I had planned a series of interviews with outstanding film practitioners and had, by this time, already conducted limited Q&A sessions with Ishmael Bernal and Ricardo Lee. What intervened was my sudden return to university, for my second bachelor’s degree, in film. Needless to point out, I learned much less from the program (and some teachers I had had probably learned more) than from my interactions with practitioners; but other factors cropped up, from individual (the death of cinematographer Conrado Baltazar) to political (the people-power uprising that shut down the Experimental Cinema of the Philippines, which in effect had sponsored my studies). I had never gone over this article again since its original publication in the March-April 1984 issue of the Diliman Review (volume 32, issue 2, pp. 66-72); it sounded stiff then from being defensive about the choice of subject, and still does. I was gratified however to realize that the claims I made about the interviewee had only intensified through the decades, and that if I’d been fated to write about only one technical contributor, I could do worse than focus on the typically least-celebrated talent on most film projects. The original exchanges, which were conducted over several sessions at Ramon Reyes’s studio and home, were recorded by hand (ironic, considering the nature of Reyes’s craft, but he was not one to point that out); the notes have been lost, but I remember our speaking in Taglish and drafting the article accordingly, then deciding, with Reyes’s approval, on translating our conversations to English to dispense with the extensive translations.
If he had settled for security and stability, Ramon Reyes would not appear as imposing as he does now. South Asian features set in a six-foot frame, he confronts a career which has consistently resisted the efforts of his predecessors to draw forth some sense of importance, if not material well-being, from the star-blind business of movie-making. An impression of street-smart confidence rounds out an aura of intimidation, a trait the real character does not share: Reyes will be quick to point to himself as an epitome of his profession’s paradoxical nature. “The fact that producers reserve sound mixing for last among the phases of film production,” he growls, “implies that the process itself is indispensable. It’s the phase that finalizes every project, that in a sense prepares it for exhibition. Yet I still have to come across a film other than Mike de Leon’s which has a design for sound ready even at the pre-production stage.”
The voice derives a resonance not from volume but through a capacity to articulate with sound logic (pun intended). Close attention will eventually reveal, however, a modesty which would have disadvantaged most film aspirants who have only talent to fall back on. In spite of his attempts to draw attention to his profession instead of himself, Reyes can hardly help his propensity for perfection. Ten awards in a span of a little over seven years from four award-giving bodies, plus a special trophy intended as a commendation for collective technical excellence – no other track record remains as impressive so far in his or any other technical field of Philippine filmmaking. What makes the achievement extraordinary is not so much the ordinariness of the victor as the fact that no one who understands the import would begrudge him for it.
A Manileño from birth, Ramon Arevalo Reyes was a spark in the post-war baby boom which made possible the entrenchment of the star system in the 1960s and the emergence of movie patronage as a national distinction in the ’70s. The succession by Filipinos of nearby Taiwanese as the most movie-going people in the world, estimated for posterity by the latest edition of the Guinness Book of World Records (McWhirter) at almost twenty films per capita per annum, just about says all that needs to be told about the prevalence of the practice. And with the steady decline of the Filipino birth rate (ironically due in no small part to increased sexual awareness through films, which in turn has triggered off the social psyche’s conditioned conservatism as evidenced in family planning and anti-smut campaigns), filmmaking in the Philippines may revert to the purely commercial orientation of the late ’60s – minus the fanatic adulation afforded by a predominantly youthful population – unless an international market for local quality films be developed, or the high population growth rate returns.
The attendant demand for formal training Reyes admits would faze him. “Except for Amang Sanchez, I know of no other soundman who has taken up sound engineering. That’s why I insist on being credited for ‘sound’ instead of for ‘sound engineering.’” Reyes himself holds an Associate in Electronics, which he finished in 1965 at the University of the East after two years of preparation for his childhood aspiration, a B.S. in Mechanical Engineering. Prior to that, he had typical middle-class preparations comprising elementary schooling at San Sebastian College and intermediate schooling at Don Bosco Technical Institute, where he spent his free time tinkering with machine shop equipment.
Movies then he watched purely for entertainment, until Mike de Leon, already an LVN Studios busybody, approached Reyes’s father Luis, already a star soundman recently rewarded by the Filipino Academy of Movie Arts and Sciences for his work in Gerardo de Leon’s El Filibusterismo (1962), for a possible successor in the studio’s tradition of technical expertise. Although dynasticism was (and still remains) a feature of Philippine filmmaking, the elder Reyes refused responsibility for his son’s employment – more from a sense of propriety than self-preservation. Two other awards from regional festivals later, Luis Reyes shared his second Famas award with his son’s first for their work in Lino Brocka’s Maynila: Sa mga Kuko ng Liwanag (1975). The paternal team-up was to prove durable enough for a few more trophies for two consecutive years afterward – the first another Famas and the second an Urian from the Manunuri ng Pelikulang Pilipino for Itim (with Sebastian Sayson) and the third another Urian for Kung Mangarap Ka’t Magising, both by Mike de Leon, who has since defined a cycle in the Reyes line by retaining Ramon for all his succeeding projects. In 1979 the Reyeses worked on another Brocka film, Jaguar, which, like Maynila, was destined to capture the admiration of European critics in the early ’80s.
