The Australian Film Finance Corporation presents an…

               The Australian Film Finance Corporation presents
an Australian Children's Television Foundation and Burrundi Pictures Production
              in association with Beyond Films and Palace Films




       YOLNGU BOY
                                   starring

                   SEAN MUNUNGGURR
                 JOHN SEBASTIAN PILAKUI
                    NATHAN DANIELS


                 Casting Director             MAGGIE MILES
                 Original Music by            MARK OVERTON
                 Costume Design               JILL JOHANSON
                 Production Designer          SARAH STOLLMAN
                 Film Editor                  KEN SALLOWS
                 Director of Photography BRAD SHIELDS
                 Screenplay by                CHRIS ANASTASSIADES
                 Executive Producer STEPHEN JOHNSON
                                         PATRICIA EDGAR
                 Associate Producers          GALARRWUY YUNUPINGU
                                              MANDAWUY YUNUPINGU
                 Producers                    PATRICIA EDGAR
                                              GORDON GLENN
                 Director                     STEPHEN JOHNSON
                     YOLNGU BOY
              PRODUCTION NOTES - CONTENTS


·   CAST LIST

·   CREW LIST

·   SYNOPSIS

·   GLOSSARY

·   HOW IT ALL STARTED

·   CASTING

·   SEAN, SEBBIE AND NATHAN

·   THE SHOOT

·   THE AUSTRALIAN CHILDREN'S TELEVISION FOUNDATION

·   THE YOTHU YINDI FOUNDATION

·   ABOUT THE CAST

·   ABOUT THE CREW




                                                      2
CAST

Botj                            SEAN MUNUNGGURR
Lorrpu                          JOHN SEBASTIAN PILAKUI
Milika                          NATHAN DANIELS
Yuwan                           LIRRINA MUNUNGGURR
Julie                           SARAH FINCHAM-THOMSON
Matjala                         MAKUMA YUNUPINGU
Lorrpu's Father                 LALAMBARRI YUNUPINGU
Milika's Father            BALAPALU YUNUPINGU
Maralitja Man              MANGATJAY YUNUPINGU
Botj's Father                   MULATI YUNUPINGU
Botj's Mother              MERRKIE GANAMBARR
Umpire                     GARRY DHURKAY
Dhunthun                        ANDREW GALITJU BURARRWANGA
Policeman                       JACK THOMPSON
Djarrak Player 1                GRANT GAMBLY
Dawu                            NUNGKI YUNUPINGU
Lunginy                         GERARD BUYAN GARRAWURRA
Botj (9 years old)              GARRITJPI GARAWIRRTJA
Lorrpu (9 years old)       BUYWARRI MUNUNGGURR
Millika (9 years old)      BUWATA MUNUNGGURR
Ruwu                            YITHANGARRA WUNUNGMURRA
Graham                          DANIEL BOURNE
Lorrpu's Mother                 YALMAY YUNUPINGU
Balk Balk                       MANDAWUY YUNUPINGU
Crying Woman               ALLYSON MILLS
Matjala Driving Double          GEORGE ROBERTSON
                                TREVOR MUNUNGGURR
Milika Driving Double      BANUL GUMBULA
Lorrpu Driving Double      HAMISH WAKURATJPI GONDARRA
Ngarli woman at Hospital        MARY YUNUPINGU
Crowd #1                        GURUMIN MARIKA
Ancient Hunter #1               MOWALIN MARIKA
Ancient Hunter #2               BRUCE GURRUWIWI
Ancient Hunter #3               RICKY MUNYARRYUN
Snorkel Woman                   MAGGIE MILES
Policeman #1 (Wharf)            JOE CLEMENTS




                                                             3
TECHNICAL CREDITS

Director                           STEPHEN JOHNSON
Producers                          PATRICIA EDGAR
                                   GORDON GLENN
Associate Producers          GALARRWUY YUNUPINGU
                                   MANDAWUY YUNUPINGU
Executive Producers          STEPHEN JOHNSON
                                   PATRICIA EDGAR
Writer                             CHRIS ANASTASSIADES
Director of Photography            BRAD SHIELDS
Production Designer          SARAH STOLLMAN
Costume Designer                   JILL JOHANSON
Original Music by                  MARK OVERTON
Casting Director                   MAGGIE MILES
Line Producer                ELISA ARGENZIO
Location Manager                   PETER MUSTON
1st Assistant Director       JOHN MARTIN
Production Co-ordinator            ANNA MOLYNEAUX
Assist. Production Co-ordinator    JANE HAMILTON
Production Assistant (Victoria)    SANDI AUSTIN
Production Accountant              JANINE MARTOREJO
2nd Assistant Director       CLARE SHERVINGTON
3rd Assistant Director       GORDON WESTMAN
Underwater Photography             GEORGE GREENOUGH
Continuity                         CHRISSIE O'CONNELL
Focus Puller                       BRETT MATTHEWS
Clapper Loader                     JASMINE YUEN-CARRUCAN
Camera Assistant                   SCOTT WELSH
Camera Attachment            PHIL SUMMERS
Sound Recordist                    ANDREW BALLETY
Boom Operator                      NICOLE LAZAROFF
Gaffer                             MILES JONES
Best Boy                           MATT BOLIN
3rd Electrics                      MARK NEWNHAM
Key Grip                           WARREN GRIEEF
Grip                               JASON WEEKES
3rd Grip                     ADAM KUIPER
Costume Supervisor/Standby         CAPPI IRELAND
Art Department Co-ordinatorJENNIFER DESCHAMPS
Set Dresser                        COLIN HOLT
Standby Props                      LEROY PLUMMER
Hair and Make-up Designer TRISH GLOVER
Make-up/Hair Assistant             ANDREA CAMPBELL
Unit Manager                 PAUL MALANE
Unit Assistant               GREG FREEMAN
Unit Assistant (Gove)        KATRINA SKLAVOS
Boat Wrangler
Animal Wrangler
Safety Supervisor                  RICK ANDERSON
Stunt Co-ordinator                 CHRIS ANDERSON
Safety Report                PETER CULPAN
                                   NEW GENERATION STUNTS



