For "The Dark Knight Trilogy," director Christopher Nolan wanted to make a "logical" Batman story. That meant not only crafting an internal psychology for Bruce Wayne but also dragging the mechanics and aesthetics of his world down to reality. There's a reason the films spend so much time explaining how Batman's gear works (Lucius Fox (Morgan Freeman) is turned into the Q to Batman's James Bond) and turn Gotham City from a Gothic metropolis into basically just Chicago with a different name.
This mandate for realism shaped the other characters in Batman's world, especially his villains. In "The Dark Knight," the Joker's (Heath Ledger) clown visage — white skin, green hair, ruby lips — is only makeup. His disfigurement is a Glasgow smile; Ledger's Joker frowns a lot more than in the comics, but those scars mean he never stops smiling.
Ledger's performance is now legendary for how he immersed himself in the role; before shooting,...
This mandate for realism shaped the other characters in Batman's world, especially his villains. In "The Dark Knight," the Joker's (Heath Ledger) clown visage — white skin, green hair, ruby lips — is only makeup. His disfigurement is a Glasgow smile; Ledger's Joker frowns a lot more than in the comics, but those scars mean he never stops smiling.
Ledger's performance is now legendary for how he immersed himself in the role; before shooting,...
- 8/26/2023
- by Devin Meenan
- Slash Film
Pablo Ferro, who is known for his distinct title design and work in graphic design, died of complications from pneumonia Friday in Sedona, Arizona. The award-winning designer was 83.
Born on January 15, 1935 in Cuba, Ferro, a self-taught artist became known for eye-catching and stylized title design in film which included iconic films including Stanley Kubrick’s A Clockwork Orange and Dr. Strangelove as well as others such as Bullitt, Men In Black, and Married to the Mob. During the mid-’50s he worked in animation before working with Disney animator Tytla who would become his mentor. He also worked with the would-be legend Stan Lee on a series of sci-fi and adventure comics.
In 1961, Ferro and fellow artists Fred Mogubgub and Lew Schwartz partnered to create their own company. Ferro then went on to create Pablo Ferro Films.
Ferro became a trailblazer when it came to montage-like title sequences, creative stylistic typefaces and quick-cut editing.
Born on January 15, 1935 in Cuba, Ferro, a self-taught artist became known for eye-catching and stylized title design in film which included iconic films including Stanley Kubrick’s A Clockwork Orange and Dr. Strangelove as well as others such as Bullitt, Men In Black, and Married to the Mob. During the mid-’50s he worked in animation before working with Disney animator Tytla who would become his mentor. He also worked with the would-be legend Stan Lee on a series of sci-fi and adventure comics.
In 1961, Ferro and fellow artists Fred Mogubgub and Lew Schwartz partnered to create their own company. Ferro then went on to create Pablo Ferro Films.
Ferro became a trailblazer when it came to montage-like title sequences, creative stylistic typefaces and quick-cut editing.
- 11/18/2018
- by Dino-Ray Ramos
- Deadline Film + TV
Pablo Ferro, who designed the title sequences for classic films like Stanley Kubrick’s “Dr. Strangelove,” “Bullitt,” “Men In Black,” and “A Clockwork Orange,” has died from complications from pneumonia in Sedona, Ariz. He was 83.
Ferro’s family confirmed the news to industry publication the Art of the Title.
Cuban-born Ferro’s first title sequence was for “Dr. Strangelove,” and featured cards that were hand-lettered with grease pencil on glass. Another of his early notable title sequences was for 1968’s “The Thomas Crowne Affair,” directed by Norman Jewison.
Ferro, who was born on a farm in Antilla and moved to New York in his teens, began as an illustrator for Atlas Comics and worked with Stan Lee on a series of science fiction adventure comics. From there, he got a job with Academy Pictures, eventually becoming an animator for the company, before transitioning to work for Elektra Films on sophisticated commercials.
Ferro’s family confirmed the news to industry publication the Art of the Title.
Cuban-born Ferro’s first title sequence was for “Dr. Strangelove,” and featured cards that were hand-lettered with grease pencil on glass. Another of his early notable title sequences was for 1968’s “The Thomas Crowne Affair,” directed by Norman Jewison.
Ferro, who was born on a farm in Antilla and moved to New York in his teens, began as an illustrator for Atlas Comics and worked with Stan Lee on a series of science fiction adventure comics. From there, he got a job with Academy Pictures, eventually becoming an animator for the company, before transitioning to work for Elektra Films on sophisticated commercials.
- 11/18/2018
- by Erin Nyren
- Variety Film + TV
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