producer Peter Burrell to come back to work. I phoned (pre-email) to tell Peter that I had taken another job now known as Blade Runner. He was disappointed and despondent as I had already set the tone of the show along with the director and cameraman. Then it came to me. Tom John. I told Peter Burrell to call Zoot Suit executive producer Gordon Davidson, Director of the Center Theatre Group/Mark Taper Forum. I said, "You may not know Tom, but Gordon would be over the moon to get him." I was delighted that Tom took the job and I could finally repay him for all he did for me. Legendary Art Director, Production Designer and Set Designer Thomas John passed away in April 2026. A THOMAS H. JOHN, 1936-2026