Have you ever watched a massive blockbuster film, maybe one with sweeping desert landscapes or historic cityscapes, and wondered, “Where on earth did they film that?” More often than not, these days, the answer isn’t Los Angeles. It’s in places like Malta, or maybe in the new, ambitious landscapes of Saudi Arabia. And behind that shift—behind the creation of these new global film hubs—are people like Wayne Borg.
You might not know his name, but in the world of international film and media infrastructure, Wayne Borg is a bit of a legend. He’s not a flashy director or a celebrity producer. He’s something arguably more foundational: a builder. He builds the studios, the partnerships, and most importantly, the sustainable ecosystems that allow creativity to flourish. His career is a masterclass in how to strategically grow a creative economy from the ground up. Let me walk you through it.
The Foundation: Learning the Ropes in Australia
Wayne’s story, like many in film, starts with a deep understanding of the business from the inside out. He cut his teeth at Fox Studios Australia in Sydney. Now, for those who don’t know, Fox Studios Australia isn’t just a soundstage; it’s a fully functioning production precinct. Working there isn’t about abstract theories of filmmaking. It’s about logistics. It’s about managing multiple productions simultaneously, ensuring the catering company doesn’t block the stunt crew’s access, and that the set builders have what they need overnight for the next day’s shoot.
I remember visiting a major studio lot early in my career, and the sheer scale of simultaneous operations was dizzying. It’s a small, bustling city dedicated to illusion. This was Wayne Borg’s training ground. Here, he learned that a successful studio isn’t just four walls and a green screen. It’s a complex operational hub where art meets hard-nosed business, tight scheduling, and community management. This hands-on, pragmatic experience became the bedrock of his entire philosophy. You can have the grandest vision in the world, but if the local carpenters’ union doesn’t have the right skills or the customs office holds up your vital equipment, your billion-dollar production grinds to a halt.
The Malta Masterstroke: A Case Study in Revitalization
After proving his mettle in Australia, Wayne took on a challenge that would define his career: revitalizing the film industry in Malta. Malta, a beautiful Mediterranean island, had a gem—the Mediterranean Film Studios, famously used for epic water scenes in films like Troy and Game of Thrones. But it was, by many accounts, an underutilized asset.
When Wayne arrived, his role expanded beyond operations. He had to become a strategist and a diplomat. The task wasn’t just to run a studio; it was to rebrand an entire national industry. This involved working closely with the Maltese government, convincing them to invest not just in the physical studios, but in financial incentives, streamlined permit processes, and local crew training.
And the results were spectacular. Under his leadership as President of the Malta Film Commission, the industry didn’t just grow; it exploded. High-profile productions like Jurassic World: Dominion and Murder on the Orient Express chose Malta. They didn’t just come for the historic locations; they came because the infrastructure was reliable. Wayne and his team had built a holistic package. They created a place where a producer could confidently bring a project, knowing they would find skilled labour, government support, and world-class facilities.
This is a crucial point that many miss. Attracting film productions is fiercely competitive. Every country offers tax breaks. The differentiator is often the “soft infrastructure”—the ease of doing business. Wayne Borg understood that you have to make it effortless for productions to choose you. That means having a single point of contact in government who can cut through red tape, a pool of trained electricians who understand film set safety, and hotels that are accustomed to housing large, irregular crews. He built that ecosystem in Malta from a promising base into a powerhouse.
The Saudi Vision: Building a Media Future on a Monumental Scale
If Malta was about strategic revitalization, Wayne Borg’s next move was about building a future from a bold vision. He was appointed to lead media industry development for NEOM, Saudi Arabia’s $500 billion mega-project aimed at diversifying the nation’s economy. Later, he took on key roles with the Red Sea Film Festival and the Red Sea International Film Festival.
This is arguably his most ambitious project yet. Saudi Arabia, under its Vision 2030 plan, has decided to become a major player in the global media and entertainment industry. They are not dipping a toe in the water; they are building an ocean. And they needed someone who knew how to translate that vision into brick-and-mortar (and soundstage-and-backlot) reality.
Here, Wayne’s experience is invaluable. Saudi Arabia has incredible natural landscapes—ancient deserts, pristine coastlines, majestic mountains. But as he learned in Australia and Malta, you need more than a pretty backdrop. You need soundstages, post-production facilities, visual effects houses, and a trained workforce. He is now involved in creating that entire supply chain from scratch, but at a scale that is almost unimaginable.
