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	Vittorio Storaro - Wikipedia, the free encyclopedia
		Vittorio Storaro (born 24 June 1940 in Rome, Italy) is an Italian cinematographer.
		The son of a film projectionist, Storaro began studying photography at the age of 11, and went on to formal cinematography studies at the national Italian film school when he was 18.
		Storaro is widely regarded as a master cinematographer with a sophisticated philosophy largely inspired by Johann Wolfgang von Goethe's theory of colors, which focuses in part on the psychological effects different colors have and the way in which colors influence our perceptions of different situations.
	en.wikipedia.org /wiki/Vittorio_Storaro (389 words)

	ICG -- Vittorio Storaro Biography (Site not responding. Last check: 2007-10-31)
		Vittorio Storaro, ASC, AIC was born in Rome in 1940, where his father was a projectionist at Lux Film Studio.
		Storaro began his career as an assistant cameramen at the age of 20 and stepped up to the role of camera operator on his second film.
		Storaro was president of AIC (Association of Italian Cinematographers) and a founder of IMAGO, an alliance of some 20 cinematography organization in Europe.
	www.cameraguild.com /interviews/chat_storaro/storaro_bio.htm (407 words)

	KODAK:Storaro to Accept Coolidge Award April Boston
		Storaro is scheduled to arrive in Boston to accept the honor at a special ceremony on Wednesday, April 6 at 8 p.m.
		Storaro will be joined by colleagues in the industry to share stories of their artistic choices and experiences.
		Storaro, who won his second Best Cinematography Oscar® for the film, will be in attendance to introduce the screening and to conduct a question-and-answer session with audience members.
	www.kodak.com /US/en/motion/about/news/coolidge.jhtml (1121 words)

	Vittorio Storaro Biography :: Hollywood.com (Site not responding. Last check: 2007-10-31)
		Storaro is more than a genius of lighting; he has demonstrated an understanding of the psychological and emotional potential of film which could never even be approached under the color film stocks used prior to the late 60s.
		Storaro was again nominated for an Oscar for Beatty's "Dick Tracy" (1990), which brought the comic strip to life with a full palette of whimsy and used primary colors.
		Storaro can be seen as one of the interview subjects in the documentary "Visions of Light" (1992) and was seen working and discussing his efforts in "Hearts of Darkness: A Filmmaker's Apocalypse", the 1991 documentary on the making of "Apocalypse Now".
	www.hollywood.com /celebs/fulldetail/id/1550145 (1090 words)

	wbur.org Arts - Movies - Legend Behind the Camera
		Vittorio Storaro is more than just a master cinematographer, winning Oscars for "Apocalypse Now," "Reds," and "The Last Emperor." He's also a statesman of his art.
		Storaro is not shy about sharing his secrets: he has published a high-priced, lavishly illustrated three-volume tome, "Writing with Light," in which his theories about color, light, and their role in storytelling are presented along with photos from his movies.
		Storaro's thoughts on his art can be read on his website.
	www.wbur.org /arts/2005/48802_20050309.asp (972 words)

	One From the Heart (Site not responding. Last check: 2007-10-31)
		I had last seen Vittorio Storaro on the far side of a pair of water buffalos driven by cheerful non-English-speaking types who were herding me out of control toward huge burning effigies by a train on a plain in Spain for Warren Beatty's REDS.
		Vittorio was designing such elaborate lighting cues that the electrical department alone would be engaged in a flat-out odyssey just to get through some of these scenes.
		Vittorio managed to function with great spirit amid the reverberations from this sort of Big Brother remote-control, but I think he was happiest when Coppola could be enticed to the set.
	www.onefromtheheartmovie.com /americancinematographer/steadycam.html (2679 words)

	canadian society of cinematographers - news and media releases (Site not responding. Last check: 2007-10-31)
		Storaro explains that while the same colours might vary in meaning for different cultures, there is also a universal principle: each colour emits a specific wavelength of energy which people are capable of perceiving the same way they feel vibrations.
		The lighting Storaro designed for Tango was conceived long before the images were rendered into film, but, he adds: “Of course, when you are on a stage, and the music is playing, it is only natural to synchronize the rhythm of lighting with the music and movements of the dancers.
		Storaro believes that the use of the dimmer control board is the wave of the future, because it provides enormous creative flexibility, and also reduces set-up time between shots on the same set.
	www.csc.ca /news/default.asp?aID=787 (2886 words)

