Birmingham is rapidly emerging as a “world class” centre for television and film production, thanks to the persistent efforts of Peaky Blinders creator and James Bond screenwriter Steven Knight. Speaking before MPs, Knight outlined his vision for Digbeth to become the nucleus of a citywide creative and filming hub that attracts top-tier global talent.
Knight candidly shared the “ten years of struggle” it took to establish Digbeth Loc Studios on Montague Street, driven by his frustration that early episodes of Peaky Blinders were filmed outside his hometown, in cities like Manchester and Leeds. “I naively thought it would be quite simple to set up a studio in Birmingham. Well, 10 years later, we are pretty much there,” he said.
His goal extends beyond producing acclaimed film and television content; Knight is committed to creating local training and job opportunities, emphasizing the practical benefits of employing a local workforce. He envisions the studios not as isolated compounds, but as integrated parts of the community — with public screening spaces and a porous design that invites local engagement.
The revitalized studio complex sits within a cluster of restored Victorian warehouses in Digbeth, an area once derelict but rich in historic architecture. Among these is the Banana Warehouse, formerly a storage site for canal traffic bananas, now transformed into a vibrant production space hosting shows like MasterChef, which produces about 65 hours of television annually in the location.
The precinct has become a creative hotspot, with successful projects including the Peaky Blinders movie “The Immortal Man,” new series installments, and current productions like Silent Witness. Knight praised the critical support of the BBC, whose early backing of Peaky Blinders and subsequent regional investment signalled a long-term commitment and helped attract related industries such as post-production, catering, and security to the area.
The presence of the BBC’s regional headquarters nearby further legitimizes Birmingham’s growing reputation in the sector. Knight also highlighted the combined authority’s support, lauding initiatives like a dedicated screen body that streamlines production logistics and the cooperation of local government in facilitating shoots.
Knight is pushing for enhanced government incentives, specifically calling for regional tax breaks tailored to the West Midlands to compete with other UK regions. Such measures, he argues, would attract more international productions to Birmingham and help correct the current imbalance, where the West Midlands contributes nearly a billion pounds annually in license fees but receives relatively low local investment.
Beyond economic considerations, Knight underscored the cultural impact of productions like Peaky Blinders, which shape global perceptions of the UK. He believes there’s untapped potential to capitalise on the show’s worldwide popularity to boost tourism and local industry.
In closing, Knight emphasized that Birmingham’s transformation is not about erasing its industrial past but building on it: turning once-neglected spaces into valuable assets that reflect the city’s creativity and ambition. With continued support, he sees Digbeth and the wider West Midlands as poised to become a flagship destination for cutting-edge film and television production.