                                                           4
Cast Co-ordinator              PHIL O'BRIEN
Dramaturg                      NICO LATHOURIS
Editor Assisting               MARIA KALTENTHALER
Editing Attachment
Post Production                DAVID WILSON
Sound Post Production          SOUNDFIRM
Catering                       PACIFIC FILM CATERING
Assistant Caterer              MARK ATTARD
2nd Assistant Caterer     NICOLE MATTHEWS
Stills Photographers      PENNY TWEEDIE
                               HEIDRUM LHOR
Production Runner (NT)         BEN WILLIAMS
Unit Nurse (Nhullanbuy)        TANYA O'CONNOR
Unit Nurse (Darwin)
Tutor                           MARK MONAGHAN
Chaperone                       MARIA KANARIS
Legal Advisors            EMMA FITZSIMONS
Completion Guarantor      FILM FINANCES
Insurance                       H.W. WOOD AUSTRALIA
Special Effects                 FILMTRIX
Vehicle Hire                    GOVE CAR RENTALS
Vehicle Hire (Darwin)     THRIFTY RENT-A-CAR
Flights/Accommodation           SHOWFILM
Make-up/Wardrobe Buses    STARWAGONS AUSTRALIA
Grip Truck                      BIG TOYS
Camera Equipment                PANAVISION AUSTRALIA PTY. LTD.
Laboratory                      CINEVEX
Telecine                        AAV DIGITAL PICTURES AUSTRALIA
Film Stock                      KODAK
DAT Stock                       FATS
Lightworks Equipment            THE JOINERY
Motorolas                       MULTICOM




                                                                 5
                                YOLNGU BOY
LOGLINE
         Set amidst the stunning backdrop of Arnhem Land, a place where boys hunt
crocodiles by morning and play football in the afternoon, three Yolngu teenagers find
themselves on the wrong side of both black and white law when one of them rebels
against the pressure of living with two cultures.




SHORT SYNOPSIS
     Caught in a collision between the brave new world of rap, footy and street cred'
and the oldest living culture on earth, Lorrpu, Botj and Milika are three teenage Yolngu
boys who as children dreamt of one day becoming great hunters.
        Recently, though, Lorrpu has noticed that things are changing. Botj is `walking
on the wild side,' stirring up trouble with everyone, everywhere he goes and Milika is
more interested in football, chicks and hot tracks than any of the stuff they were
taught as kids. Only Lorrpu seems to care about the `old ways.' In fact, only Lorrpu
seems to care that the three of them stick together.
    When Botj goes too far and finds himself outside both black and white law, Lorrpu
risks his own future and persuades the boys to go to Darwin to argue Botj's case with
the authorities.     Leaving behind the kinship of their Arnhem Land community, the
three    teenagers    journey   through   the   north-east   wilderness   and   treacherous
escarpment country to Darwin. To survive, Botj, Lorrpu and Milika must draw on the
ancient bush knowledge they were taught as boys, Botj's street instinct and, most
importantly, each other.    In doing so they gain a new respect for themselves, their
friendship, and the land to which they belong.




                                                                                         6
                                YOLNGU BOY

LONG SYNOPSIS
      Caught between the oldest living culture on the planet and the pressures of
western society, Lorrpu, Botj and Milika are three Yolngu teenagers who have reached
the point where each must decide on their future path.
      Lorrpu is the traditionalist; a boy who dreams of one day taking his place as a
leader of his community by adhering to the traditional ways of his people. Football,
chicks and rap music loom large in Milika's world, as does his ambition to become a
professional football player.   But for Botj neither the old nor the new holds the
answer.
     Confused, angry and defiant, Botj returns to their community after a stint in jail.
With no immediate family, apart from his uncle Matjala, the local corrections officer,
Botj finds that his reputation as a troublemaker has preceded him. Only his childhood
friends Lorrpu, and to a lesser extent Milika, welcome his return.      Lorrpu, who still
sees Botj as the spirited, talented boy he once was, believes he can guide him back
to the `right' path -- although he fails to realize that what is `right' for him might not
be so for Botj.
     But trouble has a way of repeating itself. An initially harmless prank becomes a
major catastrophe when one night the three boys raid the local community shop for
cigarettes.   For Lorrpu and Milika, jubilation is swiftly replaced by remorse and they
decide to leave before the situation escalates. Alone, Botj succumbs to his anger and
inherent frustration. High on petrol fumes he breaks into another community building
and accidentally sets it alight, burning his arm in the process. His reputation is now
sealed.
      Recovering in hospital, Botj finds himself outside black and white laws with jail
appearing the likely outcome -- but not if Lorrpu has his way. Determined to fight for
his friend, Lorrpu risks his own future by persuading Botj and Milika to accompany him
to Darwin, where they can argue Botj's case with the authorities.
     Leaving the kinship of their Arnhem Land community, the trio undertake an epic
journey to Darwin through the dense and often dangerous north-eastern wilderness.
During the weeks that follow, they draw upon the ancient bush skills they learnt as
boys to survive and evade capture from the massive hunt sparked by their departure.
Despite discomfort, isolation and the occasional argument they gain a new respect for



                                                                                        7
themselves, each other and the land to which they belong, whilst Botj fulfills his early
promise by emerging as a natural leader.
       But all journeys come to an end.     Their arrival in Darwin fails to secure an
immediate answer to the problems that precipitated their flight and the future again
looks uncertain.
    In the events that follow, boys become men and Botj must face the demons from
his past that will decide his future.




                                                                                      8
GLOSSARY

(Note: The Aboriginal words featured are from the Gumatj language)

Balanda              Person of non-Aboriginal origin,

Banyan Tree          A tree with spectacular aerial roots that grow from its branches
                     to take root in the soil.

Baru                 Refers to the crocodile and is represented by a diamond
                     pattern. `Baru' is the venerated totem of the Gumatj
                     people.

Bilma                Ironwood clap sticks.

Gappan               Gappan comes from the soil and must be mixed with water to
                     obtain the right consistency.     Varies from community to
                     community and has the ability to repel insects. In times of war
                     a tribe would paint themselves with Gappan before confronting
                     their enemy. Each tribe could be identified by the way in which
                     they applied it.

Gulka                Bad spirit. Also refers to an evil person such as an assassin.

Gumatj               One of the sixteen tribes that live in and around north-
                     east Arnhem Land.

Maralitja Man        A magic spirit guide.

Naga                 Ceremonial loin cloth worn by men.

Rowu                 A vine-like leaf, found along coastal areas with healing
                     properties. Once heated, it can be applied to flesh burns.

Songlines            The belief of the Aboriginal people is that when you sing,
                     you sing about whatever is in the land or on the land, including
                     the trees and animals. It's like navigating your way through the
                     land by singing about it. If you know the words to a particular
                     song, that song can, in turn, connect to another song that will
                     help you find your way. Each clan has their own songs that
                     connect from clan to clan and so forth.

Totem         Every tribe or clan group has their own ancestral totem,
                     generally represented by an animal and greatly revered.

Yidaki               Didgeridu or hollow log

Yolgu                Essentially means Aboriginal human being and in
                     particular refers to people who belong to the 16 or so
                     clans that live in and around north-east Arnhem Land.