	SCIFI.COM : Dune
		The Roman native and his father, cinematographer Vittorio Storaro, spearheaded the translite concept and have brought the art to a number of cinematic projects.
		Vittorio Storaro's team then lit the translites according to the needs of each scene and desired mood.
		Storaro composed translite images from the desert dunes — a version of which is seen on this website — to the Geidi Prime world as seen from inside the Imperial Palace, a visual masterpiece of color, design and style.
	www.scifi.com /dune_2k/biosfs.html (247 words)

	ICG -- Vittorio Storaro Interview
		Storaro began his career as an assistant cameraman at the age of 20 and stepped up to the role of camera operator on his second film.
		STORARO: The 500 (applicants) had to present an application with their resume and a series of photographs and they used all this material to select 30 students for the exam.
		STORARO: There is a lot of mastering being done at the current 16:9 standard for future release to TV but this doesn't mean it is the end of the world.
	www.cameraguild.com /interviews/chat_storaro/storaro_interview.htm (8873 words)

	luceonline.it - the lighting vortal
		Vittorio Storaro: the images in movement and the universe of the chromatic spectrum
		Writing with light - trilogy that examine carefully the studies of Storaro on these three great thematic units - has arrived to its second volume: Colors, published by Electa in collaboration with the Accademia dell'Immagine in L'Aquila where Storaro is currently teaching Cinematography.
		After the reflections, there are the technical cards and the most meaningful images of the films of which Vittorio Storaro was photography director from 1977 to 1987: from Agatha to The Last Emperor; among these: Reds, Lady Hawke, Luna, Captain Eo (the first twenty films appear in the first volume of the trilogy).
	www.luceonline.it /en/articoli/categoria3/luce-e/storarocolori-eng.htm (323 words)

	INTERVIEW: Shooting the "Apocalypse"; Vittorio Storaro's Journey into Light and Darkness
		Storaro's repeat collaborations with Bernardo Bertolucci ("The Conformist," "Last Tango in Paris," "1900") and Carlos Saura ("Taxi," "Tango," "Flamenco") are legendary; his contributions to the visual history of world cinema cannot be measured in words.
		Storaro: Originally, I was not very happy to do the movie, because that section of my life was dealing with the confrontation between shadows and light.
		It was a journey from "The Conformist" to "Apocalypse Now." I thought a Vietnam war movie would be very difficult to film as a cinematographer, because mainly you have to capture the main event: whenever the army is ready and the sun is up and the helicopter is ready.
	www.indiewire.com /people/int_Storaro_Vittor_010806.html (1815 words)

	VITTORIO STORARO
		Vittorio Storaro nominated for Academy for Best Cinematography, also ASC, and BSC Awards.
		Storaro Vittorio.Com: A new Website dedicated to the work of Vittorio Storaro.
		Storaro wants to be referred to as a Cinematographer and not as a Director of Photography.
	www.miracosta.cc.ca.us /home/gfloren/storaro.htm (481 words)

	b-roll.net / writer of light
		Storaro's filmography is as diverse as a photojournalist's portfolio: Apocalypse Now (1979), The Last Emperor (1987), Dick Tracy (1990), Bulworth (1998).
		Storaro is considered to be filmmaking's finest lighting cameraman and articulates his passion in this compilation of interviews taken from past issues of American Cinematographer magazine.
		Storaro's approach to lighting is almost Zen-like, as he relates the use of light, shadow, and color to his work:
	www.b-roll.net /products/writerlight.html (550 words)

	Vittorio Storaro's cinematography highlighted (Site not responding. Last check: 2007-10-31)
		The series is called "Master of Color and Light: The Cinematography of Vittorio Storaro." Admission to each film is $4.50/$4 for students and seniors.
		Storaro based the look of "Last Tango" on the work of painter Francis Bacon and his fragmented images of the human body.
		Storaro's breathtakingly sensual cinematography captures performances by more than 300 top singers, dancers and musicians, filmed in an abandoned train station in Brazil.
	www.news.cornell.edu /Chronicle/99/4.29.99/cinema.html (420 words)