Yet for all his filial gratitude, Ramon Reyes would not encourage his children Carmelite, Lawrence, and Angelica, all under ten years of age, to work for film. “My success – if you could call it that – was due to a combination of luck and hard work, fifty-fifty. I would not want to have my kids take such big risks.” The family recently moved into a house of its own, after transferring several times from one residence to another, to a modest bungalow in Greenland subdivision in Cainta, Rizal. Reyes’ wife of twelve years, the former Virginia Alvarez, understands. She occasionally drops by LVN Studios, about an hour’s public-vehicle ride away from their place, to bring him some food or sometimes just keep him company. Consolation, however small, Reyes derives from realization that “other soundpersons are not paid well at all, especially when compared to movie workers in other fields.”
The Reyes household is always busy, accommodating an average of eight – residents, househelp, visitors, not to mention pets – at a time. The entrance leads to a living room which barely distinguishes itself from the adjacent dining room; this in turn leads to the garage, from which one could either cross the lawn back to the entrance or take a slightly longer route out through Sampaguita Road and back into the front gate. Ease of access is reinforced by the reassuring arrangement of available space as defined by cushions by the front door opposed by a hi-fidelity component rack built into book and record shelves, then by aquaria and aquatic equipment opposed by kitchen appliances in the dining room. Faced at thirty-seven with all this material evidence, Reyes would certainly feel left behind when compared with his would-have-been colleagues in engineering school. “I couldn’t even afford to sustain my fondness for raising goldfish,” he muses, brushing silver-streaked hair away from leaden-rimmed spectacles. “I simply discovered I could spend my leisure time on activities more appropriate to my profession.”
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The Once and Always Expert
Work for Ramon Reyes normally begins after lunch at the LVN sound studio and could proceed way into the night, to avoid the distraction caused by office transactions. While occupied last year with Oro, Plata, Mata, he often worked until morning with Peque Gallaga, whose first solo credit as director it was. Gallaga’s staid wife Madie, who line-produced the project for the Exeperimental Cinema of the Philippines, becomes uncharacteristically garrulous to praise the efforts Reyes expended on the film: “He would work with Peque like mad, sometimes insisting on perfecting what already seemed to us an acceptable soundtrack.” After a first print converted highbrow preview audiences from skepticism to acclamation, Reyes and Gallaga, in typical celebratory form, retreated into the cold gloom of the LVN sound studio to remix certain portions of the film, including the entire first and last reels.
It was the subtly improved soundtrack of snatches of dialogue floating more distinctly above the din of party chatter in the opening sequence that dispelled the only major complaint against Reyes’s work in Oro, Plata, Mata during the Urian deliberations. For what may stand an the most outstanding achievement ever – luxuriance and evocation in eight channels, instead of the already extravagant four – in sound engineering in local cinema, Reyes won his latest Urian as well as the Film Academy of the Philippines awards. As further evidence, however, that his work was no fluke, Reyes’ closest competitor would have been himself, for his work in Mike de Leon’s Batch ’81 where, in contrast with that of Oro, Plata, Mata, the use of sound observed austere prescriptions so as to epitomize the disembodiment of the characters from the rest of their social environment.
Reyes’s latest Urian trophy means a lot more to him than just another acknowledgment of a job well done: “My colleagues have been teasing me about winning the Urian only for films directed by Mike de Leon. This time I managed to somehow prove that I could outdo myself regardless of my familiarity with the filmmaker.” The Oro, Plata, Mata soundtrack Reyes recalls as a “very complicated effort, involving various mixing levels.” For one thing, he points out, the clarity of dialogue depended upon the purpose of the scene – meaning that dialogue may be either distinct, as in the intimate scenes, or almost drowned out, as in the party, outdoor, or massacre scenes. Sound effects, for another thing, had to be carefully filtered so as to avoid conflicts of purpose. The country-house generator, for example, had to sound practically subliminal so as not to intrude in the depiction of activity at the rural estate, while on the other hand the burning fields had to sound cacophonic so as to contrast with the stillness of the forest retreat in the next scene.
