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Also Known As: Depablo Depablo Died:
Born: January 15, 1935 Cause of Death:
Birth Place: Cuba Profession: editor, producer, director, animator, commercial artist, graphic consultant, graphic designer, comic-book artist, actor, second unit director, usher

Biography CLOSE THE FULL 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...

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).

VIEW THE FULL BIOGRAPHY

Filmographyclose complete filmography

DIRECTOR:

1.
  Me, Myself and I (1992) Director
2.

CAST: (feature film)

1.
 Greaser's Palace (1972) Indian
2.
 Hugo Pool (1997) Merengue Dancer
VIEW THE FULL FILMOGRAPHY

Milestones close milestones

1935:
Born in Cuba
:
Spent early childhood on a farm in the Cuban countryside
:
Moved with family to NYC where he spent his teens
1953:
As a high school student, learned animation from a book by MGM animator Preston Blair
:
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
:
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
:
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
1955:
Worked as an animator and animation director
:
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")
:
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
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 media style
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
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 TV spots; teaser trailer used 40 different scene changes and eight different voices during a one-and-a-half minute spot; other versions included a three-minute theater reel, three 20-second TV teasers and two versions at different lengths for British TV
1964:
Returned to NYC; left Ferro, Mohammed and Schwartz to form Pablo Ferro Films, an award-winning commercial production company
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:
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 effect; reputedly the first time multiple screen images were created using only film projectors
1964:
Created the famous corporate logo for Burlington Mills which utilized fast-moving multicolored "stitching" animation
1965:
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"
:
Produced, directed, edited and co-wrote (with Don Calfa) a short entitled "The Bridge" in the 1960s
:
Served as producer, director, editor and cameraman on the short film "The Infatable Doll"
1967:
Focused on producing commercials
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 editor as well as associate producer
1968:
Created the main title sequence for "Bullitt"
:
Designed a multi-image opening for CBS's "The Ed Sullivan Show"
1969:
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 Dead and Come With Me" made on a budget of less than $1000; video shot entirely on location on Manhattan Bridge with available light hand-held with a crew of two
1969:
Produced, directed and edited a short film entitled "The Lawyer" scripted by Julian Barry
1969:
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
1969:
Did the main title sequence, 2nd unit directing and editing and the bedroom TV scene of John Schlesinger's "Midnight Cowboy"
1971:
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 who fired Ferro and forced Ashby to remove the scene from the film
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"
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; Atlantic disliked the film and cut the financing after only thirty minutes had been completed; fragment screened in 1988 at the Museum of Fine Arts in Boston, Massachusetts
1973:
Created trailer and TV spots for Lindsay Anderson's "O Lucky Man"; created trailer for Jewison's "Jesus Christ Superstar"
1974:
Created trailers and TV spots for John Boorman's "Zardoz"
1975:
Created trailers and TV spots for Ingmar Bergman's "Scenes from a Marriage" and Lina Wertmuller's "Swept Away..."
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 acted as "Co-pilot in Spaceship")
1977:
First collaboration with director Jonathan Demme, created main title sequence for "Citizen's Band"
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"
1980:
Created re-release print campaign for Ashby's "Being There"
1981:
Provided main title design, trailer, TV spots and print campaign for Ashby's "Second Hand Hearts"
1982:
Provided main title design, trailer, TV spots and several print campaigns for Ashby's "Looking to Get Out"
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 sequences using time-lapse photography
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"
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
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."
:
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
1987:
Provided special trailer end title shoot and theatrical trailer for "Prince of Darkness"; first colloboration with writer-director John Carpenter
1987:
Created special effects sequences and main titles for William Friedkin's "Rampage"
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
1990:
Created the main title sequence and montage sequences for Sam Raimi's "Darkman"
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
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"
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
1996:
Was graphic consultant and created main title design and special visual effects for Michael Cimino's "Sunchaser"
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
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 by Betty Thomas and Gus Van Sant
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
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
2000:
Served as titles consultant on "Shadow Hours"
VIEW ALL MILESTONES

Education

High School of Industrial Art: New York , New York -

Notes

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

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.

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.

"[... 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

"'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.

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

"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.

"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.

"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.

"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.

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

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.

Companions close complete companion listing

wife:
Susan Aurora Ferro. Model. Divorced; modeled for advertisements produced by Ferro.

Family close complete family listing

father:
Jose R Ferro Sr. Collaborated on main titles for "Sin & Redemption" (1994) directed by Neema Barnette.
mother:
Isabel Ferro.
sister:
Flora Geiges.
sister:
Bertha Mejia.
sister:
Maria Koenig.
brother:
Jose R Ferro Jr.
son:
Allen Ferro. Editor. 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.
daughter:
Joy Michelle Moore. Publicist, business manager. Owns management company and serves as father's representative; mother of Ferro's grandson Tristen Michael.
VIEW COMPLETE FAMILY LISTING

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