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Utah and other US states are turning national parks into powerful film tourism draws, appealing to visitors from the UK and more countries. Iconic landscapes now fuel fresh travel interest.
Utah and other US states are putting national parks at the centre of film tourism, and the strategy is appealing to visitors from the UK and more countries. From Utah’s red-rock landscapes to California’s forests and Wyoming’s mountains, famous screen backdrops are creating reasons to travel. Meanwhile, tourism boards and destination marketers can connect cinematic recognition with outdoor experiences, road trips and cultural discovery.
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The appeal is clear: travellers can see landscapes they recognise from films while experiencing them beyond the screen. As film-inspired travel gains attention, these national parks are becoming tourism assets for destinations across the United States.
America’s national parks are proving that cinematic fame can complement tourism, with 2025 visitor numbers showing millions of arrivals at landscapes featured in films from Star Wars and Indiana Jones to Forrest Gump and Jurassic Park.
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The United States’ national parks continue to combine spectacular scenery, outdoor recreation and popular culture into powerful travel experiences. The latest National Park Service (NPS) figures show that several parks associated with major films attracted millions of recreation visits in 2025, although the international visitor picture is more nuanced because detailed country-of-residence data are generally drawn from older NPS visitor studies rather than the 2025 visitation count.
Film has helped turn many American landscapes into globally recognisable destinations, giving travellers another reason to visit places they may already know from cinema. The NPS itself documents the connection between national parks and popular culture, highlighting locations associated with productions including Star Wars, Indiana Jones and the Last Crusade, Thelma & Louise, Jurassic Park and Forrest Gump.
This creates an important opportunity for US travel and tourism because visitors can experience the landscapes beyond the screen rather than simply viewing them in a film. However, cinematic recognition should not be confused with permission to reproduce film productions inside protected areas, as current National Park Service rules impose restrictions designed to protect resources and other visitors.
Great Smoky Mountains National Park was the most visited national park in the United States in 2025, recording 11,527,939 recreation visits. That figure places the Tennessee-North Carolina park substantially ahead of the other film-associated national parks examined in this research.
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The park also has an international tourism history, although its detailed NPS country-of-residence research predates 2025. An NPS visitor study found that international visitors included travellers from the United Kingdom, Canada, France, Germany, Norway, Australia, Austria, Korea and China, with the UK and Canada particularly prominent in the study.
For the tourism industry, the distinction matters because Great Smoky Mountains demonstrates how enormous visitor volume can coexist with an international visitor market that is smaller than its domestic audience.USA National Park 2025 recreation visits Change / 2025 context Countries identified in latest official NPS visitor research Country-data year Arches National Park, Utah 1,511,740 Official NPS 2025 total No current park-specific country breakdown located in NPS’s published material — Canyonlands National Park, Utah 796,057 Official NPS 2025 total No current park-specific country breakdown located in NPS’s published material — Death Valley National Park, California/Nevada 1,320,134 Fourth-highest visitation year; closures from flash-flood damage affected access Canada was the largest international market in an NPS visitor study; other international visitors came from nine additional countries NPS study, 2000s Yosemite National Park, California 4,278,413 +3.8% versus 2024 UK, Germany, France, Belgium, Canada, Denmark, Australia, Netherlands, Spain, Sweden, Switzerland, Norway, Italy, Brazil, plus other countries 2009 Zion National Park, Utah 4,984,525 +9.6% versus 2024 France, Germany, England/UK, Netherlands, Italy, Canada, Belgium, Austria, Switzerland, Denmark, Spain, Japan, Norway, Taiwan, Korea, India, Australia, plus other countries 2006 Grand Canyon National Park, Arizona 4,430,653 -9.9% versus 2024 NPS confirms a major domestic and international visitor base, but I did not find a sufficiently reliable recent NPS country-of-residence table to publish country percentages — Glacier National Park, Montana 3,136,557 Official NPS 2025 total No sufficiently reliable current NPS country-of-residence breakdown located — Denali National Park & Preserve, Alaska 543,300 +16.53% versus 2024 Canada, Switzerland, Germany, UK, France, Australia, Netherlands, Czech Republic, Belgium, New Zealand, Ireland, Mexico, Norway, Austria, Brazil, China, Denmark, Hungary, Italy, Japan, Sweden, Bermuda, Spain, Thailand, plus other countries 2011 Redwood National Park, California 1,202,480 +93.05%; NPS says improved counting methods explain much of the increase NPS 2025 release says visitors came from around the world but does not provide a 2025 country ranking 2025 — no country ranking Grand Teton National Park, Wyoming 3,800,648 +4.75% versus 2024 NPS describes substantial international visitation but I did not find a sufficiently reliable park-specific country table in the current official material — Great Smoky Mountains National Park, Tennessee/North Carolina 11,527,939 Highest visitation among US national parks in 2025 UK, Canada, France, Germany, Norway, Australia, Austria, Korea and China 2008
Zion National Park recorded 4,984,525 recreation visits in 2025, making it one of America’s busiest national parks and the second-highest visitor destination among the film locations examined here.
