Welcome to 'Lollywood': Why London is the new Hollywood

Almost as many films were shot in London as LA in 2025 — with big movie money pouring into the capital and a state-of-the-art studio system, Tinseltown is losing its blockbuster grip, reports Laura Martin

As Los Angeles fades from the movie-making spotlight like an ageing Hollywood star, is this now London’s time to shine? From the Golden Globes to the Critics’ Choice Awards, British films like Hamnet and TV shows like Adolescence and their stars have been sweeping the boards and this week’s Bafta nominations followed the Oscars with an impressive UK representation. Our talent has long been celebrated but the difference now is the sheer number of productions taking place here — and the buzz it’s creating. This week at the Sundance Film Festival in Utah, Charli xcx premiered her tour mockumentary film, The Moment, filmed at the height of Brat fever last year in London, and said, “It would have felt fake if [we’d filmed it] anywhere else.”

With the capital at the epicentre of this new British screen renaissance, Charli’s not the only one having a moment.

Big movie money is pouring into the capital — and Lollywood is well on its way to rivalling Hollywood as the home of film

According to the BFI Research and Statistics Unit, a total of £6.5 billion was spent on film and high-end television production in the UK from October 2024 to September 2025, while Film London says there was £10bn of inward investment in the London film industry over the past five years. On any given day, the organisation adds, there are approximately 27 film crews filming on location in the city; right now that includes films like Sam Mendes’ The Beatles — A Four-Film Cinematic Event and Avengers: Doomsday, and buzzy shows such as Lord of the Rings: The Rings of Power and Phoebe Waller-Bridge’s new Tomb Raider series.

An unrivalled studio system spreads out across the capital from Pinewood and Ealing to the new state-of-the-art complex Shinfield near Reading (used by Hollywood powerhouse Lucasfilm, which recently wrapped filming on Star Wars: Starfighter, starring Ryan Gosling); while the post-production houses in Soho have never been busier. According to industry data provider Luminate, the UK has now become the most popular place outside of America and Canada to make films; 71 live-action films and TV series were shot here last year.%

“After work ground to a halt during Covid,” says London-based costume designer Natalie Willis-Fox, “we’re now seeing lots of work on much bigger productions like the Wicked films [which filmed primarily in Sky Studios Elstree], which means job security and longevity for much bigger crews. There are new studios opening up all the time, while others are expanding, and have been block-booked by the streamers. People feel optimistic about entering the industry now.”

None of this has gone unnoticed on the other side of the pond. In May 2025, due to a “staggering” and “pronounced decline” in filming according to Luminate — which revealed just 83 films and TV series were made in LA in 2025, down 24 per cent on 2024 — The Hollywood Reporter claimed London had become “the new Hollywood”.

London has long been considered the best in the world for the crews. The camera crews here in particular are just amazing

Film-maker Price James

“London definitely has star power, but in a different way to Hollywood,” says film-maker Price James, who directed You Cannot Kill David Arquette, and who currently splits his time between LA and London. “London has long been considered the best in the world for the crews. The camera crews here in particular are just amazing, and VFX too; and it’s that dedicated craft and skill, alongside some world-class studios like Pinewood and Shepperton, that meant directors from Stanley Kubrick to James Cameron have always chosen to film here.”

But while there’s that heritage, the difference now is the sense of it being at the bleeding edge of what’s exciting, driven of course by the boom in TV streamers. In 2024, the BFI Research and Statistics Unit revealed that 65 per cent of UK production spend came from the five major US film studios — and three US streaming giants: Netflix, Apple and Amazon.

Why London is the new Hollywood - Ped Millichamp/Jarrod Doyle

Amazon Prime Video has not been timid in its expansion since its launch in the UK in 2014, and has bought Bray Studios along with a long-term lease on studios in Shepperton — and after its acquisition of MGM in 2021, it now holds all the creative control of the James Bond franchise, one of the UK’s biggest heritage titles. Meanwhile, a Netflix spokesperson recently told Variety: “Netflix is a significant contributor to the UK economy — investing $6bn over the last four years… We’re committed for the long term and invest more here than any other country except the US.” Disney+ and Apple also have reportedly invested heavily in studios, staff and operations in the UK.

Cult favourite studio A24 has increased its presence in London, from adding executives from the BBC to its teams; to taking over cultural landmarks in the capital, like last year’s A24/7 week-long event at the Prince Charles Cinema. It’s no coincidence that Charli xcx worked with the studio on the aforementioned The Moment.

