Despite the project's obvious potential, its commercial viability was an unknown factor. In a period
spanning forty years only two Australian films featuring an Aboriginal theme had come close to enjoying
some degree of success, 'Jedda' (1955) and 'Walkabout' (1971), but neither had featured a full Aboriginal cast nor
had been totally shot in the Northern Territory. Indeed, 'Walkabout' (1971) was directed by Nicolas Roeg and
starred two English children alongside an Aboriginal actor, David Gulpilil. Finally the ACTF ( Australian Children's Television Foundation), in a great show of faith, cash-flowed the project's full development, never certain that outside finance would ultimately be secured. "The brief of the ACTF," noted ACTF director Dr. Patricia Edgar, "is to develop quality, innovative Australian programs that in some way break new ground. 'Yolngu Boy' does so in just about every way."
At one point Chris Anastassiades commenced work on the script. He visited the Northern Territory several times over a
period of five years and with the help of director Stephen Johnson spent time with Aboriginal kids from Gove
and Yirrkala who would eventually inspire the screenplay. During that time, he gained the confidence
of the children and observed many little incidents that eventually found their way into the script. The
challenge was to craft a contemporary story that would connect with an audience worldwide and yet
reflect the concerns of Yolngu teenagers. "Chris has a great understanding of how to structure a
piece so that the audience is quickly taken into a set of circumstances," observed producer Gordon Glenn. "He
establishes the elements that will drive the narrative, yet does so in a way that's imperceptible but
very powerful. This is a story about vibrant kids who have a dramatic issue in their life which everyone
can understand, not just a worthy film about disadvantaged youth."
Ultimately, it was the script that convinced the investors to come on board. The final draft elicited
an excellent reaction to what initially had been perceived as a commercially questionable project. The
general response from outside parties was overwhelmingly positive, due to a screenplay that not only
had heart and integrity, but was insightful, original and intensely compelling.
Of director Stephen Johnson, producer Gordon Glenn said: "The
remarkable thing about Stephen was his ability to work with kids in north-east Arnhem Land in such a
way that they completely accepted his presence and his camera. You weren't just observing another
race from the outside, you were actually there with them. He possesses a very warm personality that
communicates itself to people, which kids particularly respond to. When Stephen hit town, things
happened. He'd use his energy to create an enjoyable event that would alleviate the boredom that can
be prevalent around here. Many people come to north-east Arnhem Land, shoot film and disappear
never to be heard from again. Stephen doesn't do that. He returns with the footage, shows them and
they like what they see. In turn, this creates a circle of work and completion that is satisfying for
both parties."
Perhaps the final significant ingredient in the realisation of the script, and throughout the film's
development, was the input of Mandawuy Yunupingu, singer of renowned band, Yothu Yindi, who, along
with his brother, Galarrwuy Yunupingu, chairman of the Northern Land Council, became associate
producers of the film. Mandawuy and Galarrwuy's openness and willingness helped to tell the Yolngu's
stories and helped provide an insight into the difficulties faced by teenagers in Arnhem Land.