Zion’s cinematic history includes Butch Cassidy and the Sundance Kid, while its distinctive sandstone landscapes continue to provide a strong visual identity for travel marketing. Historical NPS visitor research identified France, Germany, England, Canada, the Netherlands, Italy, Belgium, Austria, Switzerland, Denmark, Spain, Japan, Norway, Taiwan, Korea, India and Australia, among other international markets.
Those country figures should not be described as 2025 arrival statistics, because the NPS study was conducted earlier, but they demonstrate the park’s established international tourism reach.
Grand Canyon National Park recorded 4,430,653 recreation visits in 2025, keeping it among the country’s most heavily visited national parks.
Its cinematic associations include Into the Wild, Transformers, National Lampoon’s Vacation and The Harvey Girls, according to the NPS’s Parks in Pop Culture material.
The Grand Canyon’s significance for tourism extends beyond film because its scenery is already one of the most recognisable landscapes in the United States. While the latest 2025 NPS visitation data provide the visitor total, a sufficiently current official park-specific country ranking was not identified in the research, so individual international markets should not be presented as 2025 leaders without additional government evidence.
Yosemite National Park recorded 4,278,413 recreation visits in 2025, representing a 3.8% increase from 2024.
The park has a substantial film history, with the NPS identifying productions including Monty Python and the Holy Grail, The Caine Mutiny, Maverick and Star Trek V: The Final Frontier.
Yosemite also offers one of the clearest examples of international tourism in the official NPS visitor research. Its 2009 visitor study found international visitors from the UK, Germany, France, Belgium, Canada, Denmark, Australia, the Netherlands, Spain, Sweden, Switzerland, Norway, Italy and Brazil, among other countries, with the UK and Germany among the leading international markets in that study.
For travel businesses targeting European audiences, Yosemite therefore provides a particularly strong example of how iconic scenery, international recognition and film culture can overlap.
Grand Teton National Park recorded 3,800,648 recreation visits in 2025, while Glacier National Park welcomed 3,136,557.
Grand Teton has a long cinematic association, with the NPS listing Rocky IV, Shane and The Big Sky among films connected with the destination. Glacier’s film history includes The Shining, The River Wild, Continental Divide and Forrest Gump.
Their visitor figures underline an important tourism trend: travellers do not necessarily need a destination to be directly identified with one blockbuster film for its landscapes to become part of the broader cinematic imagination. Mountains, forests and dramatic scenery can themselves become powerful travel motivations
From Star Wars and Indiana Jones to Thelma & Louise and Forrest Gump, several US national parks have become recognisable cinematic landscapes. But while their film history remains a major tourism attraction, today’s filming rules are tightly controlled, with permits, location fees and resource-protection requirements applying to many larger productions.
The United States has some of the world’s most recognisable landscapes for film and television, and its national parks have repeatedly provided dramatic backdrops for Hollywood productions. The National Park Service (NPS) itself highlights the role of its sites in cinema, pointing to locations ranging from Death Valley and Redwood to Arches, Canyonlands and Yosemite.
