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My first professional experience with media was volunteering in one of the major NGOs in my home country Poland during college years. The office I worked in had huge amount of environmental theme videos and materials laying around so I decided to make good use of it and turn it to a local multimedia center. It was a success and shortly after I was hired by the Polish government to do similar thing on the national level. I was enthusiastic and really hoped that making great quality educational content available to the public can change the world. Unfortunately, due to change in political climate in Poland this noble idea fell through. Disappointed and heartbroken, I decided to pack my suitcase and leave to  Los Angeles to pursue career in film.

Switching to filmmaking was my childhood dreams come true. Already in elementary school I tried to be the next Fellini in a local youth filmmaking club but then i was told that i have to grow up and focus on getting a serious profession. Thankfully, in Los Angeles i got encouraged by meeting other people like me. My editing career started in the scripted and i was one of the lucky ones who was still learning how to cut film on flatbed. My first editing experience was a  behind-the-scenes of action movie El Padrino. Just like in my earlier experiences in Poland, I was thrown on deep waters: I was handed a box with over hundred tapes, put in front of Final Cut Pro system (which i never used before) and i was told to deliver a one hour documentary. I did it. That was the start. 

Quickly after I was offered my first job editing a scripted feature - Lime Salted Love, and from then on until 2009 I was mostly focusing on polishing my scripted skills  with the  mentoring help of Ewa Smal, who was Krzysztof Kieślowski's editor.  One of the highlights of this early period was getting accolade for editing another feature Viking Saga and  a Tribeca Student Award winning short Rooms. During that time i was throwing myself into all kind of projects, from music videos, reels, trailers to indie tv shows, webisodes and  tv pilots and I gained my first often rough experiences in the film industry.

When I became involved in the documentary in 2011, I  realized that art  and structure mastered in the scripted can be combined with my other passion - social activism and education. My first big project was This Space Available  - a documentary  feature about visual pollution caused by outdoor advertising. The invaluable mentorship  of two senior editors i worked with on that film - Caitlin Dixon known for Sundance winning "Flow" and Elisa Bonora, who cut most of  Oliver Stone documentaries, gave me confidence and good kickstart in this genre. My next project  "Killing the Messenger: The Deadly Cost of News" aired on Al Jazeera in 2013.  That same year i begun my collaboration with Stephen and Kathleen Gyllenhaals, with  In Utero - a film on psycho-sociological effects of prenatal experiences that premiered at the Seattle IFF in 2015.  I also worked with Glen Zipper on Betting on Zero and recently completed Girls of Summer feature about girls and women who play baseball.

My experience in documentary was a door opener for the professional career in other non-fiction outlets. In 2012 I debuted in non-scripted television and since then I have worked on a number of shows like "The Braxton Family Values", MTV "Punk'd", Discovery "The Wheel" and "Street Outlaws", PBS "Craft in America" and others. I also took part in educational projects, like exhibition films for The Newport Car Museum.


My current professional focus are big documentary features, non-fiction tv shows or exhibition projects, but during my downtime I eagerly support talented indie directors partnering in quality independent projects, whether they are beautiful scripted stories or socially engaged meaningful documentaries.


Looking forward to working with you!



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Every film is a puzzle really,  from


- Walter Murch

+1 323-424-0305


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an editorial point of view.


Burbank, CA

Warsaw, Poland

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