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Pablo Ferro

Pablo Ferro

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Also Known As: Died:
Born: January 15, 1935 Cause of Death:
Birth Place: Cuba Profession: Title Design ...
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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.

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