For travel and tourism audiences interested in cinematic destinations, these parks offer a combination of film history and spectacular scenery. However, travellers should not assume that a park appearing in a famous film automatically means a modern production can recreate the same shoot there, because filming regulations, wilderness protections and visitor-management requirements have changed significantly.National Park / NPS site Why it is attractive for filming Films officially identified by NPS Current filming price when a permit is required Arches National Park, Utah Dramatic red-rock arches and desert landscapes City Slickers II, Thelma and Louise, Indiana Jones and the Last Crusade, The Greatest Story Ever Told $280 application fee + location fee: $150/day for 1–10 people; $250/day for 11–30; $500/day for 31–49; $750/day for 50+; monitoring/cost recovery may apply. (National Park Service) Canyonlands National Park, Utah Large-scale canyon and desert landscapes Thelma and Louise, The Greatest Story Ever Told $280 application fee + $150–$750/day location fee depending on crew size; monitoring and additional compliance costs may apply. (National Park Service) Death Valley National Park, California/Nevada Stark desert landscapes suitable for science-fiction and Western-style imagery Star Wars, The Doors, Star Wars: Return of the Jedi Permit costs depend on the project. NPS specifically notes that much of the historic Star Wars filming would not be permitted today, particularly because of modern wilderness protections. (National Park Service) Yosemite National Park, California Mountain, valley and granite landscapes Monty Python and the Holy Grail, The Caine Mutiny, Maverick, Star Trek V: The Final Frontier $300 application fee; NPS monitoring is $500/day, plus $50/hour beyond 11 hours. Additional location fees and cost recovery can apply. (National Park Service) Zion National Park, Utah Towering sandstone walls and canyon scenery Butch Cassidy and the Sundance Kid $150 application fee for qualifying permitted filming; administrative review beyond the first three hours is $50/hour; compliance review can be $250; monitoring is $50/hour with a three-hour minimum; location fees start at $150/day for 9–10 people and $250/day for 11–12. (National Park Service) Grand Canyon National Park, Arizona Vast canyon scenery and major viewpoints Into the Wild, Transformers, National Lampoon’s Vacation, The Harvey Girls $100 application fee + location fee for complex permitted projects: $150/day for 1–10 people; $250/day for 11–30; $500/day for 31–49; $750/day for 50+. (National Park Service) Glacier National Park, Montana Mountain scenery and wilderness landscapes The Shining, The River Wild, Continental Divide, Forrest Gump $125 application fee for groups over eight; location fees and monitoring/cost-recovery charges can also apply. (National Park Service) Denali National Park & Preserve, Alaska Large-scale Alaskan wilderness and mountain landscapes The River Wild, Into the Wild $200 application/administrative fee; location fee is $150/day for 1–10 people, $250/day for 11–30, $500/day for 31–49 and $750/day for 50+. Additional administrative costs may apply. (National Park Service) Yellowstone National Park, Wyoming/Montana/Idaho Geysers, geothermal landscapes and mountain scenery Star Trek (1979); Yellowstone $350 application fee; monitoring and other cost-recovery charges can apply depending on the production. (National Park Service) Redwood National and State Parks, California Giant redwood forests and cinematic woodland environments E.T. the Extra-Terrestrial, Star Wars Episode VI: Return of the Jedi, The Lost World, Jurassic Park On NPS land, application fee is $200 when a permit is required; additional cost recovery, monitoring and site-visit charges may apply. State-park land follows a separate California Film Commission process. (National Park Service) Crater Lake National Park, Oregon Dramatic volcanic lake and mountain setting Wild $50 application cost is specified by the NPS; additional cost recovery and location fees depend on the project. (National Park Service) Badlands National Park, South Dakota Rugged, eroded formations and open landscapes Dances with Wolves Permit costs are project-dependent; the NPS location-fee schedule generally runs from $150/day to $750/day for permitted filming, depending on crew size. (National Park Service) Big Bend National Park, Texas Remote desert and rugged landscapes Barbarosa Permit and cost-recovery charges depend on the activity; the NPS standard location schedule is $150–$750/day for permitted filming based on crew size. (National Park Service) Grand Teton National Park, Wyoming Dramatic mountain scenery Rocky IV, Shane, The Big Sky $325 application fee + standard filming location fees of $150–$750/day depending on crew size; monitoring can be charged according to NPS staff costs. (National Park Service) Great Smoky Mountains National Park, Tennessee/North Carolina Forested Appalachian landscapes Blaze Permit costs depend on whether the production requires a permit; NPS standard filming location fees are generally $150–$750/day when applicable. (National Park Service)
The most important change came with the EXPLORE Act, signed into law on 4 January 2025. Under the current NPS framework, filming, still photography and audio recording involving eight or fewer people generally do not require a permit or fee when the activity takes place in public areas, uses hand-carried equipment, does not require exclusive site use, does not adversely affect resources or visitors and is unlikely to create additional NPS administrative costs.
