Barbara Hámori: A milestone year for Scripted Productions
The year 2025 turned into a period of great achievements for the Hungarian indie Scripted Productions, led by Barbara Hámori. In this exclusive interview, she talks about the new projects that were launched this year, including the company’s first productions in the gameshow and reality genres and the big bet on a service production arm targeting international players interested in shooting in Hungary. The experienced manager also discussed the state of play on the Hungarian market and Scripted Productions’ strategic goals both at home and internationally.
Barbara Hámori, CEO of Scripted Productions
Barbara, this year turned out to be quite successful for Scripted Productions. What were the main highlights in your opinion?
For Scripted Productions, 2025 has been a true milestone year. For the first time, we have produced content across three completely different genres: two gameshows (The Floor and 5 Gold Rings), a classic celebrity reality format titled Celebrities Apart—our first project created specifically for the RTL streaming platform—while also continuing the highly successful daily drama, the Croatian hit Best Men’s Hungarian adaptation, by delivering its second season.
And last but not least, we closed the year with a scripted reality series that takes viewers inside a luxury real estate agency, showcasing its extraordinary properties and the remarkable clients who buy them.
The new service production arm in Budapest that you announced in May is also a significant strategic move for the company. What are your plans for this new venture in your business?
For 2026, our brand-new company Scripted Film and Services currently have two U.S. and one major Canadian service productions in the pipeline. In practical terms, this means that from April–May onward we are on track to shoot a feature film with A-list American actors—although unfortunately I cannot reveal the names just yet.
I am immensely proud that our new subsidiary has successfully identified real international market needs, allowing us to position ourselves in a niche that significantly increases global demand for productions filmed in Hungary.
You've placed your trust in Julia Molnar and Tamas McGillivray to spearhead service production arm. Beyond their experience, what was it about their "dynamic duo" that convinced you they were the right leaders to embed Scripted Productions' culture and vision into this new arm?
Molnár Júlia is, quite literally, my daughter – and if I may say so, she absorbed the fundamentals of the industry with her mother’s milk. Julia has worked her way up through every stage of the production ladder, from assistant to producer. She has gained experience not only within our own company, but also at some of the largest Hungarian service companies, working alongside line producers of top-tier international films.
This is where she met her fiancé, Tamás, a Hungarian–Canadian dual citizen who is also a producer with an impressive list of credits. Their combined strengths—youthful momentum, international experience, and a robust professional network—position them perfectly to lead the company toward continued success.
Hungary's 30% tax rebate is a major draw for international productions to shoot in the country. Beyond the financial incentive, what unique qualities does the Hungarian filmmaking ecosystem—from crew talent to vendor expertise—offer that you believe will be the true long-term differentiator for your service division?
There is an increasing need, even in international productions, for cost-efficient yet high-quality service. Our background in television—and the discipline that comes with years of TV production experience—has taught us to account for every single cent. If we can successfully transfer this mindset into the world of premium international film production, we create an unbeatable combination: world-class service delivered with exceptional financial efficiency. This gives us a significant and distinctive competitive advantage in the global market.
Scripted Productions is known for creating hit series like Dear Heirs and Best Men. Both are based on Croatian formats. What made you look for series ideas in the CEE region and not from the Western markets? Will you continue to rely on scripted formats from the region in the future?
Perhaps I can say that one of the most significant paradigm shifts we have achieved in the past eight years was realizing that we should not focus exclusively on the calm, traditional European or American markets when searching for adaptations or formats.
Instead, we turned our attention to our neighboring countries, where the cultural background, traditions, history, sense of humor, social dynamics and everyday realities are far closer to ours than those of the Western world.
The Croatians, in particular, excel in daily drama series: they have outstanding writers and a remarkable ability to tell strong, character-driven stories. Of course, these stories need to be localized for Hungary—every country has its own nuances—but the core narratives are deeply human, relatable, and instantly recognizable for Hungarian audiences.
You have also successfully launched the “unscripted” arm of Scripted Productions in partnership with Talpa Studios by adapting The Floor and The Jump. Will they return with new seasons? Are you planning to extend your cooperation with Talpa?
We have built an excellent professional relationship with the format company Talpa, and we have successfully launched two of their formats in Hungary—the ones you referenced earlier.
At the moment, however, gameshows in the Hungarian market are experiencing a natural downturn. We consistently observe that every two to three years a well-known genre begins to fatigue; it needs to be rested for a while before it can be revived and regain audience interest.
Right now, these formats are not included in the immediate programming plans for this year or the near future—but I am confident that the time will come when they make a strong return.
Are you looking to create similar partnerships with other international giants?
Yes, we are actively looking for an international partner who is truly innovative and not yet tied to major broadcasters. We seek a collaborator with a proven track record across multiple genres—someone who develops cost-efficient, scalable formats that can also perform well in Central Europe.
How well is Scripted Productions positioned on the Hungarian market? What are some of the challenges that you have been facing as an independent producer on the local media market?
