Pablo Ferro

Director, Editor, Producer
Not all of our most important filmmakers are the most well-known. Hailed as a genius by Stanley Kubrick and described by Jonathan Demme as "the best designer of film titles in the country today," Pablo Ferro has ... Read more »
Born: 01/14/1935 in Cuba

Filmography

Visual Effects & Animation (59)

Men in Black 3 2012 (Movie)

(Main Title Design)

Howl 2010 (Movie)

Titles Designer(Depablo Productions) (Titles)

Cthulhu 2008 (Movie)

Main Title Design (Titles)

Starter For 10 2007 (Movie)

Title Design (Titles)

Napoleon Dynamite 2004 (Movie)

(Main Title Design)

The Blues 2003 (Tv Show)

Titles

My Big Fat Greek Wedding 2002 (Movie)

Main Titles (Titles)

My Big Fat Greek Wedding 2002 (Movie)

(Graphics)

The Truth About Charlie 2002 (Movie)

Title Design (Titles)

Bones 2001 (Movie)

main title sequence creator (Main Title Design)

Rodgers & Hammerstein's "South Pacific" 2000 - 2001 (TV Show)

Titles

It's The Rage 1999 - 2000 (TV Show)

Main Title Design

Agnes Browne 1999 (Movie)

title design (Titles)

For Love of the Game 1999 (Movie)

main title sequence (Main Title Design)

Beloved 1998 (Movie)

title design (Titles)

Dance With Me 1998 (Movie)

(Titles)

Dr. Dolittle 1998 (Movie)

(Titles)

Hope Floats 1998 (Movie)

(Titles)

Krippendorf's Tribe 1998 (Movie)

(Titles)

Psycho 1998 (Movie)

titles adaption (Titles)

Anna Karenina 1997 (Movie)

title design (Titles)

As Good As It Gets 1997 (Movie)

(Main Title Design)

Good Will Hunting 1997 (Movie)

title design (Titles)

L.A. Confidential 1997 (Movie)

main title (Titles)

Meet Wally Sparks 1997 (Movie)

Title Sequence (Titles)

Men in Black 1997 (Movie)

(Main Title Design)

Mrs. Winterbourne 1996 (Movie)

credits designer (Titles)

Sunchaser 1996 (Movie)

(Main Title Design)

That Thing You Do! 1996 (Movie)

title design and graphics (Main Title Design)

Devil in A Blue Dress 1995 (Movie)

title design (Titles)

To Die For 1995 (Movie)

title sequence (Titles)

Malice 1993 (Movie)

title designer (Titles)

Philadelphia 1993 (Movie)

title designer (Titles)

Rampage 1992 (Movie)

special visual effects (Special Effects)

Career Opportunities 1991 (Movie)

(Main Title Design)

Mobsters 1991 (Movie)

montage sequence and main title (Main Title Design)

The Addams Family 1991 (Movie)

(Main Title Design)

Darkman 1990 (Movie)

montage sequences and main titles (Main Title Design)

Pump Up the Volume 1990 (Movie)

(Main Title Design)

The Guardian 1990 (Movie)

title and optical design (Main Title Design)

Beetlejuice 1988 (Movie)

title design (Titles)

Johnny Be Good 1988 (Movie)

title design (Titles)

Married to the Mob 1988 (Movie)

(Titles)

The Rescue 1988 (Movie)

(Main Title Design)

No Man's Land 1987 (Movie)

title sequence (Titles)

No Way Out 1987 (Movie)

title design (Titles)

C.A.T. Squad 1985 - 1986 (TV Show)

Main Title Design

Stop Making Sense 1984 (Movie)

(Titles)

Swing Shift 1984 (Movie)

title design (Titles)

I'm Dancing As Fast As I Can 1982 (Movie)

Title Design (Titles)

Being There 1979 (Movie)

title design (Titles)

Last Embrace 1979 (Movie)

(Titles)

Citizens Band 1977 (Movie)

(Titles)

Harold and Maude 1971 (Movie)

(Titles)

Midnight Cowboy 1969 (Movie)

Graphic Effects (Graphics)

Hidden in America (TV Show)

Titles

Hugo Pool (TV Show)