Larger productions, activities involving more substantial equipment or projects that create potential impacts can require permits, application fees, location fees, monitoring and other cost-recovery charges. The rules apply regardless of whether the activity is commercial, non-commercial, content creation, student work, media or news gathering, although specific circumstances can create different requirements.
Arches National Park recorded 1,511,740 recreation visits in 2025, while Canyonlands recorded 796,057.
Arches is associated with Indiana Jones and the Last Crusade, Thelma & Louise, City Slickers II and The Greatest Story Ever Told, while Canyonlands is associated with Thelma & Louise and The Greatest Story Ever Told.
These figures are smaller than those of Yosemite, Zion or Great Smoky Mountains, but they remain significant for Utah tourism because the parks contribute to the state’s broader red-rock travel identity. The combination of road travel, outdoor recreation and film recognition gives visitors multiple reasons to include these landscapes in a wider US itinerary.
Utah is highlighting its dramatic landscapes, five national parks, outdoor adventures and film heritage as key reasons for travellers from the UK and Ireland to explore the western US state, according to Jenni Bridgman, Account Director, Utah Office of Tourism in an exclusive interview with Travel and Tour World.
According to Jenny, Utah’s scenery is one of the factors that most clearly differentiates the destination from other states. She described the landscapes as among the most impressive that travellers can experience anywhere in the world, with distinct environments across southern and northern Utah.
Southern Utah is known for its red-rock country and the state’s five national parks, while northern Utah represents the southern end of the Rocky Mountains. This gives visitors access to both dramatic desert landscapes and alpine scenery within the same destination.
Jenny highlighted a wide range of outdoor activities available across Utah. Travellers can explore the state through walking and hiking, mountain biking, road cycling and water-based activities.
She also pointed to hikes through slot canyons as another experience available to visitors. For travellers who prefer independent exploration, Jenny said they can hire a car, travel along the roads and experience the national parks and scenery by road.
The destination therefore offers opportunities for travellers seeking active experiences as well as those who simply want to explore Utah’s landscapes at their own pace.
Jenny explained that Utah’s five national parks each have a different character, giving travellers a variety of experiences within the state.
Arches National Park was described as home to more than 2,000 naturally formed arches. Jenny highlighted the variety of shapes and sizes of these formations as one of the park’s defining features.
Canyonlands was compared by Jenny to the Grand Canyon, highlighting its large-scale landscape and dramatic scenery.
Jenny described Zion National Park as a long slot canyon featuring towering sandstone walls. The landscape provides another distinctive environment within Utah’s collection of national parks.
Bryce Canyon National Park was described as a large amphitheatre. Jenny explained that visitors do not see the full landscape until they reach the rim and look down into the amphitheatre, where they can see numerous rock formations.
Capitol Reef National Park was characterised as a mixture of elements found across the other parks. Jenny also highlighted pioneer heritage and Native American history as additional aspects of the experience.
Adventure activities form an important part of the destination offering described in the interview. Jenny highlighted walking, hiking, mountain biking, road cycling and water-based activities, alongside opportunities to explore slot canyons.
The combination of these activities with Utah’s varied scenery allows travellers to experience the destination through both active pursuits and scenic exploration.
Jenny specifically highlighted car travel as an option for visitors who want to explore the state independently. Travellers can hire a car and travel between Utah’s national parks while taking in the surrounding scenery.
This road-based approach was presented as one way to experience the state’s landscapes rather than as a specific itinerary.
Utah also has a connection with film production, according to Jenny. She explained that many old Western films were shot in Utah because of its distinctive landscapes.
She added that Hollywood continues to film movies in the state. This connection with film provides another dimension to Utah’s destination appeal, particularly for visitors interested in filming and cinematic landscapes.
The interview positions Utah as a destination built around distinctive scenery, outdoor adventure, national parks and film heritage. Its southern red-rock landscapes and northern alpine environments provide contrasting settings, while its five national parks offer different experiences.
For UK and Ireland travellers, Jenny’s message is centred on exploring these landscapes through hiking, cycling, water-based activities, road travel and other outdoor experiences. Utah’s long association with film adds another layer to the destination story, particularly for travellers drawn to the landscapes that have appeared in Western and Hollywood productions.
The interview ultimately presents Utah as a destination where varied landscapes and outdoor experiences are central to the visitor experience, with the state’s five national parks serving as a major part of its tourism identity.
Arches National Park is one of the strongest examples of the connection between American tourism, travel and cinema. The NPS lists City Slickers II, Thelma and Louise, Indiana Jones and the Last Crusade and The Greatest Story Ever Told among productions associated with the park.
