Recently, Paprika Studios, the largest independent producer in the CEE region, expanded its operations to Croatia and now produces content in nine countires covering the Baltics, Central Europe and the Balkans.

In this exclusive interview with Yako Molhov, CEO Ákos Erdős discusses the new opportunities opening up for the company with the launch of the office in Croatia and how Paprika has been able to evolve and grow further in each of its markets following the management buyout from Viaplay a few years ago.


Ákos, Paprika Studios has now expanded into nine countries with the launch of your Zagreb office. What was the main motivation behind entering the Croatian market, and how do you see it complementing your existing CEE footprint?

Paprika Studios has in its DNA a hunger for development and seizing new opportunities. When we identify an opportunity worth pursuing, we don't hesitate and don't let it pass. In this particular case, we observed a certain fatigue in the Croatian market, suggesting that a new, dynamic player could find real room to grow. That led us to begin working with RTL Croatia, one of the region's most prominent and respected broadcasting groups. It is both a pleasure and a great honor to work alongside them.

Croatia has also been on our radar for quite some time. The country offers outstanding conditions for international productions as well, not only in terms of geographical advantages, but also thanks to locally accumulated expertise in serving international productions. Since production service is a key pillar of our business, one of our goals is to position Croatia as a compelling shooting destination for producers we already collaborate with, whether on Scandinavian, British, or American productions.

We are also delighted to have Sandra Anušić leading Paprika Croatia. She brings not only impressive experience, but also an outstanding attitude, dynamism, and problem-solving ability.


The first Croatian production, Come Dine with Me (Večera za 5), became a slot winner immediately. How do you approach adapting international formats to local audiences while ensuring both cultural relevance and your signature production quality?

When adapting formats for local markets, we have a guiding principle: "never be smarter than the local audience." Therefore, we always start by gathering knowledge and experience from across our group, then work through it with local professionals to shape the creative and production concept. That is exactly how we approached Come Dine with Me (Večera za 5), a format that is so special and dear to us. The show already had a history in Croatia, so our task was to reinvent it in a way that would resonate just as strongly as its legacy suggested. I believe the strong debut has validated that effort.


Following the management buyout from Viaplay, how has Paprika Studios' strategy evolved, particularly in terms of creative autonomy and international partnerships?

Once Paprika Studios became independent again, we launched a strategic planning process, bringing together the group's key people to reshape our direction. The focus was clear: build strategic partnerships and keep creativity in-house. Looking back two years on, I can say with pride that it has been a genuine success. The results speak for themselves, including our strategic partnership with ITV Studios, within which we are more committed than ever to bringing outstanding formats to life. The other key pillar was strengthening our creative team. As a result, most of our productions are now delivered under full Paprika-developed and -led creative management.


The CEE market has seen a surge in production, but also faces cost-cutting pressures globally. How does Paprika leverage its regional advantages while staying competitive for international clients?

The CEE region has always offered a strong combination of creative talent, technical expertise, and cost efficiency, and that remains true today. What has changed is that international clients are more discerning than ever. The key to creating a competitive team that international players will keep working with is maintaining the "holy triangle" of price, creativity, and trust. They want a partner whom, first and foremost, they trust to deliver; they want them to ensure high production quality while also offering the structural advantages of our region. Our presence across nine markets gives us genuine flexibility — the right location, the right local team, the right regulatory know-how. At the same time, our investment in talent means cost efficiency never comes at the expense of quality. We don't just execute briefs; we bring creative and production value to every project. That is what keeps international partners coming back.


Your company produces content in 17 languages for over 30 partners. Could you share highlights from Paprika's latest slate in different countries this year and how these projects reflect local tastes versus international trends?

Let me highlight a few examples across different genres. First, Hungary's first-ever true crime documentary series, The Ruthless One: The Story of Magda Marinko, which debuted last fall. We developed it entirely in-house and integrated AI-generated footage as the reenactment layer, in a way that was organic, seamless, and of the highest creative standard. Audiences and the industry alike took notice: we were awarded Best Infotainment Show of the Year at the BIG Picture Awards.

Another highlight is Pán Profesor (Mr. Professor), currently in its sixth season in Slovakia, with over 50 episodes produced in total over the years. The show began as a Hungarian production, and encouraged by its success, we proposed it to Slovak Markíza, who embraced it with confidence. Apart from Slovakia, Paprika has also brought the locally adapted version of this show to both the Czech Republic and Slovenia. It is a perfect example of how Paprika can transfer production know-how across borders and export the recipe for success.

Also from Paprika Slovakia, I would point out Vina (Guilt), produced for TV Markíza and aired earlier this year with great success. It was fascinating to see how a gripping narrative with the right local authenticity can stand out, bringing moral dilemmas to the screen with high production value.

Bringing Vina to life was an exercise in high-stakes storytelling, and we are grateful to TV Markíza for their visionary commission and for maintaining a culture of total creative trust that allowed us to push the boundaries of Slovakian drama together.

Finally, Most Wanted, which aired on RTL in Hungary last November. In terms of both content and technology, it was a completely fresh take on the reality genre and a brave and forward-looking decision by RTL Hungary. The show was the most successful reality production of the year, earning outstanding ratings, genuine buzz, and three industry awards. I firmly believe this kind of dynamic, social media-driven storytelling has a great future, not only in Hungary, but across the region.

In addition to those mentioned, there are over a dozen productions in development as we speak, and I cannot wait to share more in due course.


As you mentioned Paprika Studios' production of Hungary's first true-crime docuseries, The Ruthless One – The Magda Marinko Story, and its utilization of AI-driven illustration and reality reconstruction — do you plan to expand the use of AI in the content production process?

I believe AI integration must now be part of everyday operations. As the series showed, we are at the forefront of implementing this technology ethically, effectively, and progressively, and our goal is to keep leading in this space. That said, we must remain thoughtful. It is not only a question of ethics and legal compliance, but also of capability, which must be under constant scrutiny. I must admit that one of the most fascinating aspects of making that series was witnessing how dramatically the technology evolved from one day to the next, and I am sure that this experience provides us with unique knowledge and insight that will be a real asset in the productions ahead.


Poland has become a major hub for international streaming productions. What are your specific ambitions for your Polish office, and how do you see it shaping Paprika Studios' growth in the region? Do you believe that investing only in Polish originals is the right strategy for international streamers to succeed in CEE?

What makes Poland special is the mix of great creative talent, experienced crews, and solid production infrastructure. It allows us to combine local storytelling with internationally appealing quality.

Poland is an important market for us and will play a major role in Paprika Studios' growth, in addition to our unique pillars of understanding the different CEE markets, having an unparalleled footprint as a production house with experience in multiple genres across each of our markets, and having best-in-class production and creative professionals across the board.

Our goal is to strengthen our position as a reliable partner for international streamers, local broadcasters, and non-media partners that need progressive storytelling that stands out. This comes with a focus on creative development, international partnerships, and producing local originals with the potential to travel. The best results come from combining strong local stories with ideas that can work across different markets, and we plan to bring more of these stories to our partners across CEE and beyond.