A work in constant progress (and occasional regress).
Matt Sakatani Roe is an accomplished cinematographer whose diverse work spans narrative films, commercials, music videos, and experimental shorts. A native of Alabama, Roe first discovered his passion for visual storytelling by shooting home videos with his mom’s camera. He later honed his craft at Auburn University—where a key photography class encouraged him to create evocative, idea-inspiring imagery—and parked his roots in LA post‑graduation to build his career through internships and strategic networking. He Served as director of photography on Netflix’s Purple Hearts (2022), collaborating with Elizabeth Allen Rosenbaum. Roe skillfully employed Sony VENICE cameras and Cooke S7/i lenses to capture a moonlit, smoke-laden night scene at ISO 6400—an image he describes as uniquely clean and Netflix-ready. He crafted a show‑stopping IMAX promo with Michael B. Jordan and director WALU, filming a dramatic sit-down interview at Dodger Stadium. Utilizing multiple VENICE 2 bodies, signature primes, gimbals, and a sweeping 45-foot jib, Roe and team illuminated an entire stadium in under 24 hours—a feat he calls “one of the most epic looking sit-down interviews”. He captured his breakout piece shooting a director’s daughter’s fifth birthday party with newfound intensity and artistry—reminiscent of Darren Aronofsky’s style—landing him a feature with Mark Pellington and future commercial and music video work.
Cinematography:
2015 Unlikely Temptations
2018 Next to Me
Director of Photography:
2015 The Passenger
2015 Unlikely Temptations
2018 Next to Me
2018 Nostalgia
2021 The God Committee
2022 Purple Hearts
2022 Sneakerella
2024 My Dead Friend Zoe
???? Lone Wolf
Most data and links to images for the Movies section come from TheMovieDB (TMDB).
Additional data for Film Titles come from The Open Movie Database (OMDb).
At least one plug-in comes from IMDb.
Data are -- hey, it's a plural -- subject to the limitations of their sources. (For example, TMDB search results currently max out at 20.) I am limiting myself to free data sources for now. (No, a "free trial" is not free.)
While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:
Regarding profile removals and data corrections:
Filtering is applied here to film projects flagged as "adult" by TheMovieDB. Pending "popular demand" I am contemplating a login and profile system with preferences (such as whether to allow adult images to appear) and permissions (such as data entry).
Whereas the overall purpose of this website is to serve as a personal demo/portfolio/workshop of web and data skills, this Movies section is not meant to compete with or substitute for far more definitive movie websites.
Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.