Behind Reyes’s exploit in Oro, Plata, Mata lies the experience of what he remembers as “learning almost purely from practice” – by his calculation, more than eighty field recordings and three hundred sound engineering work for films since his first credit, Romy Villaflor’s Assignment: Hongkong, in 1965; a more immediate predecessor in his use of naturalistic sound effects would be his then year-old output in Laurice Guillen’s Salome. “I used to work on about fifty films a year until Magna Tech Omni emerged as a major competitor in 1977, after which I could do only about thirty, sometimes as few as twenty, a year. Since sound mixing for film is my bread and butter, I don’t have the option of choosing whether I want to work on a given project or not; but at least one good project a year will compensate for all the mediocre ones.”
Reyes prefers to work on “relatively quiet” undertakings like Mike de Leon’s Itim and Kisapmata (1981), since these would be both creatively challenging yet “easy to work on, without the need to experiment with unnecessary sounds.” When the project bears more noise than promise, however, Reyes tries to sustain himself as far as the film would allow him to. “The advantage here is that the producers of such projects would not take the artistic side seriously, so they pay attention only to the earlier portions of the film. If my inspiration doesn’t last until the end, neither would their interest anyway. Usually we wind up impressed with each other, they in my efficiency and I in their carelessness.”
Although fluent in the abstractions pertaining to his profession, Reyes allows instinct to influence his performance. “Normally I allow an equal ratio between instinct and routine. But the more challenging the project, the more I tend to rely on instinct.” Contrary to logical expectations, he resorts to routine only when a “quantity, as opposed to quality,” project imposes purely professional, as opposed to artistic, demands, especially in terms of deadline. “You wouldn’t believe how some producers think post-production can be accomplished within one week but sometimes I get notices to finish my work in three days. In which case I’d barely have time to concentrate on quality, much less allow for inspiration.”
Before working on an artistically difficult project, Reyes would allow himself a whole day of rest. This he more often than not realizes through staying at home and listening to music. His stereo component system, an ingenious combination of old-fashioned speakers and contemporary hardware set in space-saving set-ups, provides him with all the fidelity he requires. Reyes believes in serious music as an extender of sound appreciation, and goes at the moment for the aural sensualities in old-time jazz and futuristic renditions of classics ranging from Bach to Wagner.
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“Music,” Ramon Reyes maintains while playing Tomita’s synthesizer version of Debussy’s “Clair de Lune” (from the Suite bergamasque), “is just another form of sound.” Reyes is beyond the assertion of the superiority of his element as justification for the existence of his profession; in fact he believes in the functional subordination of film sound to action. “During fight or chase scenes I avoid the use of music as much as possible. If it has to, music can come in more effectively before or after the action.” Indeed the current crop of progressive film musicians has been able to harmonize well with Reyes when it comes to projects they work on together – proof of which resides in the regularity with which a particular musician would win an award in the same film Reyes wins for. Among the aforementioned scorers would be Ryan Cayabyab, Lorrie Ilustre, Lutgardo Labad, Jun Latonio, Winston Raval/Vanishing Tribe, and foremost of all Max Jocson, whose efforts for de Leon’s Itim and Brocka’s Cain at Abel and Maynila can be taken as textbook samples of the unobtrusive deployment of film music.
In so far as the Urian, the award which ensconced Reyes as the best craftsperson in his field, is concerned, Reyes says: “The criterion the critics use for sound is correct.” Said criterion goes: Sound in a film is effective if dialogue, music, sound effects, and silence are vividly reproduced and are creatively orchestrated. “I would prefer, however, that artistic approach be given more weight.” A preferable direction lies in the integration of art and technique as presumed in the criterion stipulated by the MPP for music, thus: Music in a film is considered effective if it underscores meaning, heightens mood and emotion, helps define character, and reinforces the rhythm and pace of the film. Replacement of the word music with sound, however, would result in an ambiguity brought about by the differences between organized and disorganized sound. Hence a more ideal criterion would have the latter starting out as sound, particularly the use of dialogue, music, sound effects, and silence – granting, of course, that such a conception would be comprehensible for the average industry practitioner. “In itself,” Reyes concedes, “the existing criterion is already too advanced for second-rate associates. One time I argued with a producer over as basic a technicality as perspective. He refused to consider the possibility that the volume of dialogue may diminish when the speaker moves to a distance or out of the frame.”
In any case, the resolution of the conflict between style and substance in sound engineering could then facilitate concentration on more advanced theoretical issues, among which the pre-eminence of original sound over artificial sound Reyes would propound as his favorite crusade: “The reputation of movie soundpersons suffered with the emergence of the sound studio. I used to disagree with my father over the limitations of dubbing, but now I realize that I wouldn’t mind sacrificing clarity for ambience and perspective anytime.” The technical clean-up assured by the availability of the sound studio developed a set of conventions that do not necessarily meet the requisites of realistic reproduction. Ambience, for example, is usually idealized to the point where a rarefied audibility is preferred to the sonority of an enclosed marketplace, even when the setting in question happens to be, say, an enclosed marketplace. This anti-realistic anomaly Reyes traces to the abuse of the studio’s capability of controlling unwanted effects: as a result, serious performers are themselves expected to vocalize in a normal indoor range of volume, a standard which slurs over a national mentality acquired from centuries of conditioning under loquacious colonizers.