	Horrordvds.com - Reviews - DVD Reviews A-M - Fifth Cord, The (Site not responding. Last check: 2007-10-31)
		It would be Storaro’s colorful cosmetic lighting, the always-moving camera and dependence on shadows that Argento would eventually return to as he found his footing as a true master of horror later on in his career.
		Storaro was always a cinematographer so confident in his overabundance of fls, and they are deep and solid here the entire film.
		More than just trying to light for exposure or style, Storaro approaches the art as if it were his thesis, trying to see the connection between light and dark and the masculine and feminine.
	horrordvds.com /modules.php?name=Reviews&file=viewarticle&id=369 (2173 words)

	Award site, Coolidge Corner Theatre. Brookline, MA (Site not responding. Last check: 2007-10-31)
		Vittorio Storaro is not just an accomplished cinematographer, but is considered to be one of the most influential and inspirational visual artists in the history of film.
		Storaro has also authored the three volume collection Writing With Light, and was president of the Association of Italian Cinematographers, as well as a founder of the Academy of Arts and Sciences of Images in L'Aquila, Italy.
		Born in Rome in 1940, Vittorio Storaro was immediately immersed in the craft of filmmaking by his father, a projectionist at the Lux Film Studio.
	www.coolidge.org /aw05/a_main.html (617 words)

	TaorminaFilmFest - 2001 - Cinema - Made in English
		Storaro began his career as an assistant cameraman at the age of 20 and stepped up to the role of camera operator.
		In 1970, Bertolucci and Storaro collaborated on The Conformist, a seminal film in the history of contemporary cinematography.
		Storaro's first mainstream studio film was Apocalypse Now, directed by Francis Ford Coppola in 1979.
	www.taorminafilmfest.it /2001/en/storaro_en.asp (357 words)

	NEWS \| MAGAZINE \| VOLUME 25-4 NOVEMBER 2000
		Vittorio, Kreka and Fabrizio Storaro worked out all the wonderful Translites that you see in the sets.
		Vittorio was very interested in that but the 24p cameras were not available then, and without them we really didn't want to do it.
		Vittorio uses a unique 3-perf system, not a 4-perf, and it saves about 25% in terms of film costs because you're only 3 perfs instead of 4.
	www.dga.org /news/v25_4/feat_JohnHarrison_Dune.php3 (2758 words)

	KODAK: Rugby wizardry with Vittorio Storaro
		He didn't fight the elements in terms of lighting - he went with them." Storaro operated the light source from a single computer-controlled board (Lightboard), with every light on dimmers and he used iris remote control on the Technovision camera, adapted by ARRI for his patented Univisium system.
		Storaro always ensures the iris control is next to him.
		Storaro used 70% 35mm Eastman EXR 50D film (5245) for its clarity and low grain and 30% Kodak Vision 250D (5246) stock.
	www.kodak.com /US/en/motion/newsletters/inCamera/oct2001/youCan.shtml (689 words)

	SCIFI.COM : Dune
		Storaro launched his cinematographic career in 1969 with the Italian film Giovinezza, giovinezza.
		Storaro was honored with the Best Cinematographer award by both the New York Film Critics Circle and the British Academy, and he earned a Silver Ribbon award from the Italian National Syndicate of Film Journalists.
		Storaro, a long-time lover of Frank Herbert's novel Dune, had been approached in the early '70s to film a version of the book, but got sidetracked.
	www.scifi.com /dune_2k/biosvs.html (319 words)

	American Zoetrope: Films
		Storaro believes that for the purpose of TV transfer, it is better to crop (slightly) the extreme left/right edges of the originally photographed frame and allow for a taller picture on both conventional and 16:9 TV monitors, because the video presentation will have more vertical resolution and detail and will be more impactful.
		Storaro believes that since he himself composed these shots when the film was made and since he carefully made fine adjustments to the framing as needed in the transfer, the 2.0:1 transfer is the best possible compromise in adapting the very wide film picture to the very "square" TV.
		The transfer of the trailer was not supervised by Storaro, and was done using the conventional theatrical aspect of 2.35:1.
	www.zoetrope.com /zoe_films.cgi?page=films&action=show_one&film_id=13 (371 words)

	The Connection.org : Vittorio Storaro
		Vittorio Storaro's innovations in cinematography have forever changed film.
		Storaro describes his distinctive style as writing with light and shadow; conveying emotions and symbolism through the use of color.
		Storaro believes that cinematographers are co-authors of the films they help create, and should push to be recognized as artists rather than as technicians.
	www.theconnection.org /shows/2005/04/20050407_b_main.asp (191 words)