Our company is now arguably the third-largest independent production house in Hungary this year—an achievement we are genuinely proud of. At the moment, our greatest challenge lies in capacity and human resource management, as this is fundamentally a people’s business: an industry where the most valuable asset is creative human talent.
What makes us especially proud is that every department is staffed by some of the very best professionals in their field, which means that the company’s success is, in reality, the success of each and every one of our team members.
This also leads to our greatest challenge: the inherent unpredictability of our industry. We rarely see further ahead than six to twelve months, which means we cannot offer our colleagues longer-term visibility either. Ultimately, the continuation of any show is determined by current television ratings, and new projects must be launched accordingly.
This short-term nature of the business is, in my view, one of the biggest sources of stress in the television industry.
The Hungarian TV market is quite competitive. How would you compare it to other big markets in the CEE region? What are the differences and similarities?
In many ways, I believe the Hungarian television market was one of the pioneers of commercial broadcasting in the Central and Eastern European region, and we still carry the positive legacy of that period today.
What I see as a challenge—especially in comparison with our neighboring countries—is that we do not have a functionally strong, professionally operated public service broadcaster. A channel that would provide space for content that truly delivers cultural and social value, while still remaining engaging and entertaining, and reaching hundreds of thousands of viewers.
For me, this is the single greatest gap in our ecosystem—and also the area where I believe Hungary still has substantial room for development compared to other countries in the region.
With your background launching channels for Magyar Telekom and now running a major production company, how do you see the relationship between traditional broadcasters, streamers, and production companies evolving over the next five years?
We are heading into a very exciting five-year period. On one hand, linear television is gradually giving way to streaming, and I am genuinely curious to see which major international platform—beyond RTL+—will be the first to invest in producing exclusive local content here in Hungary.
At the same time, I believe linear TV still has plenty of surprises left. As long as a single live show or a major sporting event can bring 1.5–2 million viewers together in front of the screen at the same moment, we cannot speak about the “death” of television.
I’m confident that the diversity of production companies will remain intact in the future as well, because this kind of competition is healthy—not only for the creative industry as a whole, but also for us, the companies actively participating in it.
Your podcast, "My Blue Zone," explores secrets of longevity and well-being. How do you integrate these principles of sustainable success and community into the running of a fast-paced, high-pressure company like Scripted Productions?
The longevity field has become a new passion for me—one that reveals more excitement the deeper I dive into it. What I have certainly learned from my conversations with doctors and scientists is that the secret to a long and happy life is not success or money, but the human connections and relationships that surround us—alongside, of course, proper nutrition, physical activity, and healthy sleep.
I am trying to integrate stress-management practices into my daily life that help counterbalance the pressure of working in the media industry, and I genuinely feel that I am on the right path. According to my latest biomarker measurements, my biological age is eleven and a half years younger than my actual age — and for me, that is the real success of this year.
For Scripted Productions, 2025 has been a true milestone year. For the first time, we have produced content across three completely different genres: two gameshows (The Floor and 5 Gold Rings), a classic celebrity reality format titled Celebrities Apart—our first project created specifically for the RTL streaming platform—while also continuing the highly successful daily drama, the Croatian hit Best Men’s Hungarian adaptation, by delivering its second season.
And last but not least, we closed the year with a scripted reality series that takes viewers inside a luxury real estate agency, showcasing its extraordinary properties and the remarkable clients who buy them.
The new service production arm in Budapest that you announced in May is also a significant strategic move for the company. What are your plans for this new venture in your business?
For 2026, our brand-new company Scripted Film and Services currently have two U.S. and one major Canadian service productions in the pipeline. In practical terms, this means that from April–May onward we are on track to shoot a feature film with A-list American actors—although unfortunately I cannot reveal the names just yet.
I am immensely proud that our new subsidiary has successfully identified real international market needs, allowing us to position ourselves in a niche that significantly increases global demand for productions filmed in Hungary.
You've placed your trust in Julia Molnar and Tamas McGillivray to spearhead service production arm. Beyond their experience, what was it about their "dynamic duo" that convinced you they were the right leaders to embed Scripted Productions' culture and vision into this new arm?
Molnár Júlia is, quite literally, my daughter – and if I may say so, she absorbed the fundamentals of the industry with her mother’s milk. Julia has worked her way up through every stage of the production ladder, from assistant to producer. She has gained experience not only within our own company, but also at some of the largest Hungarian service companies, working alongside line producers of top-tier international films.
This is where she met her fiancé, Tamás, a Hungarian–Canadian dual citizen who is also a producer with an impressive list of credits. Their combined strengths—youthful momentum, international experience, and a robust professional network—position them perfectly to lead the company toward continued success.
Hungary's 30% tax rebate is a major draw for international productions to shoot in the country. Beyond the financial incentive, what unique qualities does the Hungarian filmmaking ecosystem—from crew talent to vendor expertise—offer that you believe will be the true long-term differentiator for your service division?