Quite simply, London feels like the centre of the cultural universe, particularly given the atmosphere in America under Donald Trump at the moment. And it means there’s been an exodus of A-listers leaving LA — and America in general — for life in London. “There’s been a massive uptick in people moving from the US and specifically California,” says Daniel Daggers, a luxury real estate advisor and founder and CEO of DDRE Global, “particularly people in entertainment, whether that be singers, actors, actresses or big influencers.”

Alfred Hitchcock shooting Frenzy in Covent Garden - Getty Images

The past few years have seen moves from Hollywood icons like Star Wars creator George Lucas (who bought a £40m mansion in St John’s Wood) and Ryan Reynolds and Blake Lively (who purchased a £4m home in south-west London), as well as Girls creator Lena Dunham, who wrote a love letter to the city with her 2025 Netflix series Too Much; filmed in Hoxton and Nunhead. Spider-Man star Zendaya, who splits her time between the US and Richmond with fiancé Tom Holland, explained the appeal: “When I go to the UK, I don’t feel like a visitor any more. I understand British slang, I get the culture, and I know a ‘nice cup of tea’ makes everything right. It really feels like coming home, and I love the people.”

American producer of The Moment, David Hinojosa, told Screen Daily at Sundance last week: “I love shooting in the UK. I’m literally trying to rewrite movies so we can do it there. It’s a culture that appreciates film. And it knows how to support the industry.”

However, despite Hollywood’s apparent decline, its influence still has a stronghold on the industry. “The budgets are inherently less in London,” explains James, who is currently pitching a London-based indie sleaze comedy TV series. “Movies tend to be executed here, but the money and the business is still all done in Hollywood.”

The tax breaks that the UK offers the US film industry are among some of the most attractive in the world. The net value of the tax relief can be up to 39.75 per cent.

At first glance, this is great for the UK, but has led to a “tension” within the industry, explains Screen International deputy editor, Louise Tutt: “The inward investment sector of the UK that essentially services the US industry and the homegrown independent creative sector is struggling, after years of these high-spending productions coming in and pushing up the cost of crew, actors and sound stages.” In other words, while more money is coming in from Hollywood, it raises costs across the industry for original British films and TV, whose budgets are unable to compete with those of LA.

This has a knock-on effect on London’s film and TV crews, where rates can still fluctuate greatly. Set decorator Prue Howard, who worked on Yorgos Lanthimos’s recently Oscar-nominated Bugonia (filmed in a forest house in Henley), says she is “cautious” about the state of the industry: “I would say work in London’s film industry is still unpredictable. Our rates haven’t gone up — they plateaued about three years ago, and I’ve found that rather than everyone working together [on honouring a standard rate for production teams], it can feel like it’s slightly separate islands.”

Emma Stone stars in Bugonia - Atsushi Nishijima/Focus Features

She adds: “Also what with the Netflix and Warner Bros deal [Netflix has agreed to acquire Warner Bros studios in a reported $82.7bn deal] and the merger of Paramount Global and Skydance Media; that’s going to affect things. It’s a precarious time and we’re all waiting to see what will happen.”

As a century-old engine of deal-making and star-breaking, Hollywood obviously still wields undeniable cachet and power — even if the production work is being outsourced. But with this current ecosystem being unsustainable, perhaps the UK needs to look to France or South Korea’s film world, where there’s a two-tier system for productions; one is for inward investment; and the other is for domestic productions, which are given lower costs and better tax breaks. Additionally, the Government could look into adding a levy on huge Hollywood studio investments — as in France — which could then be used on everything from domestic development funds or traineeships to childcare support for parents in the industry.

With the barnstorming recent success of Adolescence, and before it, Richard Gadd’s Baby Reindeer or Michaela Coel’s I May Destroy You, it’s proof that when the UK’s TV and film system works in conjunction with Britain’s brightest and best talents, a new, golden era for London’s screen world could be on the horizon.

Hollywood’s end credits aren’t rolling yet, but all eyes are tuned in to London to see what happens next.

Source: Why London is the new Hollywood | The Standard

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Code of Silence: Gaining Insight into the Challenges of Deaf and Hard of Hearing Professionals on Set.

Source: Kevin Williamson (1 AC, A camera), Joe Shrubb (Producer)

Working on Code of Silence gave our camera team a new perspective on the unique challenges faced by deaf and hard-of-hearing professionals within the film and television industry. More than just a technical production, this project became a journey of understanding, adaptation, and growth, as we strived to not only highlight these challenges but actively make the set more accessible and inclusive.

Before we began filming, our team participated in a day of deaf awareness training.

Rose Ayling-Ellis & Kieron Moore

This session was incredibly insightful, laying the foundation for how to approach and communicate with deaf and hard-of-hearing individuals on set. We learned the basics of sign language, as well as important dos and don’ts when interacting with people from the deaf community. It wasn’t just about learning the language—it was about understanding the culture, nuances, and etiquette surrounding deafness, which are crucial when trying to create an inclusive environment.