                            YOLNGU BOY

                                                                                      9
                    PRODUCTION INFORMATION

HOW IT ALL STARTED

     Adolescence is rarely easy. For most Aboriginal teenagers it represents not only
the transition from child to adult but entrapment between the dominance of western
society and a culture recognized as the oldest on the planet.              For many kids
juxtaposed between the old and the new, the future is uncertain and the path they
must tread, fraught with contradiction.
      Director Stephen Johnson always knew that this was a story he would one day
capture on film. A boyhood spent in Darwin had instilled within him a deep love of the
Northern Territory and its people. Following several years abroad where he honed the
skills that would help him in realizing his dream, he came home to Darwin in 1990 and
established Burrundi Pictures, arguably the Northern Territory's first film production
company. "I returned with the intention of making a film," explained Johnson, "but at
that time there was really no movie industry in the Northern Territory so I just started
my own business and freelanced.        I wanted to explore different types of work that
would reunite me with Aboriginal culture, people and the landscape, because that's
what I wished to draw upon in order to tell this story. I always knew that one day I'd
return to shoot a film, but before I could meet the challenge I had to go away and
learn a great many things."
     Around the time that Johnson established Burrundi Pictures, Dr. Patricia Edgar,
director of the Australian Children's Television Foundation (ACTF) was in need of
someone to shoot documentary footage for the ACTF's program, Lift Off.                 She
commissioned    Johnson   over   the    phone   and   was   subsequently    supplied   with
spectacular footage that revealed an unconventional style and a rare talent for
showcasing the subject at hand.
    Intrigued by the flair of this maverick filmmaker, Edgar decided to visit Darwin to
observe him at work. "I asked him whether he'd thought of doing a feature and he
said, `Absolutely!' so I decided there and then that we needed to establish a team
that would fully support what he wanted to achieve."
    Edgar commissioned Chris Anastassiades, a talented and insightful writer who had
previously worked with the ACTF, to develop a screenplay. To aid the project's
creative evolution, Gordon Glenn eventually joined her in the role of producer. Thus
the team behind YOLNGU BOY was formed.




                                                                                        10
     "We went through a very long process," recalled Edgar. "Stephen had grown-up
with these people and possessed a great sympathy and insight which he was able to
transfer to film. It's not a project that just any director could take on. Unless you
knew how to operate in the Northern Territory and had extremely good connections,
you would never be able to get things done."       Glenn concurred.   "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."
      Despite the project's obvious potential, its commercial viability was an unknown
factor. In a period spanning 40 years only two Australian films featuring an Aboriginal
theme had come close to enjoying some degree of success - Jedda and Walkabout -
but neither had featured a full Aboriginal cast or had been totally shot in the Northern
Territory. Indeed, Walkabout was directed by Nicolas Roeg and starred two English
children alongside an Aboriginal actor.    Finally the ACTF, 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 Edgar, " is to develop quality,
innovative Australian programs that in some way break new ground.        YOLNGU BOY
does so in just about every way!"
          In the interim, Anastassiades commenced work on the script.    He visited the
Northern Territory several times over a period of five years and with the help of
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 determine a contemporary story that would connect
with an audience worldwide and yet reflect the concerns of the three central
characters. There was an initial temptation to include a white, teenage character to
allow the audience an easy entry into the story, which was fortunately resisted.
"Chris has a great understanding of how to structure a piece so that the audience is
quickly taken into a set of circumstances," observed Gordon Glenn.      "He establishes



                                                                                     11
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."
     The final script, although penned by Anastassiades, reflected the heart and
dedication of both producers and particularly.     The screenplay contained many true
incidents, witnessed by either Johnson or his good friend Mandawuy Yunupingu.
Yunupingu, songwriter and lead singer of renowned band, Yothu Yindi became involved
with the film's development at an early stage.       Along with his brother, Galarrwuy
Yunupingu, he served as associate producer and helped provide an insight into the
difficulties faced by teenagers in Arnhem Land.
      "We have really attempted to tell an authentic story about what is happening in
the lives of these kids," explained Edgar to examine of what is happening in Australia
at this time. It's also about the multiple choices that all teenagers must confront -
should you simply `opt out' or accept the responsibilities of adulthood?"
    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.
    The eventual funding represented the combined support of SBS Independent, Film
Victoria, the Australian Film Finance Corporation, the Australian Children's Television
Foundation, Palace Films, Beyond Films and private investment.         Palace Films will
distribute YOLNGU BOY throughout Australia whilst Beyond Films will handle
international sales.


CASTING
      Botj, Lorrpu and Milika. Three teenage boys, friends since childhood who have
reached the point where they must make a fundamental decision about the path each
will follow. YOLNGU BOY is about the journey that leads to that final choice.
    "Such a story has been in my mind since my first contact with Aboriginal people,"
said Johnson. "The situation that's occurring out there is incredibly tragic. As much
as I derive a great deal of energy and inspiration from these people, I believe that in
some ways indirect genocide is still taking place. Alcohol abuse and petrol sniffing
continue to be problematic. There are also instances where the current generation is
perhaps not as effective with their kids as they could be, although this is hardly



                                                                                     12
surprising when you consider the level of external interference parents have to
negotiate.    Consequently, there are many youngsters out there who are totally lost
and confused and find themselves juxtaposed between two contradictory lifestyles."
    The character of Botj personifies the promise, intelligence and ultimate tragedy of
being trapped between two cultures that engulfs too many Aboriginal teenagers.
When first we meet Botj, he's returning home after serving time for past
misdememours.       Practically everyone within his community has dismissed him as
`trouble' with the exception of his childhood friends, Lorrpu and Milika.          Lorrpu, in
particular, is very loyal towards Botj and believes he can help him redefine his attitude
to life and their cultural heritage.   In the flashback sequences that depict the boys
at age nine, it's apparent that Botj is the one who's the best hunter, the most
accomplished and a natural leader. But the following years have wrought a disturbing
transition that has led him to the brink of self-destruction. The flashbacks also enable
the audience to see Botj through Lorrpu's eyes and invite an emotional empathy with
his character.
     "Botj is essentially the lost boy, the rebel without a cause but in a sense he's far
more complicated because again you're talking about someone who's torn between
the old and the new," reflected Johnson. "He's a kid who's matured without a father
figure -- having witnessed his father drunkenly abuse his mother.           He's seen all the
shit and couldn't give a shit.     He's taken to petrol, stealing, anything, completely
rebelling against his own heritage as well as that of the white man. He's a boy on the
edge but incredibly intelligent and fantastically grounded within Yolngu culture despite
his apparent rejection of it.    Botj basically encapsulates the kind of kid that hasn't
been given the attention or love that everyone needs in their life. He's a total rebel,
a loose cannon and plays upon that fact -- especially to his mates. But he's been to
jail and jail is the ultimate initiation for any young Aboriginal man."
      Conversely, Lorrpu believes his futures lies through the traditional ways of his
people.      He wants to gain knowledge, status and a path to leadership in his
community via that route.         He's intensely loyal to Botj but doesn't wish to
acknowledge the existence of a modern world.          Mused Glenn,        "He's a person who
tends to see the old ways as the only course to follow, which brings him into conflict
with his friends because that path is not right for them."
    Completing the trio is Milika, who alongside Botj and Lorrpu is disarmingly
straightforward.   Unlike Lorrpu, Milika isn't overly interested in traditional Yolngu life,
preferring to dream of a future as a professional football player. For him, the outside
world beckons seductively and accordingly he relishes the trappings that material



