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 or 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. Ferro may be best known as an early master of quick-cutting and for using multiple images within the frame. In his commercials and title sequences, he would create a continuous flow of imagery that drew upon a wide range of graphic materials from various media. The goal was to sell a product, a movie or an idea by visualizing abstract concepts with a thought-provoking mixture of animation, live-action, clips from newsreels, still photographs and original art work. His style of montage seemed strangely apt for the dawn of the age of media overload; Ferro found the poetry in the potential cacophony of too much information. With a strong foundation in animation, Ferro was a filmmaker in his own right. He produced and helmed a number of experimental shorts, pioneered the use of video for narrative storytelling and did second unit work for a number of his assignments. Despite a decided fondness for high-tech, another Ferro trademark is his elongated hand-drawn lettering--such as in the title sequence of Kubrick's "Dr. Strangelove"--which emphasized the all-too-human hand of the artist in the filmmaking process. Raised on a remote farm in Cuba, Ferro emigrated to NYC with his parents as a teen. In 1953, as a high school student, he began teaching himself animation techniques from a book by Preston Blair (a frequent collaborator with celebrated animation director Tex Avery at MGM) with which he and two Brooklynite friends joined Abe Liss to build their own animation boards and stand for their own modest animation studio. The teens were able to shoot artwork with a 16mm Bell and Howell camera that photographed single frames. The young Ferro expanded his interest in the cinema working as an usher in a 42nd Street theater that screened foreign films. Ferro sharpened his graphic sense working with Stan Lee (the future editor of Marvel Comics) at Atlas comics where, as a penciller, he churned out a reasonable series of EC-inspired horror, sci-fi and adventure stories before segueing into animation. He landed his first job at a studio that produced black-and-white commercials. There he got firsthand training from a legendary animator, former Disney veteran William Tytla, who was best known for animating the devil in "The Night on Bald Mountain" sequence of "Fantasia" (1940). Ferro learned his lessons well, graduated to animation director and toiled at various NYC-based animation houses. In 1997 Ferro had a stellar year, creating the title designs and sequences for the Oscar award winning films "Good Will Hunting", "As Good as It Gets", "L.A. Confidential" and "Men in Black". Some of his other credits for this time period include the remake of "Dr. Dolittle" (1998), Forrest Whitaker's "Hope Floats" (1998), and the HBO biopic "Winchell" (1998) which we are happy to report did received a Golden Globe Award as well as an Emmy. Also in 1998, Pablo entered into his 7th collaboration with Jonathan Demme on the Oscar nominated film "Beloved". In October of 1998, Pablo was honored with a Special Achievement Award, presented by Michael Cimino at an Award Presentation at the Directors Guild of America. A Night With Pablo Ferro, hosted by the Latino Committee of the DGA was well attended by the industries finest. Pablo's peers and admirers were there to congratulate him, and see a special montage of his work, and attend the reception following the award presentation. In his most recent collaboration with Sam Raimi and Kevin Costner, he created the nostalgic title sequence in "For Love of the Game" (1999). On the small screen, Pablo has created titles for HBO's "Witness Protection" (1999), the new NBC pilot M.Y.O.B. (2000), as well as the new FOX pilot "The Street" (2000), a Darren Singer Production. In addition, Pablo has again been recognized by his peers, and has won the DaimlerChrysler Design Award for Film Design in 1999. The Daimler Chrysler award has honored elegant and innovative task solving, in activities ranging from human-powered flight to compelling visual persuasion. Spouse - (1957-1967) Susan Aurora Ferro, Model, artist / Divorced Daughter - born c. 1965 Joy Michelle Moore, Business Manager, Publicist Son - born c. 1957 Allen Ferro, Film editor, screenwriter
- IMDb mini biography by: JOy M. Moore <Depablo@sedona.net>

Frequently worked with Jonathan Demme

As of 2017, he has contributed with the title design of seven films that were nominated for the Best Picture Oscar: Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964), Midnight Cowboy (1969), A Clockwork Orange (1971), Bound for Glory (1976), Good Will Hunting (1997), L.A. Confidential (1997) and As Good as It Gets (1997). Of those, Midnight Cowboy (1969) is a winner in the category.

Received the Art Directors Hall of Fame Award, October 2000.

Pablo received the Daimler Chrysler Design Award at the Four Seasons, on October 28, 1999

Died four days after Stan Lee, for whom he once worked.

Father of Joy Michelle Moore.

[commenting on how the title sequence of "Dr. Strangelove" came about] He [Stanley Kubrick] asked me what I thought about human beings. I said one thing about human beings is that everything that is mechanical, that is invented, is very sexual. We looked at each other and realized - the B-52, refueling in mid-air, of course, how much more sexual can you get?! He loved the idea. He wanted to shoot it with models we had, but I said let me take a look at the stock footage, I am sure that [the makers of those planes] are very proud of what they did and, sure enough, they had shot the plane from every possible angle.