How the UK took on Hollywood (and why Trump wants it back)
With expanding film studios and enviable creative talent, the UK is forging a new era of Hollywood. It’s no surprise Trump wants it back, writes Charles Heales
For years, Los Angeles has loomed large as the unchallenged epicentre of global filmmaking. The Hollywood sign has stood as a symbol of cinematic aspiration and success, attracting talent and investment from across the globe. But today, as LA contends with the fallout from strikes, wildfires and now plans for sweeping new tariffs on international film production, the global map of filmmaking is being redrawn, and the UK is rising with a creative force.
While headlines swirl about the potential impact of President Trump’s proposed 100 per cent tariff on films “produced in foreign lands”, a move no doubt intended to bring production back to American soil, the UK’s own success story offers a powerful counterpoint. It’s a reminder that the UK and US have never been in opposition when it comes to filmmaking, but that they share a creative partnership fuelled by decades of cinematic success.
From recent Netflix hits Adolescence and Black Mirror to the box office giants such as Barbie and The Running Man, all filmed largely in the UK, Britain has quickly cemented its status as a global production powerhouse. While its rich cultural backdrops and homegrown talent remain major draws, it is the UK’s forward-thinking approach, with expanding studio infrastructure, nimble production models and pioneering use of new technologies, that is placing us front and centre in a new era of filmmaking.
Taking on Hollywood
At its core, Hollywood’s appeal has always rested on scale and access: vast backlots, deep-pocketed studios and low land prices. However, the UK has quickly built a competitive offering of its own. London’s strategic positioning within Europe and its strong transport links to global markets enhance its appeal, while its unique blend of historical and modern architecture provides filmmakers with an extensive canvas for storytelling, whether period dramas or futuristic thrillers.
Alongside this, the UK’s creative talent is second to none. More than 2.4m people work in the UK’s creative industries, which contribute £126bn to the national economy each year. The country is home to Oscar-winning cinematographers, sought-after screenwriters and a diverse pool of on-screen talent.
Crucially, this talent is being matched with scaling infrastructure. The recent expansion of Pinewood Studios – host to hits including James Bond, Star Wars and Mamma Mia – contributed over 1m square feet of production space, a multibillion-pound investment that signalled to the world that Britain was in serious growth mode. And with spending on film and TV rising by 31 per cent since 2023, the demand for supporting infrastructure is only growing.
According to a Knight Frank report, the UK’s media industry will require millions of additional square feet of studio space by 2028. As the sector grapples with this challenge, companies in the film and media industry are establishing themselves in spaces outside of the crowded centre of London, finding more generous infrastructure in creative corners like East London.
Why filmmakers are drawn to the UK
Not only do these regions offer larger, more flexible spaces, but they also foster critical cross-sector collaboration. Where we are based, on the Here East campus on the Olympic Park, for example, tech start-ups and film students rub shoulders with cultural institutions and gaming studios, shaping London into a hotspot for the exchange of creative, boundary-breaking ideas.
Much of this momentum is underpinned by the UK’s tax incentives, which remain among the most competitive globally. Schemes return up to 25 per cent of qualifying expenditure, making the UK one of the most cost-effective locations to shoot high-quality productions. The UK government has also announced a new Independent Film Tax Credit, which took effect last month and will provide a significant boost for low-budget British productions – making it easier for independent filmmakers to secure funding. These incentives have helped fuel both homegrown projects and attracted major international titles, offering producers the flexibility to push creative boundaries without compromising on scale.
The old model – big studio, big budget, long timelines – is giving way to a more democratised and experimental way, and the UK is leading this wave. If infrastructure and agility form the foundation, technology is the engine driving the UK’s creative surge.
Across the country, and especially in London’s boundary-pushing creative corners, we are seeing first-hand how emerging tools are unlocking new creative possibilities.
Virtual production and LED volume stages are changing how and where stories are told. Directors can now film ocean sunsets or alien landscapes without leaving a studio in East London, using real-time digital backdrops that respond to camera movement. This not only cuts travel costs and carbon footprints, but also gives creatives control over every aspect of a scene.
These innovations aren’t just incremental improvements, they’re rewriting how stories are made, and who gets to tell them.
Ultimately, while the film industry grapples with the US’ move to re-localise the industry, what’s at risk is the international partnership that has fuelled its success. The UK’s film sector doesn’t detract from Hollywood, it expands its creative frontier. The future of filmmaking is a model where creativity isn’t siloed, but shared.
Hollywood’s legacy is undeniable, but it no longer has a monopoly on ambition, scale or innovation.
Charles Heales is co-founder and creative director of Hawk London