                                                                                          13
success can provide, such as his mobile phone, Discman and CD collection. Indeed,
the first thing Milika does on arriving in Darwin is to purchase a new pair of football
boots!
          Thus began a casting search of marathon proportions. Dr. Edgar recalled their
quest.      "Finding three young boys who could speak English was extremely difficult.
The lack of English skills relates to the system of bilingual education that applies to
children in the Northern Territory. There is no actual requirement for them to attend
school. One of our boys hadn't been for three years as there's really little incentive
for them to learn English and you have to appreciate that it's not their first language.
We did discuss whether the film should be in English and decided that if we were
going to reach an audience we had no alternative."
      Of the adults cast, Makuma Yunupingu, a member of the hit band, Yothu Yindi,
plays Matjala, Botj's uncle, who also serves as the local corrections officer; a scenario
that doesn't make for the warmest relationship with his nephew. "We tested many
men," recalled Johnson, "but as soon as we saw Makuma we knew he was right.
Initially I envisaged Matjala as a slightly older character but Makuma was perfect
because his youth gave him a far greater connection to the boys than an older man
would have had."
     As the project had its genesis in north-east Arnhem Land, they had initially hoped
to find three Yolngu boys for the roles (`Yolngu' referring to the 16 or so clans that live in
and around north-east Arnhem Land) but soon realized they would have to look farther

afield.    Stephen Johnson, Gordon Glenn and casting director Maggie Miles embarked
upon a tour of virtually every community across north-east Arnhem land from Elcho
Island, Ramingining and Gapuwiyak to Bathurst Island, Melville Island as well as all the
boarding schools in Darwin. They went everywhere, even searching with binoculars as
they realized that the kids they were seeking would not necessarily be found behind
school desks. "We must have tested close to 1,000 boys," recalled Glenn. "Stephen
would conduct the interviews, I'd operate the video camera and Maggie would
document whom we were seeing."
Finally, eighteen possible candidates were selected and invited to Darwin for a week-
long series of workshops with Johnson and renowned dramaturg Nico Lothouris. From
there they decided upon a shortlist of five boys who were again invited to Darwin --
this time for a serious rehearsal process.
     Sean Mununggurr, eventually cast in the pivotal role of Botj, is a true Yolngu boy
from Gapuwiyak in east Arnhem Land.          "He's the classic Botj and in a sense it's the
same with the other two," reflected Johnson "I knew he wouldn't be easy to find. I



                                                                                           14
always said, `I bet Botj won't come forward -- he'll be standing under a tree or just
avoid me,' and that's exactly what happened, he was avoiding us!"
      John Sebastian Pilakui (Sebbie) and Nathan Daniels who play Lorrpu and Milika
respectively, both hail from the Tiwi Islands.
     One of the questions Stephen asked the kids to gauge their emotional range was,
`Tell me about a good day in your life and a bad day.' To describe a good day Sebbie
replied, `Today, because you've asked me to be in this movie!'"


SEAN, SEBBIE AND NATHAN
     How would three Aboriginal teenagers who had little, if any, concept of
filmmaking, cope with a head-on collision with white man's culture? As it happened,
surprisingly well.
      For a start, there was a script to be learnt -- remembering that for all three
English was a second language. "It was never a matter of `read the script boys and
memorize it,' smiled Johnson, but rather a case of understanding the action within the
scene and their character's motivation. So I'd say, `hey, we're doing the scene in the
cave today. What does Lorrpu want? What does Botj want? How are they feeling?'
It was certainly the perfect method for them. I think it's fair to say that they have
evolved to the point where they're very good at what they're doing -- although I
believe they've been just incredible throughout. Christ, they're only fifteen!
    Despite the tendency of many Westerners to assume that all Aboriginals speak the
same language, this is not the case as there are hundreds of languages and dialects
and numerous clans.      Nathan and Sebbie, both from the Tiwi Islands, conversed in
Tiwi, whereas Sean, a Yolngu boy, spoke Gumatj.            Virtually no similarity exists
between the two languages -- it's akin to comparing Chinese to English -- however by
the shoot's end, all had mastered an impressive command of each other's native
tongue.
     Johnson and his team realized that whether or not their three leads were Yolngu
was largely irrelevant, as casting the `right' boys was more important than stubbornly
adhering to a restrictive ideal. "The fact that we have two Tiwi boys and one Yolngu
boy doesn't matter," he observed.       "Tiwi and Yolngu have married and after all,
they're playing a part for a film."
     Overcoming the ingrained sense of `shame' the three teens felt at suddenly being
in the spotlight, required patience, empathy and perseverance. "For them `shame' has
a much broader context than it does within our culture," explained their on-set tutor,
Mark Monaghan. "Many Aboriginal people don't want to attract attention, particularly



                                                                                      15
the kids. It can even be difficult to bestow praise in a school environment. Often it's
not appropriate to say, `well done,' because they feel shame at having been singled
out. When the boys return home for a visit, initially they won't leave the car. They
know that everyone is aware that they've been off making a movie and subsequently
they'll be the center of attention. I took Sean to a football game in Yirrkala at the
start of the shoot and he said, `drive on Mark, drive on. Can't get out of the car, big
shame job.'     The people there might not have realized that he's in a movie but he
does."
        To overcome the boys' inherent shyness, Johnson had to go where no director
has gone before. "The only way I was able to coax them into swimming totally naked
at Twin Falls was to spend several days naked with them myself, hunting," he
chuckled. "It was like, `come on boys, we're going hunting,' and off with the gear and
away we go. I've done some unbelievable things to get these kids across the line!"
     Devising a re-introduction program to assist Sean, Nathan and Sebbie return to
their communities at the end of filming was paramount. "It's been a long haul"
conceded Johnson. "Particularly as they've been away from their families and you
have to appreciate that there is a very big family connection with all the Yolngu and
Tiwi people. Their tutor will be on-hand throughout that period to help them re-adjust
plus we've instigated many safeguards within their communities to ensure that they
cope with the change. To say, `right boys, for the next fifteen weeks we're going to
disappear and make a movie,' called for a major adjustment, so we've always been
very mindful of our responsibilities once the time came for them to return home."


