The unique Tudor House on 23 West Heath Road - known as Sarum Chase - was beloved by director Andy Milligan who used it in his 1970s cult horror films. Listen to hear about the different horrific families he placed here and how his films impacted London's occult history.

Lewisham Art House was once the Deptford Library, home to a brooding vampire in 1992 romantic horror "Tale of a Vampire"

Hammersmith Bridge appears in a handful of horror films, but truly stands out in Roman Polansky's 1965 "Repulsion" and the unusual 1967 horror "It!" or "Curse of the Golem".

The beautiful suburban home is overtaken by living nightmares in 1988 horror "Dream Demon". Listen to hear more about the punk-inspired film starring Timothy Spall (Harry Potter FIlms, Turner) and Kathleen Wilhoite (Gilmore Girls)

The elegant flats off Regents Park are home to a sinister nanny and maid played by Bette Davis in "The Nanny". Listen to this viewpoint to hear about this lesser-known of Davis' horror films which inspired a generation of evil babysitters, nannies and caretakers.

One of the big seven cemeteries, Kensal Green Cemetery has been an inspiration to horror directors. The gothic and historic location is the backdrop to brutal murder in "Theatre of Blood" (1972), a solemn memorial in "Secret Ceremony" (1968) and the power of a Mummy in "The Awakening" (1980)

This stunning church is visited by Elisabeth Taylor and Mia Farrow in the surreal horror "Secret Ceremony".

This suburban house in Cricklewood was home to interdimensional demons including Pinhead in the 1987 cult horror Hellraiser. Listen for more details on why this was the perfect spot for a very political horror film.

The former Dolphin Square Baths, now simply the entrance to Dolphin Square, makes an appearance in the 1967 psychological horror "The Sorcerers" starring Boris Karloff, Ian Ogilvy and Catherine Lacey.

By Rosamund Lily West. In 1962, the LCC installed 'The Dockers' by Sydney Harpley on the Lansbury estate in Poplar. Today, the sculpture is not there, it's just an empty plinth. This viewpoint looks at why the LCC chose the subject of dockers and how the collapse of the industry in the area is linked to the vandalisation, and subsequent removal, of the sculpture.