The training helped us become more mindful of the challenges that deaf professionals face on a day-to-day basis, and more importantly, it allowed us to communicate with those around us in a respectful and effective way. In a fast-paced, high-pressure set environment, where much of the communication relies on verbal cues, having a solid understanding of sign language and deaf culture was indispensable. It made the entire process smoother and ensured that everyone, regardless of their hearing ability, could work cohesively.

One key individual who made the experience so impactful was Rose, our lead on the project. She worked tirelessly to make sure that every member of the crew was onboard with the inclusion efforts. Her leadership in fostering a culture of accessibility and respect was evident throughout production.

To keep the atmosphere light and engaging while also facilitating learning, Rose introduced a "sign of the day" for the crew. This fun daily practice not only helped us expand our sign language knowledge but also created a sense of camaraderie and inclusivity on set. Each day, we would learn signs related to our specific work—whether it was related to equipment, action cues, or set-specific terminology—which helped integrate everyone into the environment, regardless of their hearing abilities.

Sam E Riley (GBCT), 1st AC, B camera

The energy on set was palpable. Sign language, being such a visual and expressive form of communication, brought a unique dynamism to the space. The physicality of the language added an extra layer of vibrancy, and this reflected in the overall atmosphere. Everyone, from the crew to the interpreters, was motivated and enthusiastic, making the challenging

nature of the project feel like a shared, collective experience

The set itself was a busy place—often cramped, with not only the crew working in tight spaces but also interpreters needing to be on the floor to ensure clear communication. It could get pretty tight in certain moments, but the understanding and respect for the need to accommodate everyone created a sense of unity and patience.

While it was a bit of a logistical challenge, everyone made the necessary adjustments to

Sammy Johnson (GBCT), 1st AC (Dallies)

ensure that both the deaf and hearing members of the crew could work together without issue. The awareness of each other’s space and role on set helped create a positive, supportive environment where everyone could contribute to the project’s success.

One of the most unique aspects of the production was the number of scenes that were completely silent, adding another layer of complexity to the technical aspects of filming. In these moments, pulling focus on dialogue—usually a core part of cinematography—was impossible without the presence of an interpreter. For example, the director would rely on the interpreter to ensure that the performers were saying the right things at the right times, and that the pacing of the scene was maintained.

This reliance on interpreters in silent scenes was essential, and without them, capturing the correct performance would have been a difficult task. The interpreter’s role extended beyond simply translating spoken language; they became integral to the overall rhythm and flow of the scene, ensuring that the technical aspects like timing and emotional delivery matched the director’s vision.

The script supervisor also worked closely with an interpreter, who helped them follow the dialogue and ensure that everything was being said in the right places. This was particularly important for keeping continuity and maintaining the integrity of the story, especially in scenes where precise timing was critical.

Perhaps one of the most beautiful aspects of working on Code of Silence was witnessing the interactions between the directors and actors. With sign language as the medium, the conversations felt more considered, more deliberate. The absence of quick verbal exchanges allowed for a deeper, more thoughtful connection between the director and the actors. It was clear that every gesture, every sign, carried weight and meaning.

The careful and considered way in which actors communicated with each other and their directors created a deeper sense of authenticity. Watching these interactions unfold on set, it was easy to see how much effort and care went into making sure the performances felt real and true to the experience of the characters.

All of these elements—deaf awareness training, Rose’s leadership, the experience of working with interpreters, learning some sign language, and communicating with our deaf trainee— transformed what could have been a challenging set into a truly rewarding experience. While we did face hurdles, such as adjusting to different interpreters and figuring out the best ways to communicate without disturbing the flow of production, the overall sense of inclusivity and collaboration made it all worth it.

There’s something incredibly fulfilling about knowing that your work is actively helping to create a more accessible environment for everyone involved. For those of us on the camera team, this project wasn’t just about capturing a story; it was about making sure that every voice on set could be heard, regardless of whether it was spoken or signed. The project pushed us to think outside of our usual technical roles and to see the bigger picture of representation and accessibility.

David Barrett (GBCT Trainee)

While Code of Silence may have been just one project, it has left a lasting impact on those involved. The experience has sparked important conversations about how to continue proving the accessibility and inclusivity of the film and television industry, and how to make the set environment more welcoming for everyone, regardless of ability.

Looking forward, it’s clear that there’s still work to be done—but the lessons we learned on this project have equipped us with the tools and understanding to continue fostering a more inclusive industry. Having the chance to learn some sign language, engage with deaf professionals, and contribute to the creation of a more inclusive workplace has been

both challenging and rewarding.