THE SHOOT
         Featuring some of the most spectacular scenery ever filmed in Australia, the
visual beauty of YOLNGU BOY belies the logistical difficulties that Stephen Johnson
and his crew faced throughout the seven weeks shoot which began on September 20,
1999.
         A Territorian, Johnson had envisaged many of the film's.   Having collaborated
closely with writer Chris Anastassiades during the screenplay's evolution, it was only
natural that these locations were reflected in the final script. In turn, the Yothu Yindi
Foundation were closely associated with the production from the outset.
    Galarrwuy Yunupingu and his brother Mandawuy Yunupingu, lead singer and
songwriter of Yothu Yindi are associate producers of YOLNGU BOY. Both were on-
set throughout production to ensure that cultural issues were dealt with equanimity,
resulting in a total collaboration between the crew and the families of the region.



                                                                                      16
         The locale chosen to represent the boys' community was Yirrkala, a coastal
town on the Gove Peninsula in Nhulunbuy and home to the Yunupingu family. With a
population of 800 Yolngu people, Yirrkala also serves as a resource center for a
further 800 people who live in small family-oriented out-stations in the region.
     Initially, the mechanics of filming in Nhulunbuy proved awkward. The unit trucks
had to be brought into Gove Harbor by barge, staggered over a two-week period to
accommodate the level of equipment required. Even travelling overland through Gove
was tricky with delicate lighting equipment shattering as it rattled over the corrugated
roads.
    Involving the local community throughout the shoot was a top priority, as
production designer Sarah Stollman explained. "Wherever feasible props were crafted
by the people of Yirrkala - partly for authenticity but also to ensure their happiness
with the project.    There were many instances where we had to call upon their
knowledge, particularly as there were no reference points for the items we required.
Most of our research was in the field."
    Even so, finding a person with the knowledge didn't always mean the problem was
solved, as there was film time...and Yolngu time. Despite the best efforts of the crew
it wasn't always possible to convey the urgency of keeping to schedule -- especially
crucial for a shoot on a stringent budget. "They have no concept of time," laughed
Johnson.    "They just don't care about it.    I suppose our tendency to agonize over
deadlines must seem strange to a culture that's been in existence for more than fifty
thousand years.     You must also appreciate that the concept of what's involved in
making a movie is totally alien to them, but I have to say that the women are just
amazing. They just get things done and the local ladies helped the art department
produce many of the items we needed."         The large paintings required for the scene
where an out-of-control Botj stumbles through the church before setting the
community center ablaze, were a prime example, being executed by two local artists,
Gaymala and Bundaman.      Props such as Lorrpu's Banyan rope would also have been
virtually impossible to create without local help.   It's one thing knowing that such a
rope is made from the vines of the Banyan tree but attempting to craft one without
the right technique would have been futile. Likewise with `Gappan,' worn at times by
Lorrpu throughout the boys' trek.     Derived from the soil and mixed with water to
obtain the right consistency, Gappan is a clay-like substance that varies from
community to community but in the hands of a novice could resemble a mud pie.
      Aside from the challenge of reconciling the two cultures in terms of time, the
relative isolation of many of the shoot's key locations necessitated careful planning.



                                                                                     17
"From my point of view," said Stollman, "it's a matter of being ultra-prepared as once
you're here it's very difficult to pop over to the hardware store for the various things
that you need."
     Costume designer Jill Johanson was intrigued to discover how strong an influence
American culture was amongst Yolngu teenagers. "They really favor a `homeboy' look.
They're no different in that respect to teenage kids in Melbourne or Sydney.          We
dressed Lorrpu in that style but not Botj, whose clothes tended to be worn and not at
all stylish. Milika, on the other hand, is very much the `footy' fan so we just dressed
him in football shorts."   Johanson was also mindful of maintaining visual continuity
between the teenage Botj, Lorrpu and Milika and their nine-year old selves, whom the
crew fondly nicknamed `Baby Botj', `Little Lorrpu' and `Minnie Milika.' It was important
that each child was easily identifiable as the younger version of the older boy, so the
same style was kept for all three.
    One of Johanson's greatest challenges was authentically recreating the traditional
garb donned by Lorrpu during the boys' journey to Darwin.        "We had to make what
was originally scripted as a paperbark loincloth but it was quite a process discovering
that the correct term for the garment was a `dhirrithirri'. Just prior to my first attempt
at making it, somebody suggested that I speak with Gaymala (one of the artists who
executed the paintings). So, I asked her whether she could help us find paperbark for
the waistband and her response was, `No, no, no!       You don't use paperbark, oh my
God no,' and she took charge of the matter from there. The waistband must be made
from the inner bark of a tree with red flowers that needs to be broken down into
string so that it can then be braided into a rope.     The pieces that form the actual
loincloth come from the middle section of the bark of the Banyan tree.           Gaymala
showed us how to remove the bark so that it could be beaten, soaked and then
formed into something that you can actually make clothes from, which was just
fantastic. But the first day that Sebbie wore the dhirrithirri, it had completely dried
by the next morning and resembled a piece of petrified wood. We were aghast, as we
had no idea how to restore the moisture. Fortunately, another lady who had helped
to craft it happened by, and told us to keep it in a bucket of water, which solved the
problem."
      Painting the body of Mangatjay Yunupingu who played the `Maralitja Man' also
posed a dilemma. For the Gumatj people, Maralitja Man is the spirit person who guides
one through life, until upon death that person becomes a Maralitja Man in turn. There
are certain patterns that are not to be filmed as they are only intended for the people
whose dreaming they belong to.       Therefore designs were needed that would appear