Main Title Design

Sin and Redemption (TV Show)

Titles

Witness Protection (TV Show)

Main Title Design
Wardrobe, Hair & Makeup (1)

Further Adventures 1987 - 1988 (TV Show)

Costumes
Producer (1)

Me, Myself and I 1993 (Movie)

(Producer)
Director (1)

Me, Myself and I 1993 (Movie)

(Director)
Actor (1)

Hugo Pool (TV Show)

Actor
Other (6)

Dirty Dancing: Havana Nights 2004 (Movie)

(Consultant)

The Door in the Floor 2004 (Movie)

Title Consultant(Title House Digital) (Consultant)

Secretary 2002 (Movie)

(Consultant)

Shadow Hours 2000 (Movie)

titles consultant (Consultant)

Sunchaser 1996 (Movie)

graphic consultant (Consultant)

To Live and Die in L.A. 1985 (Movie)

(Consultant)

Biography

Not all of our most important filmmakers are the most well-known. Hailed as a genius by Stanley Kubrick and described by Jonathan Demme as "the best designer of film titles in the country today," Pablo Ferro has distinguished himself in film for more than three decades as a director, editor and producer specializing in graphic design, special effects, sequences and main titles, trailers and print campaigns. A significant influence on the "look" of the 1960s, he may have had an even more decisive impact on the world of advertising. In addition to creating and designing some of the more striking TV and print ads of the decade (one highlight was creating the corporate logo for Burlington Mills with fast-moving multicolored stitching animation for a classic commercial campaign), Ferro helped bring the "hard-sell" visual razzmatazz of cutting-edge advertising techniques to Hollywood films that strove to reflect the changing social scene. Often pointed and satirical, much of his best film work has been in association with directors once allied, to varying degrees, with so-called countercultural values such as Kubrick ("Dr. Strangelove: or How I Learned to Stop Worrying and Love the Bomb" 1964; "A Clockwork Orange" 1972), Demme ("Citizen's Band" 1977; "Last Embrace" 1979; "Swing Shift" 1983; "Stop Making Sense" 1984; "Married to the Mob" 1988; "Philadelphia" 1993), Hal Ashby ("Harold and Maude" 1971; "Bound for Glory" 1976; "Being There" 1979; "Second Hand Hearts" 1981; "Looking to Get Out" 1982; "Let's Spend the Night Together" 1983) and William Friedkin ("The Night They Raided Minsky's" 1969; "To Live and Die in L.A." 1985; "C.A.T. Squad" NBC 1986; "The Guardian" 1989).

Relationships

Jose R Ferro Sr

Father
collaborated on main titles for "Sin & Redemption" (1994) directed by Neema Barnette

Isabel Ferro

Mother

Jose R Ferro Jr

Brother

Bertha Mejia

Sister

Flora Geiges

Sister

Maria Koenig

Sister

Susan Ferro

Wife
divorced modeled for advertisements produced by Ferro

Allen Ferro

Son
born 1957 collaborated on main titles for Sam Raimi's "Darkman" (1990), "The Addams Family" (1991), Jonathan Demme's "Philadelphia", "Addams Family Values" (both 1993), and Gus van Sant's "To Die For" (1995) edited his father's "Me, Myself & I" father of Ferro's granddaughter Alexandra Michelle

Joy Moore

Daughter
owns management company and serves as father's representative mother of Ferro's grandson Tristen Michael

EDUCATION

High School of Industrial Art

New York , New York

Milestones

2000

Served as titles consultant on "Shadow Hours"

1999

Designed the main title sequence for the baseball-themed Kevin Costner vehicle "For Love of the Game", helmed by Sam Raimi as well as the title sequence for "Agnes Browne", directed by Anjelica Huston

1998

Formed Depablo Productions (dba Pablo Ferro & Associates)

1998

Honored with a tribute by the Directors Guild of America, hosted by Michael Cimino (October 9)

1998

Returned to the small screen with the title design and sequence and montage for the HBO biopic "Winchell", directed by Paul Mazursky

1998

Fashioned title design and sequence and montage for "Krippendorf's Tribe" (helmed by Todd Holland) "Hope Floats" (directed by Forest Whitaker), "Beloved" (directed by Jonathan Demme) and the remakes of "Doctor Dolittle" and "Psycho", directed respectively

