The most expensive thing on any set is surprise.

We’ve made it our business to eliminate it before you call action.

The film and television industry is still producing like it’s 2005. Bloated prep, democratic sets, deals made from ignorance rather than knowledge. Everyone calls it the way things are done. We call it a choice.
Porcupine Films is built around a different set of choices.
We plan obsessively before we shoot. Every frame considered, every deal negotiated from a position of knowledge, every decision point surfaced early — because surprises on set aren’t creative, they’re expensive. Fewer unknown unknowns means better vendor deals, leaner builds, and almost nothing constructed outside the frame.
Fewer decision makers. Faster decisions. Better results.

THE PROOF

A recent directorial debut short came to us with an $800,000 budget. We produced it for $350,000. Same footage. Higher control. No corners cut — corners were never built.

THE CREW

After years on set, we’ve identified the three pillars of crew morale. Timely payments. Dignified toilets. Catering worth eating. These are the crew’s only interface with the client. We treat them accordingly — and crews who feel that tend to survive the apocalypse together.

THE NETWORK

We’re based in Hungary. We operate where the work takes you. Poland, Serbia, and Saudi Arabia aren’t flags on a map — they’re institutional relationships built over years. When your project needs a location, a co-producer, or a financing structure we can’t service from Budapest, we already know who to call. And they pick up.

THE TOOLS

Production is an information problem. The more you know before day one, the less you spend on days two through forty. We use contemporary production tools — AI-assisted where they create genuine efficiency, human where they don’t — to surface that information earlier, control costs in real time, and keep your data exactly where it belongs.

We didn’t build Porcupine Films to win awards for our process.

We built it because the industry needed someone willing to be honest about the numbers.

We are honest about the numbers.

Who we are?

Meet the team

Zsolt Fábián

Line Producer

Zsolt is a film director who has spent fifteen years making sure other directors’ films actually get made — as APM, PM, and Line Producer. He reads a script the way a director does and budgets it the way a producer must. The combination is rarer than it sounds and more useful than it looks.

He drives large cars. This is either a personality trait or a logistics preference. Parking should be everyone else’s problem when he’s found the spot(s).

Áron Nagybaczoni

Head of Partnerships

Nagybaczoni. Yes, it’s a lineage, and it tells you more about the family’s decision-making framework than any LinkedIn summary could.

By training, Áron is an agricultural engineer and a mental hygiene expert — meaning he understands both systems and the people who break them. He also plays piano and sings, which clients either find charming or professionally irrelevant. Nobody has complained yet.

Ernest Faisztl

Writer Producer · Founder

Ernest has been playing piano since the age of five, which either explains his approach to production or is entirely unrelated. He has performed on stages in dinner suits, steel cap boots, and most things in between — sometimes in the same week. Before film, he worked for the Hungarian Ministry of Foreign Affairs on a UN Summit, which taught him that bureaucracy is just logistics with a dress code.

At four, he nearly blew himself up with a shotgun his six-year-old cousin built from scraps. He has been managing other people’s risk assessments ever since.

Work with us
The game is rigged. Might as well be in your favour.
Leave the BS behind
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1972 Avenue, Location, CO
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