Making movie titles, design, being awesome, working with hand-drawn lettering, making Stanley Kubrick's movies look cool, inspiring other people
Music
Anything that inspires me
Movies
Devil in a Blue Dress (1995),
To Die For (1995),
Milk Money (1994),
Sin & Redemption (1994),
F.T.W. (1994),
Philadelphia (1993),
Addams Family Values (1993),
Malice (1993),
American Heart (1992),
The Addams Family (1991),
Mobsters (1991),
Career Opportunities (1991),
Book of Love (1990),
Darkman (1990),
Pump Up the Volume (1990),
Maniac Cop 2 (1990),
The Guardian (1990),
Heart Condition (1990),
Oro fino (1989),
Married to the Mob (1988),
Beetle Juice (1988),
Johnny Be Good (1988),
Prince of Darkness (1987),
No Man's Land (1987),
No Way Out (1987),
C.A.T. Squad (1986),
To Live and Die in L.A. (1985),
Stop Making Sense (1984),
Swing Shift (1984),
Amityville 3-D (1983),
Let's Spend the Night Together (1983),
"Family Ties" (1982),
I'm Dancing as Fast as I Can (1982),
Second-Hand Hearts (1981),
Being There (1979),
Last Embrace (1979),
Handle with Care (1977),
Bound for Glory (1976),
Harold and Maude (1971),
A Clockwork Orange (1971),
Midnight Cowboy (1969),
The Night They Raided Minsky's (1968),
Bullitt (1968),
The Thomas Crown Affair (1968),
Woman of Straw (1964),
Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)
About me: Woe is me, for I am the least-known of the great title sequence designers. I was born in Antilla, Oriente Province, Cuba. I was raised there on a remote farm until emigrating to New York with my family as a naughty teen.
It was in New York that I taught myself animation from a book by Preston Blair. In the mid-50s I began freelancing in the New York animation industry for companies such as Academy Pictures and Elektra Studios. I found my first solid job working for a studio that produced black and white commercials. Whilst working there I befriended former Disney animator William Tytla, and received first hand training from him. I also worked with Stan Lee, the then-future editor of Marvel Comics, creating a series of sci-fi adventure comics. In 1961 I became one of the partners to form Ferro, Mogubgub and Schwartz with animation stylist Fred Mogubgub, and in 1964 I formed Pablo Ferro Films.
I have been hailed as a genius by director Stanley Kubrick and has established myself in film for more than three decades as a director, editor, producer and title designer. I have been creating title sequences since the dawn of Saul Bass’s era and am still making title sequences today, my most recent being Iowa in 2005. I have designed titles for films ranging from The Thomas Crown Affair (1968), A Clockwork Orange (1971), Beetlejuice (1988), L.A. Confidential (1997) and Good Will Hunting (1997). I started work professionally as a comic book artist in 1953.
I am best known as an early master of quick-cutting and for using multiple images within one frame, a technique fondly continued by Kyle Cooper. I have worked with high-tech and optical techniques. My trademark hand-drawn lettering is yet another technique that quite obviously had an influence on Kyle Cooper's work.
In short, I'm awesome. Here's proof:
Trailer for my Documentary
Stanley Kubrick -- Dr. Strangelove (1964)
Stanley Kubrick -- A Clockwork Orange (1971)
Jonathan Demme -- Stop Making Sense (1984)
Gus Van Sant -- To Die For (1995)
Curtis Hanson -- L.A. Confidential (1997)
Jared Hess -- Napoleon Dynamite (2004)
Who I'd like to meet: Anyone from Peter Cho's Spring DESMA 155 Dynamic Typography class. They're almost as awesome as I am.
