UPDATE: According to Tony Scott's widow Donna, the late director did not have brain cancer, refuting an ABC report from earlier today.
EARLIER: A source has revealed to ABC news that Tony Scott, director of "Top Gun" and "Crimson Tide," was diagnosed with inoperable brain cancer.
Scott took his own life on Sunday by jumping off a bridge in Los Angeles, California. At approximately 12:35 p.m., several bystanders alerted the authorities that someone had jumped from Vincent Thomas Bridge spanning San Pedro and Terminal Island in Los Angeles Harbor.
"I can confirm that Tony Scott has passed away. The family asks that their privacy is respected at this time," Simon Halls, the director's spokesperson, said in a statement.
Investigators found contact information in Scott's Toyota Prius and a suicide note in his office.
The English-born director directed dozens of blockbuster successes -- from "Beverly Hills Cop II" to "True Romance" -- and has left an indelible impression on the film world.
"The Hunger" (1983)
Scott's feature debut was all slick surfaces, but what surfaces! Many years before vampire chic, Scott gave us lesbian bloodsucker kink, a rare English-speaking part for Catherine Deneuve, and a sexy role for Susan Sarandon (helping her break out of the housewife/mom ghetto she was in at the time).
"Top Gun" (1986)
If you had to pick one movie to represent the 1980s in a time capsule, this would be it. Jingoistic, flashy, superficial, proudly displaying its mighty and expensive weaponry in every major scene, it's also a fun, mindless rush from beginning to end. It boosted the careers of everyone involved, particularly Scott and Tom Cruise, who took from it a blueprint for nearly every movie he made for the next 20 years. (No wonder the pair were said to be scouting locations for the sequel as recently as last week.)
"Days of Thunder" (1990)
Virtually the same movie as "Top Gun," but with race cars instead of fighter jets. Extra props for being the film that introduced Nicole Kidman to Hollywood, to American audiences, and to future husband Tom Cruise.
"True Romance" (1993)
In which Scott showed what he could do if given a really good script (this one by a then-barely-known young screenwriter named Quentin Tarantino). The film features perhaps the most passionate and poignant romance in any Scott movie, even though it's a lovers-on-the-lam movie full of bloody violence. Christian Slater and Patricia Arquette are immensely appealing, but Scott also overstuffs the cast with overqualified thespians (Gary Oldman, Val Kilmer, Brad Pitt) and just allows them to run wild for a few minutes and step aside. Best is the quiet, unbearably suspenseful kitchen-table confrontation between Christopher Walken and Dennis Hopper, a sequence that proves Scott really could direct actors.
"Crimson Tide" (1995)
More proof of Scott's surprising skill with dramatic actors came with this film, which, for all its shiny military gear, is essentially a talky drama, an update of "The Caine Mutiny" in which the stakes are nuclear Armageddon. Most of the movie is just a battle of wills and words between Gene Hackman and Denzel Washington (in the first of five films he starred in for Scott). That Scott could make this chamber drama play as an action blockbuster is a tribute to his unique gifts.
"Spy Game" (2001)
Another chamber drama that plays like action gangbusters, in which veteran spy Robert Redford has to bust protégé Brad Pitt out of a third-world prison halfway across the globe while he himself is trapped in a Virginia office with nothing more than a phone at his disposal. Again, that Scott could make this material work is proof of his rare skills.
Once more, Scott shows what he can do with an unorthodox script by a artsy rookie (in this case, "Donnie Darko"'s Richard Kelly). There's very little about this biopic of bounty-hunting babe Domino Harvey, with its fractured reality-vs.-fiction narrative, showbiz self-parody, and gritty visuals, to mark it as a Scott film - very little, that is, except for its relentless kinetic energy. It's certainly not every director who could make a credible action heroine out of tiny Keira Knightley.
Nothing special about this runaway-train thriller, merely the work of some expert craftsmen (particularly Scott and Denzel Washington) who know each others rhythms and who are firing on all cylnders. Washington shone as the old hand teaching a few tricks to young pup Chris Pine (perhaps that's how Scott saw himself at this late stage in his career). Ultimately, the movie, like Scott, was all about relentless forward motion.