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Vittorio Storaro        

Academy Award Winning Italian Cinematographer, Best Known for "The Conformist", "Apocalypse Now" & "The Last Emperor"

Vittorio Storaro is an Italian cinematographer widely recognized for his work on numerous classic films including The Conformist, Apocalypse Now, and The Last Emperor.

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.

Storaro 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 honors from various film organizations.

He first worked with Bertolucci on The Conformist. Set in Fascist Italy, the film has been described as a "visual masterpiece."

Also in 1970, he photographed The Bird with the Crystal Plumage, the directorial debut of Dario Argento and a landmark film in the giallo genre.

The first American film that Storaro worked on was Apocalypse Now, earning Storaro his first Academy Award.

He worked with Warren Beatty for the first time on Reds and ended up winning his second Academy Award.

Storaro won a third Academy Award for The Last Emperor, directed by Bertolucci. Three years later he received a nomination but did not win, for the Beatty film Dick Tracy.

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, Woody Allen's Café Society and Goya en Burdeos.

Storaro is also an innovator in his field. He created the Univisium format system to unify all future theatrical and television movies into one respective aspect ratio of 2.00:1.

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