On a sunny afternoon in May in Surrey, Richard St. Clair is meticulously crafting a bomb prop. It’s not a real bomb, but it captures the essence of what viewers might see in a Netflix show. In the background, colleagues are cheerfully arranging skeletons for a new take on the zombie trilogy “28 years later.” The trailer hints at a plethora of skeletons involved.
They’re part of DB Props, a small company located at Shepperton Studios. The team specializes in creating props out of foam, wood, and other materials for various films and shows—everything from weapons for “Aliman” to Thor’s hammers and replicas of Alan Turing’s computers in video games.
However, a shadow looms over the workshop, cast by none other than Donald Trump. Recently, the U.S. president dropped a bombshell announcement that he would impose 100% tariffs on films “made in foreign lands.” He declared on social media, “We want films made in America again!”
“This new Trump—whatever it is—frightens me,” reflects Dean Brooks, the owner of DB Props, who has been in the props industry for 45 years, starting at age 16. “It feels like a proper kick in the teeth.”
The UK film and video production sector employs about 99,000 people and plays a significant role in the international cinematic landscape. Hollywood has a substantial reliance on the UK for major films and high-profile TV series like the latest “Star Wars” series and Tom Cruise’s “Mission Impossible.” In fact, British films attracted £4.8 billion in foreign investments and co-production funds in 2024, making up 86% of the total, as reported by the British Film Institute.
Many industry leaders believe that Trump’s comments have created a “market trauma” that render investments in the UK industry “impossible.” One source suggests, “We should knock on the door at number 10. The UK government needs to do something to revitalize the market.”
Shepperton Studios is tied to Pinewood Studios in Buckinghamshire, the UK’s most famous production hub, which includes other facilities across southeastern England. Places like Sinfield in Berkshire, Elstry in Hertfordshire, and even hangars for old planes in Cardington, Bedfordshire, contribute to the regional film infrastructure. Cardiff, Bristol, Belfast, and Scotland also have considerable spaces, with new projects underway in Tyne and Wear, Buckinghamshire, and a revival of historic Ealing Studios in West London.
“Many believe uncertainty breeds cold effects,” suggests John Wardle, director of the National Film and Television School in Buckinghamshire. Historically, the UK has offered tax relief to filmmakers, making it a predictable option for U.S. producers. Now, however, Trump seems to be questioning that framework.
U.S. studios can benefit from a 25.5% tax rebate on their UK production costs, but there are no similar federal subsidies in the U.S. The UK enjoys the advantage of shared languages and cultures, although labor costs in Hollywood are steep due to strong unions. While the unions welcomed the idea of work returning to California, Wardle speculates that tariffs could shrink the entire market, ultimately backfiring.
“Over the last decade, the UK has been gaining ground in terms of production,” one executive remarks. While Trump’s concerns about competitiveness may hold some truth, the remedies he’s proposing are “terrifyingly misguided.”
Shepperton remains a hub for Netflix Productions, yet the industry at large is experiencing difficulties. The “Streaming War” had fueled immense work, with Netflix expanding rapidly while borrowing costs remained low. But now, that boom seems to have ended, with rising interest rates, ongoing strikes for Hollywood writers, and a general downturn in the economy.
“It’s been really tough,” Brooks comments. “We just can’t weather any more storms.”
In his workshop, Brooks has areas designated for creating complex shapes, with shelves overflowing with various objects that he repurposes for film props—including bomb fuses and Gothic door handles for the latest “Snow White” film. But the reality is sobering: he now has only three people working in the shop, down from twelve just three years ago. Some freelancers have even decided to switch careers entirely, retraining as plumbers or carpenters.
“We’re all creative at heart and we love what we do,” he says, “but the environment doesn’t support that anymore.”
The government is keen on developing a local film industry, reminiscent of the 1927 mandates requiring Americans to create a certain number of films in the UK. Back then, studios were built in places like Elstry, Teddington, and Wembley, but a poorly planned system led to the infamous “Quota Quick.” Still, the UK prospered, emerging as a world leader in film.
Today, however, the UK faces stiff competition from governments across the globe eager to attract film and television production. Many countries are offering substantial tax cuts to lure producers, from Hungary and the Czech Republic to Australia’s Gold Coast and New Zealand. The new tariffs could further complicate the situation.
There’s confusion surrounding how the proposed tariffs would work in practice. Determining which films qualify as American productions—and figuring out who exactly bears the tax burden—is a murky issue.
“It all seems pretty unworkable given how intertwined the global film industry is,” comments veteran producer Mike Downey. “This is not a detail that’s carefully considered. Aside from very blunt instruments, it’s almost impossible to regulate.”
However, Downey believes any movement from the U.S. could cause an initial slowdown in production as everyone scrambles to understand the implications, possibly reversing the trend of U.S.-focused shows being produced abroad.
“In a worst-case scenario, it could lead to a complete wipeout,” he warns. “No one can envision a world without our industry, so we can’t afford to just sit tight. The golden geese are getting ready to fly away.”
