Agana’s daughter, Marita, had a short-lived stint in the Philippine movies as “Tessie Agana Jr.” Marita appeared in For You Mama, 1970, with Gloria Romero and Luis Gonzales, and in Elizabeth, 1971. She also portrayed the young Irene Marcos in Pinagbuklod ng Langit (Joined by Heaven), 1969, and was one of the children in Lino Brocka’s Wanted: Perfect Mother, 1970. He has portrayed a variety of roles: a hippie in Beatnik, 1960; a Western gunfighter who challenges Dolphy to a duel in Barilan Sa Baboy-Koral (Gunfight at Pig’s Corral) and the devil, Lucifer, in Si Lucio at Si Miguel (Lucio and Miguel), 1962; and a wacky private sleuth in Detective Kalog and a fierce tribal chieftain in Tansan vs. Their siblings, Gabriel and Marita, work as model makers. All, except Ang Klon, have won awards in short-film festivals of the Experimental Cinema of the Philippines (ECP) and the Cultural Center of the Philippines (CCP). She played her first lead role in Jingy, 1967, opposite Fernando Poe Jr. He was married to Ester Hugo with whom he has seven children.

Agana received the Maria Clara Award as best child actress of the year for her dual role performance in Eddie Romero ’s Prinsesa at Pulubi, 1951, an adaptation of the famous classic, The Prince and the Pauper. By the time she appeared in the remake of Cofradia, 1973, in the role popularized by Gloria Romero in 1953, Alajar was already a Sampaguita contract star. His parents are actor Etang Discher and businessman Igmedio Tagle. Tarsan, 1963; Panchito has also appeared on television, as a regular co-host of Dolphy in the long-running Buhay Artista in the 1960s, and as guest actor in many other shows. The Alcazaren brothers have made eight animated films using clay: Hari (King), 1982; Headset and Huling Trip (Last Trip), 1983; Juan de la Cruz and Pagpula (Becoming Red), 1984; Ang Klon (The Clone), 1985; and C. In 1992 Juan exhibited his metal sculptures at the CCP Small Gallery. Among her later notable performances was in the film directed by Behn Cervantes, Sakada (Seasonal Cane Worker), 1976. Alvarado played his first bit role in Halik sa Bandila (A Kiss to the Flag), 1948, and his first starring role in Alyas Chain Gang (Alias Chain Gang), 1967.

Within the span of 55 years that he worked in Philippine movies, Accion was cinematographer to the best film directors in the industry, including Gregorio Fernandez, Eddie Romero, Lamberto V. He worked on such films as No Place To Hide, 1955; Kundiman ng Lahi (Kundiman of the Race) and Surrender, Hell, 1959; Blackburn’s Guerillas and Cry Freedom, 1960; Tagumpay ng Mahirap (The Diosdado Macapagal Story), 1964; Ibulong Mo Sa Hangin (Whisper in the Wind), 1967; Mariposang Dagat (Sea Butterfly), 1977; Sino’ng Pipigil Sa Pagpatak ng Ulan? Accion was elevated to the Filipino Academy of Movie Arts and Sciences (FAMAS) Hall of Fame for his pictures: Anak Dalita (The Ruins), 1956; Badjao and Walang Sugat (Not Wounded), 1957; El Filibusterismo (Subversion), 1962; and Ang Daigdig ng mga Api (World of the Oppressed), 1965.

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When not producing movies, they rent out their equipment to other filmmakers and conduct seminars and workshops for aspiring talents. His parents are Juan Abelardo, a scenic painter, and Cecilia Velayo, a designer of women’s costumes.

Aside from working in the movies as cinematographer and/or editor, Abaya also works as still photographer for commercial lay-outs and directs commercials for television. He studied at the University of the Philippines (UP) School of Fine Arts. Abelardo, brother to cinematographer Bayani Abelardo, and uncle to Ben Resella, art director of Sampaguita Pictures who later became a scenic artist in Hollywood.

After learning all that he could about film in London, Abaya returned to the Philippines to set up the family’s own movie production outfit, Cine Filipinas, Inc.

After two years of college in the University of Santo Tomas, he went to England and took up a diploma course in filmmaking at the London International Film School.

Organized as the Actors Workshop in 1983, it originally functioned as the education committee of the Katipunan ng mga Artista ng Pelikulang Pilipino (KAPP) aka Filipino Screen Actors Guild, conducting regular workshops for KAPP’s member- actors, professional extras, and bit players.

