Ireland’s Rise As A Global Film And TV Production Hub, From Hollywood To House Of Guinness

When Netflix confirmed House of Guinness, a high-end drama from Steven Knight, it did more than announce another international series. It signalled how far Ireland has moved away from the margins of global film and television. In 2024, production spending in Ireland climbed to an estimated €430 million, a jump of more than 30 per cent in a single year, driven by Hollywood studios and streaming platforms committing serious budgets.

Why Ireland Suddenly Matters More

The global screen industry is still adjusting to the streaming era. Platforms need series that travel well, can be produced efficiently, and offer distinctive settings, and Ireland fits that brief. It offers English-speaking crews, experienced production teams, and locations that can stand in for multiple periods and regions.

Crucially, Ireland also offers stability. Producers who are planning multi-year projects need certainty regarding tax policy, financing rules, and labour availability. Ireland’s approach has become predictable in the best possible way. Decisions can be made quickly, and budgets can be locked with confidence.

Talent has followed. Many Irish crew members who once had to leave for long-term work are now finding consistent opportunities at home. This shift has quietly strengthened the entire ecosystem.

Incentives That Make Sense On Paper

At the centre of Ireland’s appeal is Section 481, the country’s flagship film and television tax incentive. Recent changes have made it even more competitive. The scheme has been extended until the end of 2028, and the qualifying expenditure cap has risen to €125 million per project.

For international studios, this makes a big difference. These decisions are often made in finance departments, not writers’ rooms. Ireland now compares favourably with the UK and other European production hubs when spreadsheets are opened.

There has also been movement beyond scripted drama. Ireland has introduced targeted incentives aimed at attracting large-scale unscripted and reality productions. This signals an ambition to diversify, rather than relying solely on prestige drama and film.

In a market where margins are tighter, friction matters. Ireland has reduced it.

The Studio Space Problem

Demand, however, has outpaced infrastructure. For years, Ireland’s biggest weakness was not talent or policy, but space. Major productions struggled to secure sound stages at the right time. Some left, while others never came.

The situation is now changing. At the end of 2024, Dublin Fields received planning approval. When completed, it will include 11 sound stages across six buildings and is expected to support up to 2,000 jobs, both directly and indirectly.

This development is significant, signalling a move from short-term fixes to long-term capacity. It also reflects a broader trend. Ireland is no longer improvising to meet demand; it is planning for it.

Nevertheless, construction takes time. Until these facilities are fully operational, the competition for stages will remain intense.

What House Of Guinness Really Shows

House of Guinness is a useful case study, but the reasons may not be immediately obvious. Despite its Irish subject matter, the series was filmed primarily in England and Wales. Period Dublin, it turns out, is difficult to recreate without extensive backlot infrastructure.

This highlights a tension in Ireland’s current position. The country is winning creative trust. International studios are choosing Irish stories, Irish history, and Irish settings. Yet parts of the production process still travel elsewhere.

This distance between where something is rooted and how it is delivered is not limited to television. It also appears across other parts of Ireland’s digital economy. LeoVegas casino in Ireland operates under an Irish licence and offers a broad range of slot titles, live casino tables, and sports markets supplied by established providers. In each case, the connection to Ireland is defined by regulation and audience, not by where every part of the product is created.

Looking Beyond Dublin

Another shift is happening quietly. Screen Ireland has placed a growing emphasis on regional production. The aim is to spread investment, retain local crews, and reduce pressure on Dublin-based facilities.

Studios such as Troy Studios in Limerick have already played a role in this transition. Regional locations are no longer serving as backups. Instead, they are becoming first choices for long-running series and returning productions.

This matters for sustainability. A production hub cannot rely on one city alone. Regional growth makes the industry more resilient, not to mention more Irish.

Pressures That Remain

None of this means Ireland’s rise is guaranteed, however. Studio shortages will persist in the short term, and international competition remains fierce. Countries across Europe are expanding incentives and facilities at speed.

There is also a skills challenge. The demand for experienced department heads and specialist crews continues to rise. Training and retention will shape the next phase of growth as much as tax policy.

Cost pressures cannot be ignored, either. Accommodation, transport, and overtime all influence budgets, and Ireland must manage these realities carefully.

The Next Chapter

The next 18 months will be decisive. If new studios move from approval to operation, Ireland’s position will be cemented and the country can expect to shift from an attractive option to an essential one.

House of Guinness captures this moment well. Even when production travels, the creative centre is increasingly Irish. It is now imperative to make the most of this opportunity and ensure that more of the work, jobs, and value stay here.

Ireland is no longer asking to be noticed. It is already receiving accolades. The question now is how it can fully capitalise on that attention.