As a gamer who has spent countless hours exploring the vast and wondrous universes of Star Trek: The Next Generation and Voyager, I can’t help but feel a profound sense of admiration for Richard D. James. His contributions to these iconic series have not only enriched my own experiences as a fan but have undoubtedly left an indelible mark on the sci-fi genre itself.
Production designer Richard D. James, who worked on nearly every season of Star Trek: The Next Generation and Star Trek: Voyager (with the exception of one season), has passed away at the age of 88. He earned an Emmy for his work in this field.
On November 11, James succumbed to the complexities arising from an infection, as reported by The Hollywood Reporter, according to his lifelong companion, Tom Sanden. This statement was shared at UT Southwestern Medical Center in Dallas.
On the silver screen, the native Texan served as art director for several films: Bill Forsyth’s “Local Hero” (1983), featuring Burt Lancaster and Peter Riegert; Mike Nichols’ “Silkwood” (1983) with Meryl Streep, Cher, and Kurt Russell; and Kevin Reynolds’ “The Beast of War”, starring George Dzundza, Jason Patric, and Steven Bauer.
James began starring in the syndicated “Next Generation” during its second season, which ran from 1988-89, and continued until the show ended in 1994. Subsequently, he moved on to UPN’s “Voyager,” where he worked for all seven seasons that aired from 1995-2001.
In 1990, James was awarded an Emmy (a joint recognition with his long-term collaborator Jim Mees) for his contribution to the “Sins of the Father” episode of Next Generation. Additionally, he was nominated in the years 1989, 1991, 1992, and 1994.
Born on April 7, 1936, in Fort Worth, Texas, Richard Dale James was the youngest of five children. His dad, William, operated an auto parts business and fixed cars, while his mom, Katie, took care of their family home. After graduating from R.L. Paschal High School, he honed his skills in production and art direction by working at the Casa Mañana Theater during his time at Texas Tech University.
Following his college graduation, James embarked on a journey to Hollywood where he secured a job as a scenery painter for Disney. Subsequently, he was employed by NBC and assigned to various projects such as the game show “Let’s Make a Deal”, which he worked on since its debut in 1963, along with “Rowan & Martin’s Laugh-In” and “The Dean Martin Show”. Additionally, he worked on a 1967 adaptation of “Carousel”, starring Robert Goulet.
In 1978, James accumulated priceless science fiction knowledge while serving as an art director for Glen A. Larson’s Battlestar Galactica movie and TV series on ABC, as well as the 1979 NBC show titled Supertrain.
Initially, he was brought in as a short-term substitute for Herman F. Zimmerman on Next Generation, as Zimmerman had departed to work on Star Trek V: The Final Frontier (1989). However, when Zimmerman chose not to come back, the temporary position turned into a permanent one for him.
Upon his arrival, Next Generation faced difficulties in generating “star fields,” however, he quickly devised a suitable solution.
In a past conversation with the show’s producers, I shared my expertise from working on ‘Battlestar Galactica.’ I emphasized that to achieve star fields they would be satisfied with, they must opt for black velvet backdrops and painstakingly affix glitter by hand.
As a gamer, I’d put it this way: “When it comes to the design of the Voyager and Next Generation centerpieces, there’s a noticeable difference. The Voyager ship felt more like a high-tech, scientific exploration vessel. In contrast, the Enterprise was more akin to a lavish cruise liner. Voyager had a sleeker, more futuristic appearance, while The Next Generation Enterprise leaned towards a warmer, softer aesthetic.
James retired in 2001 with the end of Voyager and returned to Texas.
Survivors include his husband, Ron.
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2024-11-20 19:25