The increasing presence of Hollywood and major television productions in Scotland, particularly in Glasgow and Edinburgh, is generating both economic benefits and significant local frustration. While the influx of global film crews brings investment, it also leads to substantial disruption for residents and businesses, raising questions about the true cost of Tinseltown's affection for the country.
Glasgow has become a versatile stand-in for numerous international cities, having hosted productions like "World War Z," "Batgirl," and "Spider-Man." Similarly, Edinburgh has undergone various transformations for shows such as "The Buccaneers" and "Rebus." The city's ability to portray different eras and locations makes it a frequent choice for location managers.
James McAvoy recently returned to his native Glasgow to film "Meantime," a Sky crime drama based on a novel by Frankie Boyle. This production, like many others, has led to extensive street closures and restrictions across the city. "The Buccaneers," an Apple TV+ series starring Christina Hendricks, has also been filming in Glasgow, with productions often requiring Victorian-era makeovers of city streets. In Edinburgh, filming for the Netflix series "Dept Q" and the BBC's "Rebus" is underway, further contributing to the city's busy production schedule.
Despite the apparent success and the allure of celebrity sightings, some local businesses report significant financial losses due to filming activities. A Glasgow business owner cited in a city council survey claimed a loss of over £10,000 during filming outside their premises, with another reporting a 70-80% drop in trade. Robert Chambers, owner of Social Recluse in Glasgow's Trongate, stated his business lost thousands of pounds over several weeks while "Batgirl" was shooting nearby, receiving only £1,000 in compensation. Piccolo Mondo, an Argyle Street restaurant, estimated a 20-30% downturn in business during "Spider-Man's" month-long shoot.
Concerns have been voiced by local officials as well. Glasgow councillor Robert Mooney questioned the economic return on investment from these productions and the timing of widespread city closures amidst other ongoing public works. Nightclub owner Donald MacLeod expressed worries about the cumulative disruption from filming, roadworks, and low emission zones, arguing that the drop in footfall negatively impacts city center vitality.
Beyond economic impacts, conservation groups are questioning the cultural cost. Rowan Brown, director of the Cockburn Association in Edinburgh, laments that productions often use Scotland as a backdrop for other locales, rather than celebrating Scottish stories and environments. She notes that Edinburgh, perhaps due to its experience with events like the Festival, seems more accustomed to the disruptions, making inconvenience a daily norm in some areas.
City councils maintain that the economic benefits to the wider city economy are substantial. Glasgow Film Office estimates that in 2024, productions boosted the city's economy by £33 million, citing spending on accommodation, catering, transport, and local logistics. However, the cost-covering approach for street closures and property use, with minimal direct revenue for councils, suggests that Scotland's appeal for productions is partly driven by its affordability compared to other major filming locations. The Film Charter in Edinburgh, for instance, indicates that fees for property and services are charged within UK market norms for film work, with production companies expected to manage arrangements with private property owners directly.