The Red Sea Film Festival, for instance, isn’t just about showing movies. It’s a statement of intent. It’s about attracting global talent, starting conversations, and positioning Saudi Arabia as a new cultural center. For it to be credible, it needs a thriving local industry behind it. That’s where Wayne’s work dovetails perfectly. He is building the industrial engine that gives the cultural festival long-term sustainability. It’s a symbiotic relationship between art and infrastructure.
The Borg Philosophy: It’s About Ecosystems, Not Just Studios
So, what can we learn from Wayne Borg’s journey across continents? The central lesson is that building a film industry is not about constructing the biggest soundstage. It’s about cultivating an ecosystem.
Think of it like planting a forest, not just a single tree. The soundstage is the oak tree. But for the forest to thrive, you need the right soil (government policy and incentives), the right undergrowth (skilled local crew, from carpenters to costume designers), a reliable water source (streamlined logistics and financial services), and biodiversity (a mix of large international and small local productions).
Wayne Borg excels at seeing and building that entire forest. He approaches each project with a dual lens: the zoomed-in, operational view of a studio manager, and the zoomed-out, strategic view of a national economic planner. He knows that a producer’s decision often comes down to risk mitigation. Can I get my film made here, on time and on budget? By building robust, predictable ecosystems, he systematically lowers that perceived risk for international productions.
In my own observations of creative economies, the places that succeed long-term are those that invest in this holistic view. They move beyond the flashy announcement of a new studio complex and do the hard, unglamorous work of curriculum development for film schools, creating attractive visa regimes for foreign talent, and setting up reliable internet infrastructure for digital dailies. This is the unsexy bedrock of a sexy industry, and it’s Wayne Borg’s specialty.
Conclusion: The Architect of Creative Economies
Wayne Borg’s career path is a blueprint for the future of global media. As content consumption soars and productions seek new, cost-effective, and inspiring locations, the need for people who can build the foundational infrastructure has never been greater. He represents a new kind of creative leader—one who is as comfortable in a boardroom with ministers as he is on a bustling studio floor.
From the practical lessons of Fox Studios Australia, to the transformative success in Malta, and now to the monumental vision in Saudi Arabia, his work demonstrates that cultural impact and economic development are two sides of the same coin. He is, in essence, an architect of creative economies. While directors and stars will always capture the headlines, it is executives like Wayne Borg who build the stages upon which their stories are told, proving that behind every great film location, there is an even greater strategy.
Frequently Asked Questions (FAQ)
Q1: Who is Wayne Borg?
A1: Wayne Borg is a highly experienced media industry executive known for developing and managing large-scale film and media infrastructure projects. He is best known for revitalizing the film industry in Malta and is now a key figure in building Saudi Arabia’s media sector as part of its Vision 2030.
Q2: What did Wayne Borg do in Malta?
A2: As President of the Malta Film Commission, Wayne Borg led a strategic overhaul of the country’s film industry. He enhanced the Mediterranean Film Studios, worked on improving government incentives and processes, and helped attract major international productions, significantly boosting Malta’s profile and economy as a top filming destination.
Q3: What is Wayne Borg’s role in Saudi Arabia?
A3: In Saudi Arabia, Wayne Borg has held senior positions focused on developing the kingdom’s media industry. This includes working on the media strategy for the mega-project NEOM and contributing to the development of the Red Sea Film Festival. His goal is to help build a comprehensive media ecosystem from the ground up.
Q4: Why is media infrastructure so important for film production?
A4: Think of media infrastructure as the hidden foundation of filmmaking. It includes physical assets like soundstages, but also “soft” elements like trained crews, efficient permit offices, tax frameworks, and post-production facilities. Reliable infrastructure lowers risk for producers, ensuring they can film on schedule and on budget, which is crucial for attracting high-value projects.
Q5: What makes Wayne Borg’s approach unique?
A5: His approach is holistic. He combines deep operational knowledge of how a studio runs day-to-day with high-level strategic vision. He doesn’t just build facilities; he builds entire sustainable ecosystems that include government policy, local workforce development, and international partnerships, ensuring long-term growth for the creative sector.