1997

Had small role as a dancer and designed the title sequence for Robert Downey's "Hugo Pool"

1997

Created main title designs for the Oscar-winning films "Men in Black" (directed by Sonnenfeld), "L.A. Confidential" (helmed by Curtis Harrington), James L Brooks' "As Good As It Gets", and "Good Will Hunting", directed by Van Sant

1996

Was graphic consultant and created main title design and special visual effects for Michael Cimino's "Sunchaser"

1995

Provided acclaimed opening title sequence montage of tabloid headlines for Gus Van Sant's "To Die For" after test audiences expressed confusion about the plot

1993

Director Demme successfully appealed to the Directors Guild of America requesting a waiver that would allow Ferro's credit to appear in the opening titles of "Philadelphia"

1992

Directed and produced "Me, Myself and I", a romantic comedy starring George Segal and JoBeth Williams; from a screenplay by Julian Barry that he had commissioned some 20 years earlier

1990

Created the main title sequence and montage sequences for Sam Raimi's "Darkman"

1988

Created "filler" programming--quick cuts of historical film sequences set to outlandish music and sound effects--for the 15th annual Saturn Awards show presented by the Academy of Science Fiction, Fantasy and Horror

1987

Created special effects sequences and main titles for William Friedkin's "Rampage"

1987

Provided special trailer end title shoot and theatrical trailer for "Prince of Darkness"; first colloboration with writer-director John Carpenter

1985

Created the main title sequence for the popular NBC family sitcom "Family Ties"; created the main title sequence and theatrical trailer for Friedkin's "To Live and Die in L.A."

1984

Reprised the hand-drawn lettering look of "Dr. Strangelove" for the main titles of "Stop Making Sense", the Demme-directed concert film of the Talking Heads; also created the trailer and music video

1983

Credited as "creative associate" on "Let's Spend the Night Together", the Hal Ashby-directed concert film of the Rolling Stones, but actually co-directed (DGA requirements kept him from officially having that title); supervised editing; created montage se

1983

Served as supervising editor on "Beat It", the landmark Michael Jackson video; Ferro was nominated for Best Editing by the American Video Awards

1983

Acted in Robert Downey's "America"; portrayed Hector Frantico; created main title design for Demme's "Swing Shift"

1982

Provided main title design, trailer, TV spots and several print campaigns for Ashby's "Looking to Get Out"

1981

Provided main title design, trailer, TV spots and print campaign for Ashby's "Second Hand Hearts"

1980

Created re-release print campaign for Ashby's "Being There"

1979

Provided main title design, trailer, TV spots, radio spots and print campaign for Ashby's "Being There"; created main title sequence for Demme's "Last Embrace"

1977

First collaboration with director Jonathan Demme, created main title sequence for "Citizen's Band"

1976

Designed main titles for Ashby's "Bound for Glory"; as Depablo Depablo, directed featurette on "The Making of 'Bound for Glory'"; as Depablo Depablo, served as graphic consultant on Downey's "Jive (Complement to the World)" (also created main titles and a

1975

Created trailers and TV spots for Ingmar Bergman's "Scenes from a Marriage" and Lina Wertmuller's "Swept Away..."

1974

Created trailers and TV spots for John Boorman's "Zardoz"

1973

Created trailer and TV spots for Lindsay Anderson's "O Lucky Man"; created trailer for Jewison's "Jesus Christ Superstar"

1972

Hired by Atlantic Records to assemble a film saluting their artists; made "The Original Jive", an ambitious, free-form film collage mixing documentary footage with Hollywood film clips and surreal bits from the films of Luis Bunuel and Jean Cocteau; Atlan

1972

Created trailer and TV spots for Kubrick's controversial feature, "A Clockwork Orange"

1972

Feature acting debut as Chief Cloud in the Head, an Indian with severe back problems, in Robert Downey's "Greaser's Palace"

1970

Beginning of long collaboration with director Hal Ashby, "Harold and Maude"; designed main titles and created special trailer; included a scene in trailer wherein the film's stars, Bud Cort and Ruth Gordon, kiss; upset Paramount production chief Bob Evans

