Vittorio Storaro
Vittorio Storaro was born on Jun 24, 1940 in Italy. Vittorio Storaro's big-screen debut came with Il mantenuto directed by Ugo Tognazzi in 1961. Vittorio Storaro is known for Muhammad: The Messenger of God directed by Majid Majidi, Mahdi Pakdel stars as Abu Talib and Sareh Bayat as Halimah. Vittorio Storaro has got 51 awards and 37 nominations so far. The most recent award Vittorio Storaro achieved is Italian National Syndicate of Film Journalists. The upcoming new movie Vittorio Storaro plays is A Rainy Day in New York which will be released on Nov 10, 2020.
Vittorio Storaro, the award-winning cinematographer who won Oscars for "Apocalypse Now (1979)", "Reds (1981)" and "Le dernier empereur (1987)". He was born on June 24, 1940 in Rome, where his father was a projectionist at the Lux Film Studio. At the age of 11, he began studying photography at a technical school. He enrolled at C.I.A.C (Italian Cinemagraphic Training Centre) and subsequently continued his education at the state cinematography school Centro Sperimentale di Cinematografia. When he enrolled at the school at the age of 18, he was one of its youngest students ever.At the age of 20, he was employed as an assistant cameraman and was promoted to camera operator within a year. Storaro spent several years visiting galleries and studying the works of great painters, writers, musicians and other artists. In 1966, he went back to work as an assistant cameraman on Prima della rivoluzione (1964), one of the first films directed by Bernardo Bertolucci. Storaro earned his first credit as a cinematographer in 1968 for "Giovinezza, giovinezza". His third film was "La stratégie de l'araignée (1970)" which began his long collaboration with Bertolucci. He also shot "Le conformiste (1970)", "Le dernier Tango à Paris (1972)", "La luna (1979)", "The Sheltering Sky (1990)_", "Little Buddha (1993)," for Bertolucci.He won his first Oscar for the cinematography of "Apocalypse Now (1979)", for which director Francis Ford Coppola gave him free rein to design the visual look of the picture. Storaro originally had been reluctant to take the assignment as he considered Gordon Willis to be Coppola's cinematographer, but Coppola wanted him, possibly because of his having shot "Le dernier Tango à Paris (1972), which had starred Marlon Brando. Brando's performance in the film had been semi-improvised, and Coppola has planned on a similar tack for his scenes in the jungle with Brando's character Colonel Kurtz.The results of their collaboration were masterful, and he later shot the 3-D short "Captain EO (1986)", the feature films "Coup de coeur (1981)" and "Tucker: L'homme et son rêve (1988)," and the "Life without Zoe" segment of "New York Stories (1989)" for Coppola. He won his second Oscar as the director of photography on Warren Beatty's "Reds (1981)" and subsequently shot "Dick Tracy (1990)" and "Bulworth (1998)" for Beatty He won his third Oscar as the director of photography on Bertolucci's Best Picture Academy Award-winner "Le dernier empereur (1987)"."All great films are a resolution of a conflict between darkness and light," Storaro says. "There is no single right way to express yourself. There are infinite possibilities for the use of light with shadows and colors. The decisions you make about composition, movement and the countless combinations of these and other variables is what makes it an art."According to Storaro, "Some people will tell you that technology will make it easier for one person to make a movie alone but cinema is not an individual art." Storaro disagrees. "It takes many people to make a movie. You can call them collaborators or co-authors. There is a common intelligence. The cinema never has the reality of a painting or a photograph because you make decisions about what the audience should see, hear and how it is presented to them. You make choices which super-impose your own interpretations of reality."Storaro believes that, "It is our obligation to defend the audiences' rights to see the images and to hear the sounds the way we have expressed ourselves as artists,".During the 1970s, the metaphor of cinematography as 'painting with light' took hold. Storaro, however, adds motion to the mix. Cinematography, to the great D.P., is writing with light and motion, the literal translation of the word cinematography, which derives from Greek"It describes the real meaning of what we are attempting to accomplish," Storaro says. "We are writing stories with light and darkness, motion and colors. It is a language with its own vocabulary and unlimited possibilities for expressing our inner thoughts and feelings."As a cinematographer, he is highly innovative. He had Rosco International fabricate a series of custom color gels for his lighting, which he used to implement his theories about emotional response to color. The "Storaro Selection" of color gels is available for other cinematographers from Rosco.He created the "Univision" film system, which is a 35mm format based on film stock with three perforation that provides an aspect ratio of 2:1, which Storaro feels is a good compromise between the 2.35:1 and 1.85:1 wide-screen ratios favored by most filmmakers. Storaro developed the new technology with the intention of 2:1 becoming the universal aspect ratio for both movies and television in the digital age. He first shot the television mini-series "Dune" with the Univision system.Storaro is the youngest person to receive the American Society of Cinematographer's Lifetime Achievement Award, and only the second recipient after Sven Nykvist not to be a U.S. citizen.
Birthday
Jun 24, 1940Place of Birth
Rome, Lazio, Italy
Known For
Awards
51 wins & 37 nominations
Movies & TV Shows
- 2020
cinematographer
6.1 - 2019
cinematographer
6.5 - 2017
cinematographer
6.2 - 2016
cinematographer
6.6 - 2015
Muhammad: The Messenger of God
cinematographer
7.3 - 2010
cinematographer
7.2 - 2010
cinematographer
4.9 - 2009
cinematographer
6.8 - 2007
cinematographer
6.8 - 2005
cinematographer
5.2 - 2004
cinematographer
5.1 - 2004
cinematographer
2.2 - 2000
cinematographer
4.7 - 2000
cinematographer
6.5 - 1999
cinematographer
6.7 - 1998
cinematographer
7.0 - 1998
cinematographer
6.8 - 1996
cinematographer
6.5 - 1993
cinematographer
6.1 - 1990
cinematographer
6.8 - 1990
cinematographer
6.2 - 1989
cinematographer
6.4 - 1988
cinematographer
6.9 - 1987
cinematographer
7.7 - 1987
cinematographer
4.6 - 1986
camera and electrical department
6.3 - 1985
cinematographer
6.9 - 1981
cinematographer
7.3 - 1981
cinematographer
6.5 - 1979
cinematographer
6.4 - 1979
cinematographer
8.5 - 1979
cinematographer
6.2 - 1976
cinematographer
7.7 - 1976
cinematographer
6.4 - 1975
cinematographer
6.6 - 1974
cinematographer
5.7 - 1973
cinematographer
7.2 - 1973
cinematographer
6.0 - 1973
cinematographer
6.0 - 1973
cinematographer
6.3 - 1972
cinematographer
6.9 - 1971
cinematographer
6.6 - 1970
cinematographer
6.9 - 1970
The Bird with the Crystal Plumage
cinematographer
7.1 - 1969
cinematographer
6.8 - 1969
camera and electrical department
5.2 - 1968
camera and electrical department
3.7 - 1967
camera and electrical department
5.9 - 1967
camera and electrical department
6.9 - 1966
camera and electrical department
6.2 - 1966
camera and electrical department
5.7 - 1964
camera and electrical department
6.8 - 1962
cinematographer
5.4 - 1962
camera and electrical department
4.3 - 1961
camera and electrical department
6.4