b. October 18, 1965, Melbourne,
BIOGRAPHY:Super 8 works
to film making through a love of music, Matthew first bought a Super 8 camera in the
late '80s and proceeded to shoot what he liked and stripe it up against his
favourite music tracks on cassette. Consequently each screening had a different
soundtrack and a different effect. These films were usually three reels long and
landing around the 8-9min mark. Realising the medium’s potential he started to
develop loose visual narratives and a knack for editing.
in La Trobe’s Cinema department not only exposed him to film history and theory
but also gave him access to equipment and most importantly video where he could
lock his soundtrack to the visuals and thus rhythmic editing and dialogue
became a thing.
La Trobe, a stint at the VCA again saw an upgrading of equipment, resources and
skilled crews allowing him to further experiment with his filmmaking under the guidance
of the illustrious Peter Tammer.
completion of his tertiary studies Matthew focused on working in the film and
television industry, initially as a runner and progressing through the ranks as
an assistant director. He worked on all types of formats but mainly television
drama, feature films and sketch comedy. This work allowed him to self fund many
projects, taught him some invaluable skills and also made him incredibly time
Festivals and going off
between shows he would direct and produce music clips and corporate video. The
corporate world allowed him to develop his taste for documentaries. Covering
events in an observational manner he went on to win awards in Australia and
overseas for his innovative way of presenting possibly quite boring subject
matters. He shot and edited a couple of broadcast documentaries for SBS and the
ABC and edited a couple more.
to break free of the freelance world but wanting to utilise his skillset he
started to teach filmmaking at tertiary level. This allowed him to inspire and
be inspired and also gain access to equipment. He continued to create short
projects and documentaries around his lecture duties and also 1st Assist on short films, mainly in Tasmania. Academically his focus honed in on
Filipino Independent filmmaking and the Korean Film Industry and both of these
interests influenced his work majorly.
has visited South Korea at least eight times, the longest stint being for six
months. He has viewed many examples of their cinema both mainstream and
independent, met producers, directors and other industry people and is still
trying to distill the how, what and why their industry is what it is. The last
decade has seen this influence effect all his short work either making films
about or in Korea and Korean.
OVERVIEW: Music, Image, Language and Factual Stories The marriage of image + sound is greater than the sum of the two. This is essentially what kick-started my filmmaking. An intrigue with sound and a fascination with light. Exploring the relationship of sound and image in regards to emotion and rhythm (editing and camera movement) has always been a high priority. An aesthetically pleasing shot is something to be well sought after whilst shooting and then used in the edit, sometimes at the expense of all other concerns.
A desire to present stories that are stranger than fiction or that are in some way off beat or outside the mainstream has always been a driving force in my short films, experimental works, and documentaries.
A play on language. Post synced dialogue, foreign dialogue or characters that speak in strange ways are present in a lot of the films, especially the most recent.
- Matthew Rooke, February 2019.
Next Stop Seoulywood (2014, 4 mins)
The Way He Arrived (2013, 3 mins)
A Ticket to the Rock (1988, Super 8, 8 mins)
Frankie Teardrop(1989, Super 8, 7 mins 30sec)
Warholed (1990, Super 8,
8 mins 10sec)
Step Off(1991, Super
8, 8 mins 14sec)
Onya Teddy(1991, Super 8/Video, 20 mins)
Wheel of Fortune(1992, BVU, 18 mins)
Dis Just Don’t Suit
You(1992, BVU, 3 mins)
The Ergot Derivative(1992, 16mm, 1 min)
Festivals and going
Hi8 & Betacam, 24 mins SBS Doco)