Vittorio Storaro

About Vittorio Storaro

Who is it?: Cinematographer, Camera Department, Actor
Birth Day: June 24, 1940
Birth Place:  Rome, Lazio, Italy, Italy
Birth Sign: Cancer
Education: Centro Sperimentale di Cinematografia
Occupation: Cinematographer
Years active: 1960–present
Organization: American Society of Cinematographers Associazione Italiana Autori della Fotografia Cinematografica
Known for: The Conformist Apocalypse Now The Last Emperor Last Tango in Paris Dick Tracy
Awards: Academy Award for Best Cinematography BAFTA Award for Best Cinematography American Society of Cinematographers Lifetime Achievement Award Cannes Film Festival Technical Grand Prize David di Donatello Silver Ribbon for Best Cinematography Goya Award for Best Cinematography Primetime Emmy Award for Outstanding Cinematography

Vittorio Storaro Net Worth

Vittorio Storaro was born on June 24, 1940 in  Rome, Lazio, Italy, Italy, is Cinematographer, Camera Department, Actor. Vittorio Storaro, the award-winning cinematographer who won Oscars for "Apocalypse Now (1979)", "Reds (1981)" and "The Last Emperor (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 "Strategia del ragno (1970)" which began his long collaboration with Bertolucci. He also shot "Il conformista (1970)", "Ultimo tango a Parigi (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 "Ultimo tango a Parigi (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 "One from the Heart (1981)" and "Tucker: The Man and His Dream (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 "The Last Emperor (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.
Vittorio Storaro is a member of Cinematographer

💰Vittorio Storaro Net worth: $850,000

Some Vittorio Storaro images



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. Working as a camera operator for many years, he was on his first film as Cinematographer for Giovinezza, Giovinezza (Youthful, Youthful) in 1968. In 1970, he photographed L'uccello dalle piume di cristallo (The Bird with the Crystal Plumage), the first film directed by Dario Argento.


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 that different colors have and the way in which colors influence our perceptions of different situations. With his beloved son, Fabrizio Storaro, he created the Univisium format system to unify all Future theatrical and television movies into one respective aspect ratio of 2.00:1. In 2002, Storaro completed the first in a series of books that attempt to articulate his philosophy of cinematography more substantively.


In 2003, a survey conducted by the International Cinematographers Guild judged Storaro one of history's ten most influential cinematographers, and he is considered one of the greatest and most acclaimed Directors of photography of all time.


His credits include 1900, The Conformist, Last Tango in Paris, The Last Emperor, Dominion: Prequel to the Exorcist, Apocalypse Now, One From the Heart, Reds, Dick Tracy, Bulworth, The Sheltering Sky, Tucker: The Man and His Dream, Ladyhawke, Tango and Goya en Burdeos. He was also Cinematographer for a BBC co-production with Italian broadcaster RAI of Verdi's Rigoletto over two nights on the weekend of 4 and 5 September 2010.[1]


Storaro’s first mainstream American film was Apocalypse Now, directed by Francis Ford Coppola in 1979, for which Storaro won his first Oscar. Coppola gave Storaro free rein on the film's visual look and it is regarded by many critics as one of the most visually spectacular films of all time. He has also received Oscars for Reds (1981) and The Last Emperor (1987). Dick Tracy (1990) garnered him a fourth nomination.