Nine media projects receive Latino Public Broadcasting funding

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James Dean, on location in the summer of 1955 in Marfa, Texas, for production the epic film Giant, relaxes with two local children who were extras, Roberto Marquez, left, and Jose Luis Vasquez. The documentary Children of Giant just received a grant from Latino Public Broadcasting. (Photo: Richard C. Miller)

Each year LPB invites independent filmmakers to submit broadcast and new-media proposals in various stages of development, which are reviewed by a group of public television professionals, station programmers, independent filmmakers, academics and executives from funding organizations. Individual grants range from $10,000 to $100,000.

Selected during this round: America by the Numbers, Anchor/Executive Producer Maria Hinojosa, examining demographic changes nationwide; Children of Giant, Producer/Director Hector Galán, about how production of the epic film affected race relations in Marfa, Texas (photo, left) ; La Batalla, Producer/Director Myléne Moreno, on the Latino experience during and after the Vietnam conflict; Now En Español, Producer/Director Andrea Meller, a look at five women who dub the ABC primetime soap Desperate Housewives into Spanish for American audiences; Ruben Salazar: Man in the Middle, Producer/Director Phillip Rodriguez, about the life and mysterious 1970 death of a crusading Los Angeles journalist; Siqueiros: Walls of Passion, Producer/Director Lorena Manriquez, a film and new media project about Mexican muralist David Alfaro Siqueiros; Immigrant Nation, Director Theo Rigby, eight six-minute webisodes using narratives to personalize the immigrant experience; The Undocumented, Producer/Director Marco Williams, a bilingual online educational resource incorporating a map and “Migrant Trail” game; and Timeless in Oaxaca, Producer/Director Yolanda Cruz, an eight-minute webisode about the adventures of a Zapotec grandfather visiting his granddaughter.

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  • HI, this is great.Tom Andre, Production Manager for this movie Giant, was my grandfather. He came to visit us, his grandchildren, after it was over. San Miguel Allende was South of Marfa, Texas.

    Tom Andre, production manager, had a big job keeping track of James Dean during the filming. Per my Dad, Tom Andre III and grandfather, James was forbidden to use his car or drive during the movie for having gone missing during filming.

  • The picture of cameraman on the ship is my grandfather, Tom Andre II.