The Crew

About working on the set

In order to shoot the film, we switched to working at night. The dogs started their daily routine between 3.00 and 5.00 a.m., so we had to be ready to shoot even earlier than that.

We could take part in the dogs’ training sessions as long as we kept our emotions balanced since working dogs are heavily influenced by the emotions of the people who stay in their proximity. The more these emotions are hidden or suppressed, the more they are distracting.

During the training session we always wore the same jackets in order to wear only the scents of this particular pack of dogs.

We had to totally eliminate the expression „OK” from our communications, as every dog in the pack understands OK as a command to start running.

We did not touch the dogs as they were practicing, although it was really difficult to refrain from doing that.

Members of the crew

Diana Aszyk

director, screenwriter and producer of “A Pack”.

‘This project was an almost metaphysical experience for me. Working on it allowed me to feel – like never before – that something exists, but then it doesn’t. I looked to dogs for some kind of support, but they always seemed to exist here and now, unresponsive to what had happened the day before and without any expectations about the future. There’s a long way ahead of me in order to achieve this state of mind, but at least I could see what it looks like with my own eyes.’

Sławomir Bergański

director of photography of “A Pack”.

He graduated from Lodz Film School. He is a DoP of feature films, documentaries, stage performances, music videos and ads. He is also successful as a screenwriter and director.

“While shooting the film, I often asked myself the question: how to become an element of the ecosystem which I was observing, without disturbing its integrity? On the set I noticed that our dogs responded almost exclusively to what concerned them directly at a given moment. They were always alert to the present. I decided to do what they were doing, and learn to be in the present moment for as long as I could. In this way, with time I became almost invisible to them.”


Radosław Ekwiński

lead consultant for the film “A Pack”.

He has been an active member of the sleddog sports community since 1997. He co-founded Warsaw Musher Club INUIT and took part in European Championships and World Championships with his team of Alaskan malamutes. He has been the main judge and organizer of sleddog races, for instance, the transborder stage race called Border Rush in Jakuszycka Polana. He has also been a dog coaching instructor and a TV expert.

‘The possibility of working on this film was a journey into an unknown territory for me, although I know so much about sled dogs… At the end of this process I found the truth. And I was filled with gratitude. To people. And to dogs.’

Rafał Stós

editor and co-producer of the film “A Pack”.

He is an editor with over 10 years of experience in editing feature films, documentaries, and commercials.

“For me working on this project was connected with discovering the world which I thought existed far away, in Alaska and other snowy places in the world, not in small town near Warsaw.
It was a joyful and stress-free play, with the exception of one situation when the Lady Director drove me away from Warsaw and told me to walk right inside a large pack of excited dogs…’

Marek Walaszek

sound designer, original music composer and co-producer of “A Pack”.

He is a music producer, DJ and a sound engineer.

‘This film has been a unique challenge, because practically no words in the human language are spoken here. Therefore, sound itself is of paramount importance, as it is essential in communicating with the viewers and helping them journey as the story unfolds.’

Jan Krzysztof Broja

pianist, music composer for the film “A Pack”.

He has been awarded at many prestigious international piano competitions. He has collaborated, for example, with Wojciech Kilar, performing music for Roman Polański’s The Pianist (2002), and with Paweł Mykietyn on the soundtrack for Andrzej Wajda’s Sweet Rush (Tatarak) (2009).

Jarek Sterczewski

color grading for the film “A Pack”.

A color grader who has been dealing with color grading for almost two decades. He lectures in Lodz Film School. He color graded many feature films, documentaries, commercials, and TV serials and series.

Piotr Borkowski

script consultant for the film “A Pack”. He is a screenwriter and a lecturer.

As a screenwriter he collaborated with, for example, Bartosz Konopka, Marta Minorowicz, Krzysztof Krauze and Joanna Kos-Krauze, and Paweł Pawlikowski. He worked on the screenplay of Paweł Pawlikowski’s Cold War (2018), which received, among others, European Film Academy award and a nomination to BAFTA.

‘After thirty years of taking care of my pet dogs I can see every day how limited our contact with them is, so I’m always curious to know how we could transcend these limitations. In my opinion, The Pack presents one of the paths to a fuller contact between humans and animals. This film reveals the facet of human nature which seems underappreciated today, but which can prove indispensable for healthy and balanced functioning of humans in the future.’

Klaudia Makowska

responsible for the graphic design of the film “The Pack”.

She’s is a visual artist and filmmaker, interested in telling stories through images. She experiments with various styles and techniques, looking for the right forms of expression for her artistic ideas.

“While working on this film, I started to pay more attention to dogs than ever before. I observed with interest various dogs: those dwelling in the city – dressed up in dogs’ clothes and inhaling car fumes – as well as dogs patrolling their estates, working dogs, and stray dogs. Dogs moved from the background to the foreground of my perception and became protagonists of many situations. I started to ponder how I can nurture the bond with my own pet dog more consciously.”

Mateusz Głowacki

on-set sound designer

Patrycja Krysik

sound postproduction

Adam Mrozek

focus puller

Robert „Frodo” Domański

camera assistant

Piotr Żurawski

second operator

Aliaksandra Kuzniatsova

second operator

Przemysław Kulikowski

second operator

Michał Surma

line cam i aerial cinematography

Radosław Faruga

line cam, aerial cinematography, Film Force

Filip Jurzyk

special photography, Motion Unit

Jaroslav Zemánek

precision driver

Daniel Kleser

precision driver

Petr Fišmistr

on-set driver

Jaroslav Pančocha

on-set driver

Karolina Tereba


Kamil Bladowski

lawyer, Kancelaria Prawna KLB

Krzysztof Godziejewski

film equipment, Fastmedia

Artur Orzeł

film equipment, Haasta Sp. z o.o.

Monika Żuczkowska