In May 1985, the Actors Workshop became a private foundation and opened its doors also to nonprofessional actors and other acting enthusiasts.

In March 1988, it set up a theater company which produced a play, Manly-linlang (Filipino adaptation of Norman, Is That You? The AWF is recognized by the Film Academy of the Philippines as an educational entity for its actors and is a member of the FAP Board of Governors. Her other movies include Mapuputing Kamay (The White Hands), Anak ng Espada (The Child of the Sword), Munting Koronel (Little Colonel), and Kerubin (Cherub). She married actor Miguel Anzures and together they appeared in several movies before the war. Her other prewar movies are: Mapait na Lihim (Bitter Secret), 1938, with Rosario Moreno; Pasang Krus (Bearing the Cross), 1939, with Corazon Noble and Rogelio de la Rosa; Gabay ng Magulang (A Parent’s Guide), 1939, with Yolanda Marquez; Walang Tahanan (No Place to Call Home), 1939, with Carlos Padilla Sr.; and Takip-Silim (Twilight), 1939, the picture that launched the famous love team of Carmen Rosales and Rogelio de la Rosa. She was part of the cast of Sebya, Mahal Kita (Sebya, I Love You), which started as a radio show over DZXL and was later made into a movie by LVN in 1957. She married actor Michael de Mesa with whom she has three sons. Alajar was only eight years old when she auditioned for Lea Productions ’ Kaibigan Ko ang Santo Niño (The Holy Infant is My Friend), 1967. He performed at the Orient Theater together with Pilita and Dolphy, among others, in 1945. and Rolinda Alcazaren, the two brothers finished elementary and high school at the Don Bosco Technical College.

She was under exclusive contract with Sampaguita and did not work for any other movie company except Alta Productions, the Agana firm which produced Kung Ako’y Maging Dalaga (When I Grow Up To Be A Lady), 1955. On television, she appeared as a mainstay in the sitcom, Si Tatang Kasi (Blame it on Father), 1970. She stood out from among close to 300 aspirants and won the title role opposite Roderick Paulate in the film. Goaded by Bayani Casimiro, he joined the movies and first appeared in Sa Isang Sulyap Mo, Tita (With One Glance From You, Tita), 1949. Miguel obtained his bachelor of arts degree in communication arts from the Ateneo de Manila University, while Juan earned his bachelor of science in landscape architecture at the University of the Philippines. Actor son, Jon Hernandez, died in a car accident in 1993.

He was documentary photographer for the Department of Public Information in 1974 and stillman for the American produciton Hit Woman in 1976. He married Maria Saret, who is also a movie director.

Abaya has won awards both for his work in film editing and cinematography. He was educated at San Miguel Elementary School in Bulacan and Manila High School.

His other movies that received nominations in the best- cinematography category are: Tanikala and Working Girls, Urian; Brutal, Moral, and Desire, MMFF; The Graduates, Pinulot Ka Lang sa Lupa (You Were Merely Plucked From the Earth), and Nagbabagang Luha (Blazing Tears), Film Academy of the Philippines (FAP) Awards; and Hari sa Hari, Lahi sa Lahi (King to King, Race to Race), Star Awards. To him have been attributed such awesome and wondrous cinematic effects as human princes turning into figures of stone and vice versa in Ibong Adarna (Adarna Bird), 1941; the fantastic floating castle in Prinsesang Basahan (The Princess in Rags), 1949; the biblical Red Sea parting at the stroke of a cane in Tungkod ni Moises (Moses’ Cane), 1952; handsome Jaime de la Rosa transformed into a horrifying bat creature in Taong Paniki (Bat Man), 1952; Bayani Casimiro dancing upside down from ceiling-to-wall-to-floor in Big Shot, 1956; and the terrifying giant reptile monster sowing havoc in Tuko Sa Madre Kakaw (Gecko at Madre Cacao), 1959. Francisco aka Botong Francisco for the production design of some films that he directed, among them: Haring Kobra (King Cobra), 1951, where a mythical Balinese country near the Philippines was created; and Higit sa Korona (Above the Crown), 1956, where the illusion of ancient Egypt provided the backdrop for the longest swordfight in local movie history. He finished high school at the University of Manila.