Brian Tufano, BAFTA-nominated veteran cinematographer best known for his work with Danny Boyle, has passed away. he is83.
The news was confirmed by Tufano’s agent at McKinney Macartney Management, Jon Wardle, director of the National Film and Television School – where Tufano was formerly head of the department – on Twitter Posting tribute.
“So sad to have to share that cinematography legend and former @NFTSFilmTV division head Brian Tufano has passed away,” Wardle wrote. “He’s made a lot of great films and has done a lot to support new talent, especially female DPs. We love him and will really miss him.”
Tufano begins his career at the BBC career as a projectionist, later promoted to cinematographer in the film department of 83, and will work at the broadcasting company with works including Stephen Freres, Directors including Ken Russell and Alan Parker are working together for the small screen. His first feature film was The Sailor’s Return director, freelance in the mid 1970 years Jack Gold, and he later worshiped the camera 1970 British drama Quadrophenia . In the 1980 years, he will provide an additional cameraman for Jordon Cronenweth in Blade Runner.
Tufano first collaborated with Boyle on the 1980 TV series Mr. Wroe’s Virgins, inspired a creative partnership that turned into Feature films Trainspotting and An Extraordinary Life . The two also collaborated on the 2011 short film Alien Love Triangle. Additional credits include East Is East , Billy Elliott (played by a young Jamie Bell and Tufano will receive a BAFTA nomination for this) and Once upon a time in the Midlands , and with Jump Boy , Kidulthood, Adulthood and Everywhere and Nowhere, Tufano enjoyed four- A film with director Menhaj Huda. Tufano’s last film was the 2011 documentary Gymnast. In 1980 he received a BAFTA award for his outstanding contribution to film and television.
In conversation with David A. Ellis of filmint in 2016 about his career, Tufano Said: “When I was in school I always wanted to work with a camera. I didn’t have anything else on my mind, but it was the process of getting there. …I found that I could adapt easily to every director. I used to prefer directing While standing next to me and next to the camera. They were involved with the cast and crew. Most young directors can’t seem to work without looking at the monitor.”
In an obituary on his agent’s website, Fig. Fano has been described as “a cinematographer’s cinematographer” whose work will live on through the ages. “His legacy lives on – not only through these works – but also through the careers of those students he has nurtured over the years,” it added. “Our lives have been enriched by knowing Brian and we will miss him greatly.”
