Officials opened a suicide investigation, but did not expect to conclude it or to have results of an ­autopsy Monday, said Ed Winter, an assistant chief of the Los Angeles County Coroner’s office.

“We know that he jumped from the bridge, 200 feet in height,’’ Winter said in a telephone interview. ‘‘It was reported that several people witnessed him jump.’’

Winter said Mr. Scott’s death was first reported at 12:47 p.m. Sunday, though his body was not ­recovered until hours later. ‘‘There was one suicide note found in his office in Los Angeles, and a note found in his cars, with names and contacts,’’ Winter said.

Cleon Joseph, an officer with and spokesman for the Los Angeles Police Department, said the death was not being investigated as a crime because of the indications of suicide.

Mr. Scott’s death shocked and mystified friends and colleagues with whom he had been busily ­engaged as recently as last week.

“I just worked with him, sharp as a button and having fun,’’ said Fay Greene, an associate who recent­ly had been with Mr. Scott on the set of a Pepsi commercial in Long Beach, just south of the ­Vincent Thomas Bridge. ‘‘It featured all the usual Tony elements: speed boats, helicopter, and even a ­tiger in the swimming pool.’’

With his brother, Ridley, also a noted director and his partner in a robust group of production companies, Mr. Scott was the executive producer of ‘‘Coma,’’ a television miniseries set to air on the A&E network in early September. He was also reported to have spoken recently with Tom Cruise about a devel­oping a sequel to ‘‘Top Gun,’’ a super-charged drama about fighter pilots that became a worldwide hit for both Mr. Scott and Cruise after its release by Paramount Pictures in 1986.

He and his brother were working on a film adaptation of Bill O’Reilly’s book ‘‘Killing Lincoln,’’ set to be released next year. Among Mr. Scott’s most recent work was ‘‘Unstoppable,’’ the 2010 action film starring Denzel Washington, with whom he often worked.

Mr. Scott, known for sporting a weathered red baseball cap, lived with a cinematic flair to match his films, which were almost always about crime, as in his remake, ‘‘The Taking of Pelham 123”; conspiracy (”Enemy of the State”); and the roar of machinery (”Days of Thunder”). He was a rock climber who also rode motorcycles and drove fast cars. The bridge from which he jumped was a famous presence in several actions films directed by others, including, notably, William Friedkin’s ‘‘To Live and Die in L.A.,’’ in which it was the setting for a much-remembered bungee jumping scene.