Dugan Rosalini, Filmmaker
Dugan Rosalini has produced and directed more than 80 film projects in a wide variety of genres and motion picture formats for an equally-wide pallet of clients, purposes and venues, including prime-time National Public Television, high-end corporate image, public relations, non-profit fundraising, and family entertainment.
He has worked in all film and most digital technical formats, including the largest and finest motion picture medium on Earth: 70mm/15-perf giant-screen cinema, outfitted with projection equipment known by the brand names IMAX, OMNIMAX, D3D Cinema, D3D/Christie Laser Dome, and more. He is one of little more than a dozen working filmmakers in the world possessing the experience and skills required of writing, designing and directing for giant-screen motion picture production, and has been recognized as Screen magazine’s Director of the Year for his innovations in this format.
Examples of his television experience range from a hard-hitting, concept documentary, about the nation’s need for a comprehensive maritime policy and a 600-ship Navy (which helped its sponsor secure more than $20 billion in new contracts), to a corporate image commercial depicting a father’s love for his young daughter and his dream for their family to own a farm of their own, to a feature-length re-creation of a 1935 expedition by amphibious airplane to explore the Amazon and re-tell a family’s six-generation legacy.
He has directed Hollywood, Broadway, sports and other performance professionals and celebrities, as well as a broad spectrum of ‘real people’—from astronauts, corporate CEOs, government officials, and high net-worth individuals to assembly-line workers, taxi drivers, Olympics athletes, ship captains, ballerinas, farmers, ranchers and more.
Rosalini’s leadership approach and accountability rests on his Midwestern upbringing and values, while his film craft is optimistic, promotes what’s right in the world, and strives to capture the intrinsic romance, poetry, and even the most simple narrative form of the subject at hand.
Characterization, Story, Meaning
Emotional Resonance serving Strategic Content
Rosalini’s work honors the primacy of characterization, story, and meaning. That simple. Then, regardless of technology or technique—or a film’s topic, locations, running time or budget—strategic content driven and made memorable by emotional resonance is what matters most.
His artistic orientation and aesthetic are founded on his earliest on-the-job training—mentored by one of American television’s founding pioneers—and college studies devoted to Liberal Arts, Graphic and Architectural Design, and film under the discipline of Dramatic Art associated closely with the University of Iowa’s graduate-level, creative writing program: its celebrated Writers’ Workshop.
Rosalini’s films are generally contracted, work-for-hire projects, designed not only to meet specific and strategic goals, budgets and deadlines, but also to transmit the emotional context of story. Audiences must genuinely care about the characters and content they’re watching (even, and especially, in a TV commercial) and his ability to tell a story in formats ranging from 30 seconds to two hours, across a wide range of topics, styles, and purposes—all with insight into the intrinsic drama of every subject and setting—distinguishes his work and the peer recognition it has received.
Includes three Chicago-Midwest Region Emmy awards, a fourth Emmy nomination, and six first-place awards from major international festivals, such as the Virgin Islands, Chicago, Houston, and American festivals; invitation to the Robert Flaherty Film Seminar; special recognition from the International Wildlife Film Festival; inclusion in the American Library Association’s 'Fabulous Films for Young Adults'; Chicago Reader movie critic, Michael Grost’s ‘List of Outstanding American Feature Films’; and more than 30 industry-specific honors, including a CINE Golden Eagle, Focus recognition by Women In Film⎟Chicago, two Chicago Film Council Picasso awards, three Addy's, four U.S. Gold Cameras, and the highest film recognition awarded by the Public Relations Society of America, the Bronze Anvil.