For productions that currently require a permit, Arches charges a $280 non-refundable application fee, while motion-picture location fees range from $150 per day for 1–10 people to $750 per day for more than 50 people. NPS can also charge cost-recovery fees for monitoring and additional compliance work.
Canyonlands has another major Hollywood connection through Thelma and Louise, as well as The Greatest Story Ever Told. The NPS includes both films in its official Parks in Pop Culture listing, making Canyonlands an important destination for film-focused travel in Utah.
The current filming structure mirrors Arches because both are administered within the Southeast Utah Group for these purposes. A permit application costs $280, while filming location fees range from $150 to $750 per day, depending on crew size, with monitoring and additional compliance costs potentially added.
Death Valley may be one of the most recognisable US national parks for science-fiction tourism. NPS identifies Star Wars, The Doors and Star Wars: Return of the Jedi among productions associated with the park, while a dedicated NPS article documents Death Valley’s role in the original Star Wars films.
But there is an important modern restriction. NPS states that most of the filming undertaken for Star Wars in Death Valley would not be permitted today because of current protections, including the prohibition on commercial filming in wilderness.
Where a filming permit is required, Death Valley currently lists a $300 application fee. Motion-picture location fees range from $150 per day for 3–10 people to $750 per day for more than 50 people, while cost recovery can include approximately $50 per hour for certain staff services and monitoring.
Yosemite has supplied a very different cinematic setting, with its mountains and landscapes appearing in Monty Python and the Holy Grail, The Caine Mutiny, Maverick and Star Trek V: The Final Frontier, according to the NPS.
A current permitted filming project faces a $300 application processing fee, a $500 daily monitoring fee and a $50 hourly charge when monitoring extends beyond the specified threshold. Location fees for complex projects range from $150 to $750 per day, depending on the number of people involved.
Zion National Park is officially associated with Butch Cassidy and the Sundance Kid. Its appearance on the NPS film list makes it another important Utah location for film-inspired tourism and travel.
For permitted filming, Zion lists administrative charges of $50 per hour when projects require more than three hours of administrative work, a $250 compliance fee for projects requiring additional analysis and monitoring at $50 per hour with a three-hour minimum. Location fees begin at $150 per day for 9–10 people and increase according to crew size.
The Grand Canyon has been featured in Into the Wild, Transformers, National Lampoon’s Vacation and The Harvey Girls, according to the NPS.
The park continues to manage filming and photography through its special-use framework. Certain filming activities require a permit, while the current national NPS rules provide exemptions for qualifying small crews.
For tourism, the Grand Canyon therefore offers an unusually strong combination of cinematic recognition and an established visitor infrastructure, although filmmakers must distinguish between ordinary travel photography and a production requiring special approval.
Glacier National Park has an extensive film connection, with NPS listing The Shining, The River Wild, Continental Divide and Forrest Gump.
Its mountainous landscapes make it a notable destination for film-oriented travel, but modern filming remains subject to the EXPLORE Act framework and the park’s resource-protection requirements. NPS states that qualifying productions involving eight or fewer people can generally avoid permits and fees when all required conditions are satisfied.
Denali provides a completely different visual proposition, with large-scale Alaskan wilderness forming the backdrop associated with The River Wild and Into the Wild. Both films are listed by NPS.
When a filming permit is required, Denali lists a $200 non-refundable application and administrative fee. Motion-picture location fees range from $150 per day for 1–10 people to $750 per day for more than 50 people, with monitoring and other costs potentially added according to the project.
Redwood National and State Parks have one of the strongest forest-film connections in the NPS database. The official listing includes E.T. the Extra-Terrestrial, Star Wars Episode VI: Return of the Jedi, The Lost World and Jurassic Park.
For filming on NPS-managed national park land, the current application fee is $200 when a permit is required, with additional cost-recovery charges for monitoring and site visits potentially assessed. NPS also makes clear that state-park land within the wider Redwood complex follows a separate process.
Grand Teton’s cinematic history includes Rocky IV, Shane and The Big Sky, according to NPS.
The park currently charges a $325 non-refundable application fee for filming permits. Location fees range from $150 to $750 per day, depending on crew size, while monitoring and additional staff costs can be charged when required. Grand Teton also prohibits the launching, landing or operation of unmanned aircraft within the park.
