Issue link: https://digital.copcomm.com/i/1531774
2 0 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 5 his way up through various studios and pictures with the help of colleagues like Richard Lawrence (who got him his Assistant Art Director's card on The Exorcist II), Ferdy Carrer (who helped him get an Art Director's card on Convoy with Sam Peckinpah) and Tom Shaw (who offered Dennis his first Production Design job on Victory with John Huston). Washington went on to do three films with John Huston—experiences that propelled his career forward in a meaningful way. As time passed, Dennis was fortunate to work on a variety of films as a Production Designer, and even had the chance to direct second unit on three projects. Some of his favorite projects are Stand by Me, The Fugitive and Thirteen Days, which offered unforgettable experiences both in terms of gratifying challenges, but also in terms of the people he met and places he visited. Washington is most grateful for the support he has received from his incredible family, dear friends and a strong community of colleagues, with gratitude for the fifty-six years spent in the film industry, and to the union for providing a solid framework for that career. A. BACKLOT PHOTO OF A WAR-TORN STREET FROM TO BE OR NOT TO BE (1983). B. SET SKETCH FOR AN ELEVATOR SKYLIGHT FOR THE FUGITIVE (1993). C. SET PHOTO OF SUPER PUMPED (2022). D. SET PHOTO OF THE CAMP FROM VICTORY (1981). A B C D A D G L I F E T I M E A C H I E V E M E N T AWA R D J . D E N N I S WA S H I N G T O N