From the unforgettable opening sequence of Stanley Kubrick's Dr. Strangelove to the revolutionary split-screen montage of the original Thomas Crown Affair, filmmaker Pablo Ferro has been putting his indelible stamp on the moving image for over four decades.

The Cuban-born pioneer of quick-cut editing and animation possesses a playfulness that has helped to create an influential visual style which has enriched film, animation, and commercials. His innovative collages and use of abstract imagery have consistently challenged the medium, as well as altering conceptions of how (and how much) information is received by viewers. A self-taught animator, Ferro first rose to prominence with classic animations like the NBC Peacock and the Burlington Mills' "stitching" logo. His technologically inventive visual presentations include the Singer Pavilion's film at the 1964 New York World's Fair-the first time film projectors were used to create multiple-screen images.

Hailed by director Jonathan Demme as "the best designer of film titles in the country today," Ferro's distinctive hand-drawn opening sequences have appeared in films ranging from Stop Making Sense to Men in Black. His memorable trailers have helped introduce such momentous films as A Clockwork Orange and Jesus Christ, Superstar into the cultural vernacular.

In addition to directing his own feature film, Me, Myself, and I, Ferro has produced numerous short films and worked as a second-unit director on films such as Midnight Cowboy. He has received over 70 international awards for his work, and his titles have appeared in 12 Academy AwardŽ winning films.