Great Smoky Mountains National Park is another film destination listed by NPS, with Blaze identified as a production associated with the park.
For permitted motion-picture or video activity, the location fee schedule ranges from $150 per day for 1–10 people to $750 per day for more than 50 people. Monitoring and additional cost-recovery charges may also apply.
These national parks demonstrate how cinema can create another layer of tourism appeal around landscapes that were already major travel attractions. Visitors can follow the locations associated with famous films, photograph comparable scenery and experience the environments that helped make productions such as Star Wars, Indiana Jones, Thelma and Louise, Jurassic Park and Forrest Gump visually distinctive.
For the wider US tourism industry, the opportunity is particularly strong because film recognition can turn a landscape into a cultural reference point. However, responsible travel remains essential, as NPS rules prioritise protection of natural and cultural resources and preventing filming activity from conflicting with ordinary visitor use.
“America’s national parks demonstrate how travel, tourism and cinema can work together to create powerful destination stories without reducing these protected landscapes to film sets. From the red-rock scenery of Utah to the forests of California and the wilderness of Alaska, these locations have helped shape some of the most recognisable images in modern cinema. For travellers, visiting them adds a cultural dimension to an already extraordinary tourism experience. The key is understanding that film history does not override conservation rules. Responsible tourism, respect for protected landscapes and compliance with National Park Service requirements will remain essential as more visitors seek to experience the places they have seen on screen.” — Vedika Keshan, Associate Editor, Travel And Tour World
Death Valley National Park recorded 1,320,134 recreation visits in 2025, despite significant disruption from flood-related damage and closures during the year. NPS described 2025 as the park’s fourth-highest visitation year.
Death Valley has an especially strong connection with Star Wars, as well as The Doors and Star Wars: Return of the Jedi.
Yet Death Valley also provides an important warning for film tourism. NPS states that much of the filming undertaken there for Star Wars would not be permitted under today’s rules, particularly because of modern wilderness protections.
The lesson for travel marketers and filmmakers is clear: historic film locations can inspire tourism, but today’s protected landscapes operate under contemporary conservation requirements.
Redwood National Park recorded 1,202,480 recreation visits in 2025, although NPS noted that changes in counting methods contributed significantly to the reported increase.
The park’s cinematic credentials are particularly strong, with NPS identifying E.T. the Extra-Terrestrial, Star Wars Episode VI: Return of the Jedi, The Lost World and Jurassic Park among productions connected with the area.
For tourism, giant forest landscapes provide an experience that differs sharply from the desert, canyon and mountain environments found elsewhere on this list. That variety strengthens the broader appeal of US film tourism, where travellers can build itineraries around very different cinematic landscapes.
Denali National Park and Preserve recorded 543,300 recreation visits in 2025, although this represented a 16.53% increase from 2024.
The park is associated with The River Wild and Into the Wild, giving Alaska an important place within America’s film-location tourism story.
The NPS’s detailed visitor research identified international visitors from Canada, Switzerland, Germany, the UK, France, Australia, the Netherlands, the Czech Republic, Belgium and New Zealand, among many other countries. Canada was particularly prominent in that historical study.
The latest numbers show that film-associated national parks are not a single tourism category, but collectively they represent a powerful intersection between outdoor travel, popular culture and destination marketing. Some parks attract millions of visitors primarily because of their natural landscapes, while film history provides an additional layer of recognition that can influence how travellers perceive and experience those destinations.
The international-market evidence also needs to be handled carefully. 2025 NPS visitation figures are current, but the detailed country-of-residence studies available for individual parks are generally older, meaning they should be used to identify historically documented source markets rather than claim that the same markets held identical shares in 2025.
The cause is the growing connection between cinema, destination recognition and travel inspiration, particularly when spectacular national park landscapes appear on screen. The answer is to use film heritage as a tourism storytelling tool while promoting the real experiences available beyond the movies. The reason is simple: familiar landscapes can create emotional recognition, encourage trip planning and add cultural meaning to outdoor travel. Utah has a strong position because its red-rock scenery has appeared in major productions, while California, Wyoming and Montana offer other established film connections. Yet responsible tourism remains essential, because protected landscapes require visitors and filmmakers to respect current National Park Service rules.