There is an increasing need, even in international productions, for cost-efficient yet high-quality service. Our background in television—and the discipline that comes with years of TV production experience—has taught us to account for every single cent. If we can successfully transfer this mindset into the world of premium international film production, we create an unbeatable combination: world-class service delivered with exceptional financial efficiency. This gives us a significant and distinctive competitive advantage in the global market.
Scripted Productions is known for creating hit series like Dear Heirs and Best Men. Both are based on Croatian formats. What made you look for series ideas in the CEE region and not from the Western markets? Will you continue to rely on scripted formats from the region in the future?
Perhaps I can say that one of the most significant paradigm shifts we have achieved in the past eight years was realizing that we should not focus exclusively on the calm, traditional European or American markets when searching for adaptations or formats.
Instead, we turned our attention to our neighboring countries, where the cultural background, traditions, history, sense of humor, social dynamics and everyday realities are far closer to ours than those of the Western world.
The Croatians, in particular, excel in daily drama series: they have outstanding writers and a remarkable ability to tell strong, character-driven stories. Of course, these stories need to be localized for Hungary—every country has its own nuances—but the core narratives are deeply human, relatable, and instantly recognizable for Hungarian audiences.
You have also successfully launched the “unscripted” arm of Scripted Productions in partnership with Talpa Studios by adapting The Floor and The Jump. Will they return with new seasons? Are you planning to extend your cooperation with Talpa?
We have built an excellent professional relationship with the format company Talpa, and we have successfully launched two of their formats in Hungary—the ones you referenced earlier.
At the moment, however, gameshows in the Hungarian market are experiencing a natural downturn. We consistently observe that every two to three years a well-known genre begins to fatigue; it needs to be rested for a while before it can be revived and regain audience interest.
Right now, these formats are not included in the immediate programming plans for this year or the near future—but I am confident that the time will come when they make a strong return.
Are you looking to create similar partnerships with other international giants?
Yes, we are actively looking for an international partner who is truly innovative and not yet tied to major broadcasters. We seek a collaborator with a proven track record across multiple genres—someone who develops cost-efficient, scalable formats that can also perform well in Central Europe.
How well is Scripted Productions positioned on the Hungarian market? What are some of the challenges that you have been facing as an independent producer on the local media market?
Our company is now arguably the third-largest independent production house in Hungary this year—an achievement we are genuinely proud of. At the moment, our greatest challenge lies in capacity and human resource management, as this is fundamentally a people’s business: an industry where the most valuable asset is creative human talent.
What makes us especially proud is that every department is staffed by some of the very best professionals in their field, which means that the company’s success is, in reality, the success of each and every one of our team members.
This also leads to our greatest challenge: the inherent unpredictability of our industry. We rarely see further ahead than six to twelve months, which means we cannot offer our colleagues longer-term visibility either. Ultimately, the continuation of any show is determined by current television ratings, and new projects must be launched accordingly.
This short-term nature of the business is, in my view, one of the biggest sources of stress in the television industry.
The Hungarian TV market is quite competitive. How would you compare it to other big markets in the CEE region? What are the differences and similarities?
In many ways, I believe the Hungarian television market was one of the pioneers of commercial broadcasting in the Central and Eastern European region, and we still carry the positive legacy of that period today.
What I see as a challenge—especially in comparison with our neighboring countries—is that we do not have a functionally strong, professionally operated public service broadcaster. A channel that would provide space for content that truly delivers cultural and social value, while still remaining engaging and entertaining, and reaching hundreds of thousands of viewers.
For me, this is the single greatest gap in our ecosystem—and also the area where I believe Hungary still has substantial room for development compared to other countries in the region.
With your background launching channels for Magyar Telekom and now running a major production company, how do you see the relationship between traditional broadcasters, streamers, and production companies evolving over the next five years?
We are heading into a very exciting five-year period. On one hand, linear television is gradually giving way to streaming, and I am genuinely curious to see which major international platform—beyond RTL+—will be the first to invest in producing exclusive local content here in Hungary.
At the same time, I believe linear TV still has plenty of surprises left. As long as a single live show or a major sporting event can bring 1.5–2 million viewers together in front of the screen at the same moment, we cannot speak about the “death” of television.
I’m confident that the diversity of production companies will remain intact in the future as well, because this kind of competition is healthy—not only for the creative industry as a whole, but also for us, the companies actively participating in it.
Your podcast, "My Blue Zone," explores secrets of longevity and well-being. How do you integrate these principles of sustainable success and community into the running of a fast-paced, high-pressure company like Scripted Productions?
The longevity field has become a new passion for me—one that reveals more excitement the deeper I dive into it. What I have certainly learned from my conversations with doctors and scientists is that the secret to a long and happy life is not success or money, but the human connections and relationships that surround us—alongside, of course, proper nutrition, physical activity, and healthy sleep.
I am trying to integrate stress-management practices into my daily life that help counterbalance the pressure of working in the media industry, and I genuinely feel that I am on the right path. According to my latest biomarker measurements, my biological age is eleven and a half years younger than my actual age — and for me, that is the real success of this year.