                                                                                       18
similar to an unpracticed eye. Galarrwuy Yunupingu's nieces took charge. A diamond
design representing `Baru' (the crocodile and the boys' totem) was adopted. However,
replication was forbidden by the crew's make-up artist.
           At times, it appeared that the spirits were casting a benign eye over the
production. At the start of the boys' journey, the anchor of their canoe is grabbed by
a huge manta ray, causing them to be towed across the sea; an episode based on an
actual event.     In preparation for the scene, Johnson conducted an aerial survey of
the designated location. "We're in the air and all day I'd been wishing for a manta ray
to appear," he recounted. "We couldn't afford to build an elaborate replica, so I was
hoping for a quick shot of one to insert in the sequence. Suddenly, our camera
assistant shouts, `manta ray,' and I said, `bullshit!' Then I looked out of the window
and screamed, `manta ray!' Then the pilot yells, `manta ray!' We're all seeing manta
rays -- left, right -- and before we knew it there were seven, each about fifteen feet
across, heading for the bay where we were filming. It was as though they had come
to say good-bye.      The manta ray is a very powerful spirit -- they even have their
own dance -- so we maneuvered the helicopter and filmed them cavorting. It was a
very cathartic moment."
      Having just completed a stint on Mission Impossible II, YOLNGU BOY provided
director of photography Brad Shields with a 360 degree turnaround. "I've worked on a
lot of big budget American movies," he mused,            "but this has been an entirely
different experience. People have been totally committed to this feature for six years
and have taken enormous personal risks to see it made.             That alone makes you
appreciate that every day of the shoot is unique as we're not going to live that day
again. We don't have the luxury of being able to film endlessly which is actually very
exciting.    Plus we have three fantastic boys who have taken to acting unbelievably
quickly.    From a professional viewpoint it's also great to work with such magnificent
terrain.    The look of the film has been on Stephen's mind from day one.         His chief
directive was to `treat the country as a character' as he wanted a Yolngu perspective
on everything to instill the sense that the country is watching the boys."
    "I've always wanted to photograph YOLNGU BOY to reflect what the human eye
would see," added Johnson.       "I'm not into still shots because life is neither still nor
straight. I also want to assault the audience with some very powerful imagery which
just comes out of left field."
     With this in mind, Shields and Johnson opted for wide-angle lenses in preference
to long lenses for much of the boys' journey, even for close-ups.




                                                                                         19
      The scenes depicting the men's camp were predominantly lit with a big fire,
exaggerated by the use of heat bars and deflected Tungsten lights. Kodak Vision 500
was the favored stock for the night-time shots, whereas Kodak 5248 was generally
utilized during the day.
     Johnson's desire to represent the land as a vibrant entity extended to the film's
soundtrack.     "It too serves to heighten one's sense of the land," he enthused.     "I
want the audience to feel that the land lives and breathes like we do. We come from
the land and eventually return, which is the Yolngu way of thinking and a philosophy
that I share.     Musically, we've tried to create a situation that suggests a struggle
between the old and the new in much the same way that most Aboriginal kids are
being pulled in two different directions."
         Every time the production ventured near water -- which constituted much of
the shoot -- a crocodile marksman was on standby.             "One immediate problem,"
explained Glenn, "was working alongside crocodiles. They're very difficult creatures to
deal with, as nobody knows a hell of a lot about them."
     Luckily, there were no major incidents although everyone was very mindful of
their presence, particularly during the recreation of the turtle hunt.
       As children, Lorrpu, Botj and Milika fantasize about emulating their ancestral
hunters by harpooning a turtle. For Lorrpu, the dream is still alive but Botj and Milika
have long relegated it to the past...or so they think.    Stumbling across a crocodile
poacher's camp -- an abhorrent sight as the crocodile (Baru) is their totem ­ they
release all the imprisoned baby crocs and help themselves to the poacher's boat. Out
at sea they sight an enormous turtle and for one glorious moment their problems
dissolve as they successfully relive their childhood quest.
     To recreate this adventure, turtle specialist Professor Rod Kennett manifested a
program whereby eight members of the crew were dispatched to a remote beach to
gather turtles.     Under his supervision, they captured the creatures at night and
carefully transported them to the intended location to be penned in readiness for their
big moment.       The turtles were then tethered in the water and filmed as they were
released. As only nesting turtles venture onto the beach, all participants were female,
aged between fifty and eighty years old.
     Renowned underwater cinematographer George Greenough shot the scene. Over
four days Greenough and underwater cameraman Scott Welsh filmed the turtles using
Greenough's specially designed cameras; half the size of those generally employed for
underwater shoots. Thanks to the diminutive equipment, the team was able to take




                                                                                     20
intimate shots of the turtles, which would have been impossible with bulkier cameras.
As with most of the shoot, Kodak 5248 was the favored stock.
       Near the end of their journey, the boys reach an imposing cliff overlooking a
beach, which they clamber down to indulge in a jubilant swim. Lightning Dreaming on
the edge of the Arnhem Land escarpment at Twin Falls was the location selected.
     "We had Sean, Sebbie and Nathan dropped off on Lightning Dreaming which took
months of negotiations with all the elders before it could even be considered,"
recollected Johnson.    "There were choppers and safety officers landing the boys on
the ridge and mountaineers taking them into location on the edge of the cliff and all of
these sorts of things. That's big stuff for a low budget film and if not for the fabulous
crew, the good pilots and the people I've worked with here for years, it would have
been impossible, particularly as it was three hours in and three out with the final
access by water."      Not that the crew were fussed. "It's the first time I've had to
swim to work," joked Brad Shields.      "As everything was transported via canoe, we
reduced our numbers. Even so there wasn't room onboard for everyone so some of us
swam, but those of us that did were very happy to be on-set that day!"
    Filming was completed on November 5, 1999. Despite obstacles that many would
have considered insurmountable, Johnson was philosophical about the marathon effort
involved.   "Creatively realizing our objective given the budget and inaccessibility of
most of the locations has been bloody hard," he admitted, "but we've managed. Both
Patricia and Gordon have been terribly supportive and Chris Anastassiades was always
there, ready to discuss ideas for the script, even if it was 1.00am. But it's Patricia
Edgar who has made my vision a reality. She's just an incredible woman who has not
only backed me every step of the way, but has shared my dream from the outset.
Unfortunately the majority of Australians live in cities and subsequently their exposure
to Aboriginal culture is practically non-existent. I want audiences to be entertained
but I also want them to leave the cinema feeling that these people are not that unlike
themselves. The fact that they're black and live here and adhere to certain cultural
beliefs is no big deal. They listen to the same music, wear the same clothes and have
dreams like anybody else. These guys have something extra special in their lives that
occasionally they have problems dealing with because of all the other pressures laid
upon them.    I'm hoping that YOLNGU BOY will break down a barrier and just make
people think before they assume."




                                                                                      21
THE AUSTRALIAN CHILDREN'S TELEVISION FOUNDATION
    The Australian Children's Television Foundation (ACTF) was established in 1982 to
help improve the production environment and to make a significant difference to
children's programming in Australia.     For more than a decade the ACTF has
demonstrated just how much can be achieved, proving that entertainment and
education can go hand in hand.
      The ACTF has produced over 150 hours worth of programs that have won 65
national and international awards (including an Emmy Award, the Prix Jeunesse and a
Japan Prize) and have been sold to over 100 countries. In Australia alone their shows
have received 14 Australian Film Institute (AFI) nominations which have resulted in 5
awards.
    Their production slate includes the following series; Winners, Kaboodle (series 1 &
2), Touch The Sun, Round The Twist (series 1 & 2), The Greatest Tune On Earth,
More Winners, Seen But Not Heard, the Sky Trackers (series and tele-movie), Lift Off
(series 1 & 2), The Genie From Down Under (series 1 & 2), Li'L Elvis Jones and the
Truckstoppers and The Crash Zone plus the documentaries, Songs of Innocence and
First Day.