Utah and other US states are gaining a valuable tourism advantage from the cinematic history of their national parks, with famous landscapes providing an additional reason for international visitors to explore America. The 2025 NPS figures show enormous visitor volumes at several film-associated parks, led by Great Smoky Mountains, Zion, Grand Canyon and Yosemite. Historical NPS research also demonstrates international visitation from markets including the UK, Canada, Germany, France and Australia. Yet film tourism should complement, rather than replace, conservation-led travel. The strongest opportunity lies in combining cinematic storytelling, outdoor adventure and responsible exploration to create richer experiences for visitors from the UK and beyond.
The answer lies in the powerful connection between cinema and destination recognition. When travellers see dramatic landscapes in major films, those locations can become familiar long before visitors arrive, giving national parks an additional tourism appeal beyond hiking, sightseeing and outdoor recreation.
The National Park Service has documented numerous film connections across the United States, including Indiana Jones and the Last Crusade at Arches National Park, Thelma & Louise at Arches and Canyonlands, Star Wars at Death Valley, Star Trek V at Yosemite, and Jurassic Park and E.T. the Extra-Terrestrial in the Redwood area.
For Utah, the opportunity is especially visible because its national parks combine dramatic scenery with a long association with Western and Hollywood productions. Arches, Canyonlands and Zion provide distinctly different landscapes, creating a broad visual portfolio that can appeal to travellers interested in film, photography, road trips and outdoor tourism.
The UK is among the international markets historically identified in National Park Service visitor research for several major parks. Yosemite’s official visitor study, for example, identified the UK alongside Germany, France, Belgium, Canada, Denmark, Australia and other countries among its international visitor markets.
Denali’s historical NPS research also identified the UK alongside Canada, Germany, France, Switzerland, Australia and other international markets. Great Smoky Mountains research similarly identified the UK and Canada among its international visitor markets.
These studies are not 2025 arrival statistics, and that distinction is important. They demonstrate historical international demand rather than proving that the same countries held identical market shares in 2025.
California is particularly important because Yosemite, Death Valley and Redwood are all connected with major film productions. Yosemite’s mountain scenery has appeared in films including Star Trek V: The Final Frontier, while Death Valley has a particularly strong connection with the Star Wars franchise.
Redwood’s enormous forests have provided locations associated with Jurassic Park, The Lost World, E.T. the Extra-Terrestrial and Star Wars Episode VI: Return of the Jedi. These film associations provide an additional cultural layer to California’s already substantial tourism appeal.
Wyoming also has a notable position through Grand Teton National Park, which the NPS associates with films including Rocky IV, Shane and The Big Sky. Montana’s Glacier National Park has likewise been connected with The Shining, The River Wild, Continental Divide and Forrest Gump.
Not necessarily. Under the current NPS rules, filming involving eight or fewer people can generally avoid a permit and fee only when specific conditions are met, including use of hand-carried equipment in public areas and no adverse impact on resources or visitors.
There is no single national total. Application fees vary by park, while standard motion-picture location fees commonly range from $150 to $750 per day, depending on crew size, when a permit and location fee are required. Additional monitoring and administrative costs can apply.
Not automatically. Historical filming conditions were different, and NPS specifically notes that most of the Star Wars filming carried out in Death Valley would not be permitted today because of current protections.
Drone rules are park-specific and can be highly restrictive. For example, Grand Teton National Park prohibits the launching, landing or operation of unmanned aircraft within the park. Filmmakers should therefore check the individual park’s current rules before planning aerial production.
There is no official NPS ranking for the “best” film location. However, NPS documentation shows particularly notable film histories at Death Valley, Arches, Canyonlands, Yosemite and Redwood, among others.
The NPS confirms the long-standing connection between national parks and popular culture, but the sources do not establish a specific growth rate for film tourism. It is therefore more accurate to say that film history provides an additional tourism and travel motivation rather than claim a quantified tourism increase without separate evidence.
The USA’s national parks have played a memorable role in cinema, with landscapes appearing in productions ranging from Star Wars and Indiana Jones to Jurassic Park, Thelma and Louise and Forrest Gump. For travel and tourism, that film heritage creates a compelling way for visitors to connect popular culture with protected landscapes, but modern production rules mean that famous historical filming locations should never be treated as unrestricted movie sets.
The strongest message for filmmakers and film-focused travellers is therefore straightforward: the cinematic legacy remains open for exploration, but contemporary production must operate within the National Park Service’s conservation, visitor-management and permitting framework.
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Tags: america, film tourism, NATIONAL PARKS, US Travel, usa
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