1968

Did the main title sequence, 2nd unit directing and editing and the bedroom TV scene of John Schlesinger's "Midnight Cowboy"

1968

Produced, directed and edited a short film entitled "The Lawyer" scripted by Julian Barry

1968

Began collaboration with director William Friedkin on "The Night They Raided Minsky's"; served as visual consultant, 2nd unit director and editor; supervised re-edit of film; created special effects; created main title sequence

1968

Developed a process by which TV tape techniques could be used to produce motion pictures with a Sony videotape camera and half-inch videotape to record sound and images; his first film made in this process was a 15-minute short entitled "Pretend You're De

1968

Created and edited the special multiple screen effects sequences including 66 images in one frame for the polo sequence in "The Thomas Crown Affair"; reputedly a first for 35mm feature; first collaboration with Hal Ashby, who served as supervising film ed

1968

Created the main title sequence for "Bullitt"

1967

Focused on producing commercials

1966

Created main title sequence and print campaign for "The Russians Are Coming, The Russians Are Coming"; first collaboration with director Norman Jewison; created trailer and TV spots for "A Fine Madness"

1965

Focused on producing commercials

1964

Made a commercial for Beech-Nut Fruit Sours featuring an early use of split-screen techniques for commercials; screen segmented into six units yet worked as an integral whole to tell "story"

1964

Returned to NYC; left Ferro, Mohammed and Schwartz to form Pablo Ferro Films, an award-winning commercial production company

1964

Created the famous corporate logo for Burlington Mills which utilized fast-moving multicolored "stitching" animation

1964

Conceptualized, created, directed and edited a film showing all facets of the Singer Corporation for the Singer Pavilion at the 1964 NYC World's Fair; two film projectors were used in sync and each film used 12 separate images creating a multiple screen e

1963

Traveled to London, England; conceived and directed American and British TV commericals; caught the attention of ascendant filmmaker Stanley Kubrick

1963

Feature debut, Kubrick's "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb"; created main title sequence with "mating" airplanes accompanied by the song "Try A Little Tenderness" and huge hand-drawn letters; also assembled trailer and

1962

Won notoriety in the advertising industry for pioneering use of multiple image screens and quick cut techniques (graphics combined with live-action and animation); first use was for station opening for TV station in Hartford CT

1962

Fred Mogubgub left the firm in October to open his own studio; the name Mohammed was chosen to replace his name as the result of a publicly held contest; firm renamed Ferro, Mohammed & Schwartz

1961

Formed the influential and award-winning film production company Ferro, Mogubgub and Schwartz; served as president, writer, producer and director

1961

With associate Fred Mogubgub, hired by stage director Jerome Robbins to create a film sequence for the Broadway show "Oh Dad Poor Dad Ma's Hung You in the Closet and I'm Feeling So Sad" which utlized and illustrated the title in their distinctive mixed me

1955

Worked as an animator and animation director

1953

As a high school student, learned animation from a book by MGM animator Preston Blair

1935

Born in Cuba

Worked as a penciler (artist) for Atlas Comics (later renamed Marvel Comics) under editor Stan Lee and Dell Comics; worked in the EC horror comic-book style

Did title design and/or TV campaigns for various film and TV projects; responsible for the Alive Films logo; did graphic design and directged animation and logo graphics

Worked as a director of animation for various NYC-based TV commercial studios including Academy Pictures, Gifford Animation and Elektra Studios; collaborators included Phil Kimmelman and Dante Barbetta

Got first animation job in a studio that produced black-and-white commercials; worked with former Disney veteran animator Bill Tytla (best known for animating the devil in "The Night on Bald Mountain" sequence of "Fantasia")

Designed a multi-image opening for CBS's "The Ed Sullivan Show"

Produced, directed, edited and co-wrote (with Don Calfa) a short entitled "The Bridge" in the 1960s

Formed an animation studio with two friends in Brooklyn; referring to Blair's book, built their own animation boards and stand so they could shoot artwork with a 16mm Bell and Howell camera that photographed single frames

Moved with family to NYC where he spent his teens

Served as producer, director, editor and cameraman on the short film "The Infatable Doll"

Expanded interest in film as an usher in a 42nd Street theater that screened foreign films; befriended the projectionist; first saw UPA's "Gerald McBoing Boing" cartoons which inspired him and his friends; acquired some frames from the film for study

Spent early childhood on a farm in the Cuban countryside

Bonus Trivia

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With Abe Liss, Ferro animated the first NBC peacock in color and black & white.