YOTHU YINDI and THE YOTHU YINDI FOUNDATION
      `Yothu Yindi' is a Yolngu term describing a relationship system understood and
practiced by people in an area stretching over 90,000 square kilometers of north-east
Arnhem Land. The system involves people from Manangrida in the west, to Yirrkala in
the east, to the Roper River in the south and includes people on Groote Island and the
Wessels group of islands. Those people who are part of this kinship system refer to
themselves as `Yolngu.'
    Yothu Yindi is also the name of a well-known Australian rock and roll band. They
are a contemporary cultural voice of the Yolngu community, and a band with a
philosophy, which is to promote balance and mutual respect between the inhabitants
of Australia.   They combined the ancient song cycles of north-east Arnhem Land
featuring such traditional instruments as the `bilma' and `yidaki' and juxtaposed them
with western pop sounds to present a true musical meeting of two diverse cultures.
They also took traditional Yolngu dances -- describing the behavior of crocodiles,
wallabies and the fauna of their homelands -- and worked them into the context of
contemporary performance.
     In association with the band, the Yothu Yindi Foundation Aboriginal Corporation
was established by Yolngu community leaders and persons of authority from five of


                                                                                    22
the clan groups in the region - the Gumatj, Rirratjingu, Djapu, Galpu and Wanguri.
Broadly, its aims are to support and further the maintenance, development, teachings
and enterprise potential of Yolngu cultural life and to actively seek the resources and
facilities for these to be realized.   It aims to provide such cultural services for the
communities at Yirrkala, Gunyangara and the surrounding homeland centers.



ABOUT THE CAST
SEAN MUNUNGGURR (Botj)
     With an air that invites comparisons to a young Marlon Brando, Sean comes from
the small community of Gapuwiyak in the Northern Territory where his mother is
principal of the local school. A true Yolngu boy, Sean is not the first member of his
family to face the cameras.        Both his parents have appeared in several movies,
including the acclaimed SBS Television series, Children of the Sun.
    At just fifteen, Sean possesses an incredible knowledge of Yolngu culture and has
taken part in many of the ceremonies and songs that have been upheld through
countless generations. Indeed, his fine singing voice was put to good use throughout
filming as he sang the `songlines' - an ancient belief which can in its broadest sense
be interpreted as `finding your way through the land by singing about it.'     However,
like most teenage boys he loves movies, girls and music, citing rap artist Tupac as
one of his favorite singers.
     Sean would like to keep acting, but after the months of study, work and
separation from his family necessitated by the making of YOLNGU BOY, he was
longing for his home...and rest!


JOHN SEBASTIAN (SEBBIE) PILAKUI (Lorrpu)
       Home for Sebbie is the town of Nguiiu on Bathurst Island, which boasts a
population of approximately 1,200 people and is the Tiwi Islands' largest community.
He currently attends Xavier College, one of town's secondary schools, and in his spare
time enjoys all the trappings of Western culture but like most Tiwi kids regularly goes
bush with his family.
     For a boy who had always yearned to be an actor, portraying `Lorrpu' was the
fulfillment of a lifelong aspiration. Indeed, the ability to follow a dream was something
that Sebbie shared with his on-screen character.
     As with Sean and Nathan's parents, Sebbie's mother and father were proud that
their son had been chosen to star in a `Balanda' movie -- despite initial concerns that



                                                                                      23
his education might suffer; a notion that was appeased with the appointment of a
full-time tutor for the duration of the shoot.
     Coincidentally, Sebbie shares a distant kinship with Nathan Daniels who portrays
`Milika' although both had met only once before. Sebbie would like to keep acting, but
like Sean, was looking forward to home and a well-deserved break.


NATHAN DANIELS (Milika)
     "When it comes to women, he's thinks he's the greatest," joked director Stephen
Johnson of Nathan Daniels who plays `Milika.' Blessed with a dazzling smile and charm
to spare, fifteen-year old Nathan nearly missed the final auditions, opting instead to
go hunting with his father.
    Nathan comes from the small village of Milikapiti situated on the north-western tip
of Melville Island, one of the two islands that constitute the Tiwi Islands.   Although
his immediate family live in Milikapiti, he also has many relatives throughout the Tiwi
islands, including the larger town of Nguiu where he attends St. John's boarding
school.
      In common with `Milika,' his movie alter-ego, Nathan is a gifted football player
who loves music, Bon Jovi and girls - but not necessarily in that order. He enjoyed
making YOLNGU BOY but like any normal teenager hopes that his friends won't laugh
too much when they see him on the big screen...!



ABOUT THE CREW
STEPHEN JOHNSON (Director/Executive Producer)
      A seasoned traveler by the time he took his first steps, Johnson was born in
England but spent his early years in the Bahamas before his family moved to Africa.
From Africa, the Johnson's traveled the globe, eventually landing in Australia where
they based themselves in the Northern Territory.
     Johnson's formative years were spent in Darwin, where his father was a senior
teacher at Kormilda College, a secondary school for Aboriginal students.       Given his
culturally eclectic childhood, he relished the chance to mix with the local Yolngu
people and in the process made many life-long friends.
     Following a stint in London where he studied acting and trained as a cameraman,
he returned to Darwin in 1990, intent on one day making a movie that would
encourage people to appreciate the cultural wealth of the Aboriginal race and the
untamed beauty of the Northern Territory terrain.



                                                                                     24
       Establishing the Darwin-based production company, Burrundi Pictures, Johnson's
cinematic ability and close relationships within the Yolngu community led him to direct
most of Yothu Yindi's music clips. He also directed the acclaimed special Tribal Voice,
on the life of his good friend, and Yothu Yindi lead singer/songwriter, Mandawuy
Yunupingu.
    In addition to an extensive portfolio of corporate documentaries, commercials and
music videos, Johnson has enjoyed a six-year relationship with the Australian
Children's Television Foundation that commenced when he directed a feature
documentary for their series, Lift Off 2. In recent times he has directed episodes of
The Genie From Down Under and Crash for the ACTF.                    His association with the
Foundation ultimately led to the making of YOLNGU BOY.


