Every major production company now has offices or a hub outside of London—Manchester, Leeds, Cardiff, Belfast—but nearly all of them still retain a London presence. TV production seems to have moved regionally, but the same can’t yet be said for the film world. Why is that?
Is it simply that short-contract crew are predominantly London-based? Or is it the persistent issue of line producers saying there’s no budget for accommodation? Does the divide stem from how film and television productions are funded, staffed, and distributed?
Despite the hype around regional growth, many producers still default to London. But with so many new studio spaces opening outside the capital, and with funding bodies pushing for regional development, who’s really using these facilities? And is meaningful regional production growth actually happening?
London remains the gravitational centre of UK film and TV, and for good reason: post houses, casting directors, agents, financiers, equipment houses, and experienced crew are all based there. It’s not that these things couldn’t exist elsewhere, but when money is tight and timelines are compressed, people stick with what they know.
The key word is established. When budgets are tight and there’s no room for mistakes, people lean on the familiar. Many producers will tell you it’s not just
about quality; London’s infrastructure offers predictability. That’s hard to replicate, especially in an industry where a few days’ delay can derail an entire schedule.
But this reliance on the capital comes at a cost. London is expensive. Locations, labour, and logistics all command a premium. Could cheaper be better? Could taking a chance on a lesser-known hub be the smart move? There’s untapped potential, but the fear of the unknown holds many back.
Channel 4’s move to Leeds was more than a change of address, it was symbolic and helped catalyse further investment in the region. Their presence brought visibility to Yorkshire and encouraged others to follow.
The list of regional hubs is growing: Versa Studios (Leeds), The Depot (Manchester), Wolf Studios (Cardiff), Titanic (Belfast), and established players like The Bottle Yard (Bristol). Alongside this, regional agencies like Screen Yorkshire, Creative Wales, and Screen Scotland are offering meaningful support through funding and development schemes.
I was recently asked, “What’s the secret to making a show for less?” My first instinct was to say, “Shoot abroad with foreign crew.” But I’d forgotten that we often pay a premium just for being in London. Outside the capital, there are lower overheads, access to regional funding, and emerging crew bases. There’s
untapped value right on our doorstep.
Recurring television shows have led the charge. Productions like Happy Valley in Yorkshire, His Dark Materials in Cardiff, and Derry Girls in Northern Ireland have proven that regional production isn’t just possible—it’s successful. These productions have helped build local crew bases and inspired new training initiatives.
Post-production capacity is also growing in cities like Bristol and Glasgow, and industry-wide efforts like ScreenSkills’ regional training programmes are helping to bridge skills gaps. While the bulk of film work may still default to London, the TV sector is showing that regional models can be both sustainable and cost-effective.
Several barriers remain. Crew bases are still largely centralised in London, particularly for short-contract work. Budget limitations frequently lead to decisions that favour capital-based logistics, overnight costs and travel are easy lines to cut.
Beyond costs, there’s the issue of perception. Is there really a lack of infrastructure? In places like Bristol, Manchester, and Cardiff, the resources are growing: prop houses, costume departments, equipment hire, and post-production services. The gaps are narrowing, but the industry’s perception hasn’t caught up yet.
Cost pressures, regional incentives, and a growing desire for decentralisation could gradually shift the balance.
If regional crew bases continue to expand, and if those regions are given consistent, long-term work, momentum will build. Remote post-production, regional co-productions, and place-based hiring incentives could all help push the industry beyond the capital.
But government support must keep pace. It’s not just about building studios; it’s about building ecosystems.
This isn’t about pitting regions against London. It’s about strengthening the entire UK industry by making better use of what we already have. Regional production hubs are growing, but until we break the habit of defaulting to London, they’ll remain underused—an opportunity missed rather than seized.
We don’t need to abandon the capital, but we do need to rebalance. If the goal is a thriving, sustainable UK industry, then giving the regions a real shot at consistent, long-form work is a necessary part of the equation.
ScreenSkills: Building regional production skills
https://www.screenskills.com/news/features/how-we-are-helping-to-grow-skills-in-the-regions/
BBC News: Channel 4’s move to Leeds
https://www.bbc.co.uk/news/entertainment-arts-46046213
Screen Yorkshire: Regional funding and development
https://www.screenyorkshire.co.uk/
Creative Wales: Film and TV support
https://www.creative.wales/
Screen Scotland: Funding and infrastructure
https://www.screen.scot/
Versa Studios: Leeds
https://www.versastudios.com/
Wolf Studios Wales: Cardiff
https://wolfstudioswales.com/
Titanic Studios: Belfast
https://www.titanicstudios.com/
The Bottle Yard Studios: Bristol
https://www.thebottleyard.com/
The Depot: Manchester
https://www.space-studios.co.uk/the-depot/
BFI Insight: Economic Review of UK Screen Sectors
https://www.bfi.org.uk/industry-data-insights/reports/uk-screen-sector-economic-insight
Televisual: UK Studios Report
https://www.televisual.com/news/uk-tv-studios-report-2023/
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