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Vittorio Storaro at Cannes in 2001
|Education||Centro Sperimentale di Cinematografia|
Vittorio Storaro, A.S.C., A.I.C. (born 24 June 1940) is an Italian cinematographer widely recognized for his work on numerous classic films including The Conformist, Apocalypse Now, and The Last Emperor. In the course of over fifty years, he has collaborated with directors such as Bernardo Bertolucci, Francis Ford Coppola, Warren Beatty, and Woody Allen. He has received three Academy Awards for Best Cinematography, a BAFTA Film Award for Best Cinematography, a Primetime Emmy Award, a Goya Award, and a David di Donatello Silver Ribbon Award, in addition to numerous lifetime achievement honours from various film organizations.
Storaro was born in Rome. The son of a film projectionist, Storaro began studying photography at the age of 11. He went on to formal cinematography studies at the national Italian film school, Centro Sperimentale di Cinematografia, when he was 18.
Storaro is considered to be one of the greatest and most influential cinematographers of all time. He has worked with many important film directors, in particular Bernardo Bertolucci, with whom he has had a long collaboration. His philosophy is largely inspired by Johann Wolfgang von Goethe's theory of colors, which focuses in part on the psychological effects that different colors have and the way in which colors influence our perceptions of different situations.
The first American film that Storaro worked on was Apocalypse Now (1979). Director Francis Ford Coppola gave him free rein on the film's visual look. Apocalypse Now earned Storaro his first Academy Award.
He worked with Warren Beatty for the first time on Reds (1981), and ended up winning his second Academy Award.
In 2002, Storaro completed the first in a series of books that attempt to articulate his philosophy of cinematography more substantively.
His other film credits include 1900, Last Tango in Paris, Dominion: Prequel to the Exorcist, One from the Heart, Bulworth, The Sheltering Sky, Tucker: The Man and His Dream, Ladyhawke, Tango, and Goya en Burdeos.
With his son Fabrizio, he created the Univisium format system to unify all future theatrical and television movies into one respective aspect ratio of 2.00:1.
Storaro is known for stylish, fastidious, and flamboyant personal fashion. Francis Ford Coppola once noted that Storaro was the only man he ever knew that could fall off a ladder in a white suit, into the mud, and not get dirty.
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- "Cinematographer Vittorio Storaro Warns of "Major Problem" in the Field". The Hollywood Reporter. Retrieved 2017-09-23.
- "The 10 Most Visually Stunning Movies Shot by Vittorio Storaro". Taste of Cinema - Movie Reviews and Classic Movie Lists. Retrieved 2017-09-23.
- Jones, Interview by Jonathan (2003-07-09). "Cinematographer Vittorio Storaro reveals his inspiration". The Guardian. ISSN 0261-3077. Retrieved 2017-09-23.
- Pizzello, Stephen. "Storaro and Bertolucci Celebrated at Milan International Film Festival". American Society of Cinematographers.
- Berardinelli, James. "Review: The Conformist". ReelViews.
- Gallant, Chris. "Where to begin with giallo". BFI.
- "Flashback: Apocalypse Now". American Cinematographer.
- Jones, Jonathan. "Painting with light". The Guardian.
- Adetunji, Jo. "Verdi's Rigoletto given 'cinematic' makeover for BBC". The Guardian.
- Giardina, Carolyn. "Cinematographer Vittorio Storaro on Filming 'Cafe Society' Digitally: "You Can't Stop Progress"". Hollywood Reporter.
- "President's Desk: Men in White Suits - The American Society of Cinematographers". ascmag.com. Retrieved 2018-11-19.
- Masters of Light - Conversations with cinematographers (1984) Schaefer, S & Salvato, L., ISBN 0-520-05336-2
- Writer of Light: The Cinematography of Vittorio Storaro, ASC, AIC (2000) Zone, R., ISBN 0-935578-18-8
- Vittorio Storaro: Writing with Light: Volume 1: The Light (2002) Storaro, V., ISBN 1-931788-03-0
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