DR. PATRICIA EDGAR (Executive Producer/Producer)
    Dr. Edgar has long been at the forefront in the development of children's
television in Australia.     Her exceptional contribution to children's education via the
medium of television is nothing short of inspirational.
    She holds a BA and a BEd from the University of Melbourne, a Master of Arts from
Stanford University and a Ph.D. from La Trobe University where she was appointed in
1970    as   the   first   Chairperson   of   the   Center   for   the   Study   of   Educational
Communication and Media. She is also the author of seven books.
    The Victorian Task Force Director for the establishment of the Australian
Children's Television Foundation in the early eighties, Dr. Edgar became the
Foundation's director upon its incorporation in 1982. Prior to accepting that position,
she was the first chairperson of the Children's Program Committee, an advisory
committee to the Australian Broadcasting Tribunal on children's television.                  Her
expertise has also seen her serve on a number of film/media related government
committees and from 1988 until 1995 she was deputy chairman of the Australian Film
Finance Corporation Limited.
       As director of the ACTF, Dr. Edgar has been the responsible producer for the
Foundation's award-winning $85 million production slate that has seen its programs
sold to 101 countries. In 1995 she also conceived and hosted the first World Summit
on Television and Children; a seminal event involving 637 delegates from 71 countries
that led to like international forums.         The Third World Summit on Television for
Children will take place in Athens in 2001.
       In 1986 Dr. Edgar was made a Member of the General Division of the Order of
Australia for services to children's television and the media and in 1992 received the



                                                                                              25
Award of the Archbishop of Sydney Citation on World Communications.          Additional
local and international honors have followed, including the Australian College of
Education Medal in 1998 for her outstanding contribution to education through the
medium of television.


GORDON GLENN (Producer)
    Glenn has been active on the local film scene since the early seventies. His long-
term association with the ACTF, extensive experience as a producer, writer and
director and `hands-on' approach, made him a valuable member of the team behind
YOLNGU BOY.
     Glenn first met Stephen Johnson whilst directing the ACTF's documentary, First
Day, which he also wrote and co-produced. The program presented children across
Australia as they experienced their initial taste of school and won several awards both
locally and abroad. First Day was one of several projects undertaken by Glenn that
presented events through a child's perspective, as was Songs of Innocence - A Child's
View of Family Life, which he co-produced with Dr. Patricia Edgar in addition to
writing and directing. Celia, the internationally acclaimed 1988 feature co-produced
by Glenn, also explored a dramatic issue through the eyes of a child and received two
AFI nominations.
    For television, Glenn has directed the tele-movie, Just Us, and the award-winning
drama Anna, which he wrote and co-produced. He has also directed a slew of award-
winning commercials and has served as an AFI Judge on two occasions. Recently he
produced and directed The Never Too Late Show for SBS Television and Artists
Services; a ten-part adult literacy series.
    Glenn currently has several feature projects in development.


GALARRWUY YUNUPINGU (Associate Producer)
    Galarrwuy Yunupingu, A.M., is an elder of the Gumatj clan at Yirrkala on the Gove
Peninsula and a prominent leader in the Northern Territory. He is the Chairman of the
Northern Land Council and has served on many government and community
committees and industry boards. In 1978 he was honored as `Australian of the Year'
and in 1985 was made a Member of the Order of Australia for his services to the
Aboriginal community.


MANDAWUY YUNUPINGU (Associate Producer)



                                                                                    26
      Mandawuy Yunupingu is the lead singer and songwriter of Yothu Yindi and a
member of the Gumatj people.
    In 1992, Mandawuy followed in his brother's footsteps by being named `Australian
of the Year' in recognition of his commitment to forge greater understanding between
Aboriginal and non-Aboriginal Australians and because of his burgeoning role as an
ambassador for all Australians.
    He is also the principal of the Yirrkala Community School and in 1989 implemented
a radical both-ways curriculum that combined Balanda (European) and Yolngu
(Aboriginal) educational processes, designed to present students with the best
aspects of both cultures.


CHRIS ANASTASSIADES (Writer)
   Anastassiades has often been content to work behind the scenes, but his
outstanding ability as a writer has been responsible for many an industry success.
     For television he has penned scripts for GP, Acropolis Now, Lift Off 2, Li'l Elvis
Jones, Shark Bay, Round the Twist 3, Halfway Across the Galazy and Turn Left and
The Col'n Carpenter Show. He has also served as script/story editor on many other
programs from the popular TV series' Flying Doctors, Acropolis Now (Series 3,4, & 5)
and Shark Bay to the short feature, Five Easy Pizzas.
     Theatrically, he has co-written Legends, Acropolis Now, Lift Off Live and Effie
Exposed, the hilarious one-woman show for comedienne Mary Coustas.
     In marked contrast to the dramatic issues explored in            YOLNGU BOY,
Anastassiades' comedic flair was recently showcased in the big-screen feature The
Wogboy, which he co-wrote with actor/comedian, Nick Giannopoulos.


BRAD SHIELDS (Director of Photography)
    With over twenty years behind the camera, Shields brings a wealth of experience
and a keen eye to YOLNGU BOY. Trained in the USA, Shields has worked both locally
and abroad and first met director Stephen Johnson some five years earlier when both
filmed a series of Northern Territory commercials that focused on domestic violence.
    Shields has more than 1,000 commercials to his credit and has lent his expertise
to numerous features from The Crossing, Beyond Rangoon, Street Fighter, Dumbo
Drop, The Island of Dr. Moreau and The Phantom to The Thin Red Line.                 His
assignment prior to YOLNGU BOY was the action blockbuster, Mission Impossible II,
for which he took charge of second unit photography.
   YOLNGU BOY marks his debut feature as director of photography.


                                                                                       27
KEN SALLOWS (Editor)
    With a resume replete with innumerable screen highlights and awards from
Australia's film industry, Sallows commenced as a script assistant with Crawford
Productions; the first step in a career that has seen him emerge as one of the
country's finest editors.
    Over the past decade, Sallows had edited Malcolm, Rikky And Pete, Celia, Return
Home, Isabelle Eberhardt, Proof, That Eye The Sky, Love And Other Catastrophes,
True Love And Chaos, Doing Time For Patsy Cline, Crackers, The Missing, Strange
Planet, Strange Fits of Passion and the soon to be released Chopper, based on the life
of notorious underworld figure, Mark `Chopper' Read.      His credits also include a broad
range of documentaries, television series' and shorts.



SARAH STOLLMAN (Production Designer)
    Raised in Chicago, Stollman was born in Columbus, Ohio, USA.
       After graduating from Washington University with a BA in Architecture, she
relocated to New York.      An early career in architecture and design preceded her
involvement in the film industry.      After switching vocations Stollman worked on
features such as John Hughes' Serial Mom, Todd Haynes' Poison, Alan J. Pakula's The
Pelican Brief and The Unbelievable Truth, directed by indie filmmaker Hal Hartley. She
also took charge of art direction on the Moscow-based production of Mad Dog Coll.
     Since moving to Australia, Stollman has continued