Tonino Delli Colli, AIC dead.

[Adam Frisch FSF]

Legendary cinematographer and ASC International Achievement Award-winner Tonino Delli Colli, AIC, was apparently found dead in his Rome apartment.

 

He had a remarkable career that made him work with a lot of legends like Polanski and Leone. For me he is best remembered for the films he did with Leone - The Good, The Bad, The Ugly, Once Upon A Time In The West, Once Upon A Time In America and my personal favorite, In The Name Of The Rose.

 

I'd argue that Once Upon A Time In The West is probably the best composed film ever in history (maybe with the exception of Triumph of the Will) - there are so many shots in that film that have been stolen and woven into modern filmmaking that it's not even funny. It will continue to be an inspiration forever. The massive crane tracking shot that takes Claudia Cardinale from the train, into the station and then booms up to reveal her emerging out on the other side to the square is legendary. Or the reveal of Henry Fonda as the baddie by a track/zoom coming around from behind. Or the whole intro with the three baddies and Bronson. Mindblowing stuff.

 

But for me personally my favorite film is In The Name of The Rose directed by JJ Annaud. It's not groundbreaking in any way, I just happen to love that film and the cinematography in it. I don't think that film got a proper US release, but if you can get a hold of please do so - it's well worth it.

 

Edit: I just realised I should have posted this in the Cinematographers forum - sorry for that. Maybe Tim can move it?

[Guest fstop]

Oh no. :(

 

I always thought Tonino Delli Colli was always unfairly dismissed as "that Spaghetti Western cameraman who just did what Leone said". Pretty infuriating. Colli did much subtler, more intelligent (though arguably just as theatrical) work on Polanski's better more recent films, DEATH AND THE MAIDEN and BITTER MOON, as welll as Begnini's acclaimed LIFE IS BEAUTIFUL. His work for Fellini on Ginger e Fred (1986)

Histoires extraordinaires Intervista and La Voce della luna was every bit as fascinating and imaginative as the director's work with Guiseppe Rotunno. Heck, even the Disney movie he shot (Trenchcoat, 1983) had an exotic, genuinely European quality.

 

Still, it's the Leone stuff that Colli will be remembered for; for some reason he just clicked with the director moreso than any of his other cinematographers. A long and distinguished career for which we can only be thankful!

[Alex Lindblom]

A sad day, but that?s the price we pay for living.

 

But Tonino Delli Colli and Leone left us with something that never dies -- Once Upon A Time In The West. That movie will live forever. It was also the reason I decided to become a filmmaker.

 

Thank you for all the pictures and lovely memories.

 

Tonino Delli Colli -- we?ll never forget you.

[Lars.Erik]

Oh no. :(

 

I always thought Tonino Delli Colli was always unfairly dismissed as "that Spaghetti Western cameraman who just did what Leone said".

 

<{POST_SNAPBACK}>

 

 

Don't remember that he created a genre with his work with Leone. A genre that sadly has been copied so many times, and at so many mistimed places that the ones who did that, have almost destroyed his work. But just almost. His work will stand out in the cinematography history.

 

Great movies shot by a great cinematographer.

 

He will be missed. Thank you for all those great moments you created for us. I'm feeling actually a bit sad now. Think I'll go see "Once upon a time in the west".

 

RIP

[Ignacio Aguilar]

Rest in peace, Tonino.

 

I always thought Tonino Delli Colli was always unfairly dismissed as "that Spaghetti Western cameraman who just did what Leone said". Pretty infuriating.

 

I agree with you, Tim. Just take a look at Leone's film that weren't photographed by Delli Colli. While they still have a strong sense of composition, Delli Colli's use of the frame in both The Good, the Bad and the Ugly and Once Upon a Time in the West is even more impressive. And I believe that he had something to do with the more carefully controlled color design of those films, something very important when trying to achieve deep focus effects and you need to separate the background to the foreground.

Edited August 19, 2005 by Ignacio Aguilar

[David Mullen ASC]

It was sad news. I brought the new DVD of "Once Upon a Time in the West" out with me to New Mexico and have been watching it on my off-time, looking for inspiration. And I have been listening to this new CD of YoYo Ma playing cello versions of Morricone themes, arranged by Morricone -- and the best piece is the end music from "Once Upon a Time in the West". It's great to be driving to the production office and watching these storm clouds move across the landscape while listening to Morricone.

[Greg Gross]

I love the light in "In The Name of The Rose",it stirs up some real feelings,

emotions in me. God bless Mr. Colli.

 

March 2005 AC:

Mr. Colli was once asked if he wanted to work in the sound department or

the camera department. He said, "With the camera department".

Quote,Mr. Colli:

"Life is always a matter of luck","At the time ,I had no idea what being a

cameraman meant,or that those few words would determine the course

of my life."Sometimes just a word or two can change everything."

John Bailey ASC- " His resistance to thematic or stylistic predictability has

always fascinated me," "He adapts himself to the director and the dictates

of the scenario rather than forging a consistent,signature style."He has been

a beacon for me and many others."

 

Cinematograhy has lost a friend a master of light, his chair at the club house

is empty, however he'll long be remembered.

I've always wanted to view "Life Is Beautiful"(1997). Tonino Delli Colli,AIC-

"When I did "Life Is Beautiful", I was torn. I initially wanted to use dramatic

light but instead went with [visuals] more in the style of the classic comedies.

"Life Is Beautiful" is a comedy,even when it becomes dramatic. With Benigni,

as with any comedian,the audience has to be able to see his face clearly."

Thank you Mr. Colli as you have influenced me in the lighting of comedy.

 

Greg Gross

[Wendell_Greene]

Sad news. I had the honor of meeting him at this year's ASC open house. His work will keep his name and legacy alive.

[Chris Keth]

Sad news.  I had the honor of meeting him at this year's ASC open house.  His work will keep his name and legacy alive.

<{POST_SNAPBACK}>

 

 

That's very sad news to me. I've studied his work like textbooks the last couple years and enjoyed every minute of it. He was a real master of his craft.

[Bob Hayes]

My wife and I had the wonderful opportunity to share dinner with Tonino in Rome several years ago. It was a great memory for me. He will be missed. He was a talented artist with a special outlook on life. Ciao Tonino!

[Robert Edge]

The film that made me start paying attention to his work was none of these, but rather Pasolini's Mamma Roma. On the Criterion DVD, there is an amusing interview with him about his dealings with Pasolini, who was just starting out as a director, and Anna Magnani, who was, to put it mildly, focused on how she looked on screen. Delli Colli talks about telling the street kids who carry much of the film, none of them a pro and apparently few of them capable of reading a script, to just count to 50. When Pasolini asked whether the counting would be evident when the lines were dubbed, Delli Colli said "No problem, we do it all the time".

[Shawn Mielke]

Yep, his work with Pasolini will certainly be remembered by some of us, more than the spagetti stuff.

[Oli Soravia]

Legendary cinematographer and ASC International Achievement Award-winner Tonino Delli Colli, AIC, was apparently found dead in his Rome apartment.

 

This is really sad! He did lots of great jobs over an immense period of time. I had the honour to meet him once at the csc/rome... Ti pensero`Tonino, che avrai un bel tempo dovunque tu sarai!