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While working on "The Thomas Crown Affair", Ferro created a sequence of quick cuts as one unit. Norman Jewison thought the sequence "beautiful" but too long for the film. Hal Ashby said "don't cut it out ... cut it up!" which led to the split screen images seen in the film.

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One of writer-director Michael Cimino's first jobs was working as an assistant to Ferro at the Ferro, Mogubgub and Schwartz film production company.

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"[... Pablo Ferro's "The Original] Jive" is a potent piece of guerilla filmmaking. In 1972, Atlantic Records hired Ferro--a Hollywood credits and coming attractions director--to make a documentary paying tribute to their acts. ... But rather than assemble a straight-forward collection of performance clips, Ferro made a politically-charged film collage. Its unabashed subversiveness is immediately apparent when Ferro opens by intercutting shots of V.J. Day parades with those of a Ku Klux Klan march.^CThis same politically-charged juxtaposition of image against image or image against music continues. Ferro even eschews a glossy view of music repeatedly matching frivolous pop song to shots of a junkie shooting up from Cocteau's "Blood of the Poet".Atlantic pulled the plug on "Jive" after seeing Ferro's first half-hour. Watching it years later, you can still almost hear Atlantic execs' jaws dropping." --From "MFA Plays Monterey with Jimi and Otis" by Paul Sherman

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"'Citizen's Band' opens with one of the most stunning title sequences on record. Designed by artist Pablo Ferro, the beautiful close-up photography of the inner and outer workings of the CB Radio (accompanied by a soundtrack which scores the ratchet-jawing typical of the jargon heard over the airwaves), captures the bizzare appeal of this futuristic gadget ..." --From "The Human Connection Heart of Family Film" by Leigh Charlton, L.A. Free Press, May 20, 1977.

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"Pablo Ferro's titles get the film off to an outstanding start ... " --From review of "Citizen's Band" in Variety, April 20, 1977.

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"The film ["Citizen's Band"] is strictly small-time and shopworn, but Pablo Ferro's gaudy, glowing radio-tube collage is the best credit sequence I've seen in a long time. (We constant movie-goers take our little pleasures where find them!" --From review of "Citizen's Band" by Peter Rainer in Mademoiselle, August 1977.

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"Pablo Ferro's sly opening credits for "To Die For" serve as both prologue and summary of the movie to follow, offering up a jumble of tabloid headlines and TV coverage of the Nicole Kidman character's upcoming crimes. The sequence was added after initial screenings of the film indicated that viewers were puzzled by the plot." --From "Title Wave" by Marc Caro in The Chicago Tribune, December 10, 1995.

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"Pablo Ferro ... is riding the current titles wave."'What usually happens is somebody comes up with a good title and everybody loves it, and everyone starts doing it until it wears out and then they go back to something simple,' Ferro says." --critic Marc Caro in The Chicago Tribune, December 10, 1995.

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"Hard-boiled fiction is a been-around genre about done-that individuals, so the pleasant air of newness and excitement that "Devil in a Blue Dress" gives off isn't due to its familiar find-the-girl plot. Rather it's the film's glowing visual qualities. Starting with the mood-setting credit sequence--a slow pan over a gorgeous Archibald motley Jr. painting of "Bronzeville at Night" while a T-Bone Walker blues plays on the soundtrack--this is a film in smooth control of its ways and means." --From review of "Devil in a Blue Dress" by Kenneth Turan in Los Angeles Times, September 29, 1995.

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The guest list for the October 1998 DGA tribute included collaborators and friends such as Jack Shea, Todd Holland, Robert Dawson and Toni Basil.

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Magazine profiles of Ferro include: Latin Heat (November/December 1998), Playboy (December 1998, by Leonard Maltin), DGA Magazine (January 1999) and, more recently, Eye Magazine and Animation 101.

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