Allen Ferro: One thing that I found amazing — I found this out recently, too — was that Pablo used only dailies because Stanley [Kubrick] doesn’t let his negatives get touched.

Pablo Ferro: Yeah, he does a lot of takes so I had a lot of choice. I took the best outtakes which look very much like the takes he used. For the Clockwork trailer, it’s all outtakes.

Read more in part two of our three-part feature interview with Pablo Ferro and his son Allen:

Pablo Ferro: A Career Retrospective, Part 2 on Art of the TItle

A career retrospective on the design work of Pablo Ferro, created to accommodate our feature articles.

Part 1 and Part 2

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Film Titles:

Dr. Strangelove (1964)
Woman of Straw (1964)
The Russians Are Coming, the Russians Are Coming (1966)
The Thomas Crown Affair (1968)
Bullitt (1968)
Harold and Maude (1971)
Bound for Glory (1976)
Citizens Band [aka Handle with Care] (1977)
To Live and Die in L.A. (1985)
No Way Out (1987)
Beetle Juice (1988)
Married to the Mob (1988)
Pump Up the Volume (1990)
Darkman (1990)
The Addams Family (1991)
American Heart (1992)
Philadelphia (1993)
To Die For (1995)
L.A. Confidential (1997)
Men in Black (1997)
Good Will Hunting (1997)
Secretary (2002)

Trailers:

Dr. Strangelove (1964)
A Clockwork Orange (1971)
Zardoz (1974)

Commercials and Promos (1960s):

Burlington Mills
Campbell’s Soup
Canada Dry
Channel 13
Dulux
Jamboree
Singer Industrial
State Farm Insurance
World War 1

In prep for our upcoming two-part feature length interview with him, here’s another Pablo Ferro post for Throwback Thursday!

Layer upon layer of striking high contrast photography make up the title sequence for Basil Dearden’s 1964 thriller Woman of Straw.

Woman of Straw on Art of the Title