	Vittorio Storaro chosen to receive the ASC Lifetime Achievement Award
		Vittorio Storaro, ASC, AIC received the American Society of Cinematographers’ Lifetime Achievement Award at the 15th annual ASC Outstanding Achievement Awards dinner on February 18, 2001 at the Century Plaza Hotel.
		Storaro has also worked on such seminal films as The Conformist, 1900, Last Tango in Paris, Luna, Tucker: The Man and His Dream, Ladyhawke and Bulworth.
		Storaro was born and raised in Rome, where his father was a projectionist at the Lux Film Studio.
	www.theasc.com /awards/history/pr/15_vittorio_storaro.htm (1088 words)

	Boston.com / A&E / Movies / Cinematographer speaks the 'language of images'
		Millions of moviegoers have seen the world through Vittorio Storaro's eyes and never realized it.
		Storaro backs up his camera decisions with a passionate aesthetic rooted in years of studying visual arts and literature; it's his belief that the cinematic image is the product of man and mind rather than machinery.
		On the eve of his acceptance of the Coolidge Award on Wednesday at the Coolidge Corner Theatre (a special screening of ''Reds" follows on Thursday), Storaro spoke by phone from Rome about his films and his philosophy.
	www.boston.com /ae/movies/articles/2005/04/03/cinematographer_speaks_the_language_of_images (496 words)

	Publisher description for Library of Congress control number 2002104298
		Cinematographer Vittorio Storaro has worked with some of the most extraordinary film directors of our time—including Bernardo Bertolucci, Francis Ford Coppola, Warren Beatty, and Carlos Saura—to make some of the most breathtaking films of our time.
		Inspired by a gamut of sources, from Italian Renaissance paintings to Francis Bacon to esoteric primitive art to Tarzan comics, Storaro’s visual palette is as diverse as his films are eclectic and gorgeous.
		In this first volume, Storaro considers the use of light, manifesting his ideas through his own writing, related film stills, a stunning selection of paintings, and a vast array of quotations from a myriad of philosophers.
	www.loc.gov /catdir/description/hol052/2002104298.html (292 words)

	46th Thessaloniki International Film Festival
		Vittorio Storaro's images remain indelibly etched both on celluloid and in our memories, in a series of films that are important or audacious in their photographic dimension, proclaiming this legendary cinematographer to be a truly leading figure in the art of film.
		These multiple interpretations of reality, the special way in which he superimposes the contemporary sensibility of a European and international artist and his extraordinary and always innovative use of technology make up the identity of the cinematographer Vittorio Storaro.
		The Thessaloniki Film Festival plays host to the exhibition of Vittorio Storaro's photographs and in so doing provides the Greek public with the possibility of getting to know yet another side of this brilliant cinematographer.
	www.filmfestival.gr /2005/index.php?page=filmlist&wpage=storaro&ln=en&box=internationall&sid=17 (332 words)

	Lobi
		Three-time Oscar laureate Vittorio Storaro is the winner of the life achievement award "Golden Camera 300" at this year's 26th international festival of film camera "Manaki Brothers", which will be held on September 20-25 in Bitola.
		Storaro will be presented with the award at the festival's opening.
		Seminar on topic "Writing with Light", entitled according to his book trilogy on light, colors and forms, will also be held.
	www.lobi.com.mk /?ItemID=173C38987CA31D4F98F0E1B58B104942 (232 words)

	Vittorio Storaro (Site not responding. Last check: 2007-10-31)
		Storaro won an Oscar for his photography on Bertolucci's The Last Emperor (1987), and additional Oscars for his work on the films of two other frequent collaborators, Warren Beatty (Reds [1981]) and Francis Ford Coppola (Apocalypse Now [1979]).
		Coppola was, in fact, such an admirer of Storaro's work that he signed Storaro for Apocalypse Now before he'd even cast the film.
		Two years later, Storaro worked on Beatty's Bulworth, and also lent his talent to Carlos Saura's Tango, for which he won a Jury Technical Prize at the Cannes Film Festival.
	www.djangomusic.com /actor_bio.asp?pid=P112513 (210 words)

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