“I remember my father’s very first piece of advice: observe rehearsal carefully for the cuing of dialogue, or the magic of the moment will be lost. That was the time when the expertise of mikepersons was indispensable to the set.” One of the more obvious examples Reyes mentions is the feeding of lines in comedy. “Since performers dub their lines one at a time all by themselves, the sense of timing, not to mention spontaneity, is difficult to recapture.” An element of nostalgia never fails to inform Reyes’ ideal of a project as “one hundred-percent original sound.” He started out as a field recorder and successfully survived the transition to studio engineering. At AM Productions, wherein he practiced for eight months in 1966, he had the opportunity to work with the late Gerardo de Leon, now generally regarded as the most significant filmmaker of his time, on an omnibus project called Tatlong Kasaysayan ng Pag-ibig. “We had already exposed some two hundred feet of film for a master shot when I shouted ‘Cut!’ because of the intrusion of extraneous sound. ‘Manong’ displayed no anger, he just offered friendly advice regarding how unnecessary sounds on the set can become effective incidental sounds on the screen.”
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Such training for sound expertise Reyes declares cannot be acquired from studio work alone. “When I suggested to Mike de Leon that we fill in a pause when Ward Luarca sees Chanda Romero for the first time at the gate in Batch ’81, I didn’t even consider the symbolic significance of a jet plane roaring overhead. I just thought that if I were recording on the set and a plane did fly overhead, I would think first, just as ‘Manong’ would have, of how interesting it might turn out to be.” Reyes points with pride to his work in Brocka’s Maynila, which exploited the field sounds of Chinatown, Quiapo, and Diliman, requiring only about thirty-percent studio dubbing. The foreign-trained Amang Sanchez he refers to as evidence of how “locally, we’re still catching up with the refinements of dubbing when a big-budget prestige project like [Francis Coppola’s] Apocalypse Now (1979), which I managed to observe, used original sound almost entirely throughout.” Sanchez may have pioneered in alerting contemporary local audiences to the viability of original sound through his work in Marilou Diaz-Abaya’s Brutal (1980) and Moral (1982), but Reyes looks forward to single-handedly dissipating the myth of its inadequacy once and for all.
The local film industry fell behind its foreign counterparts ironically by trying to overtake what appeared to have been a trend toward studio engineering in the 1960s. But considering the fact that other local industries were (and still are) reliant upon foreign, and particularly American, ones, the transition from field to studio would have been inevitable anyway. Besides, as Reyes recalls, the lack of professionalism among performers then as now incurred additional production expenses. “While waiting for a latecomer, ambience would be modified, mainly because set noise varies according to the time of day.” A thoroughly professional production like Lamberto V. Avellana’s filmization of national artist Nick Joaquin’s A Portrait of the Artist as Filipino (1966) could have benefited then from an expensive process called “direct optical,” where sound was transferred directly from field to film. This was during a time, according to Reyes, “when urban centers were not as congested as they are now,” thereby enabling field sound, as handled by his father, to be recorded with a minimum of intrusions. “Today’s typical prestige productions would not risk as much as LVN did then,” Reyes reflects. “Modest casting, domestic situations would normally be given proportionate technical treatment, not the kind of services enjoyed by Avellana’s particular project.”
In contrast, the disuse of field sound in Oro, Plata, Mata makes the younger Reyes’s achievement therein all the more admirable. “It’s a shame,” says Madie Gallaga, “that we decided upon ‘Monching’ only during the post-production stage. Several sounds in the rain forests of Negros are not available on standard sound-effects tracks. Also some stage-trained performers could not re-deliver their particular brand of upper-class hysteria in the studio. If we had managed to capture all the field sounds expertly enough for the final track, I would say that there would have been a qualitative difference.” Aware of the profit-oriented realities of the ’80s, Reyes would rather pin his hopes for the resurgence of original sound on the now-famous persistence of the Filipino filmmaker. “We are definitely behind the industries of other countries when it comes to facilities for recording original sound, but available local equipment might prove competent enough.” Resistance Reyes foresees as dual in nature: “Industry bigwigs will of course refuse to consider costlier arrangements on the set, much less buy additional equipment. But I’m also afraid that a cult of purists has developed among filmmakers – many of them might think twice before giving up technical deftness for authenticity.”
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Within Hearing Range
Artistic issues are not the only problems confronting the Filipino film craftsperson. More immediate ones center on the need to survive. Although Reyes acknowledges that “our pay here [at LVN] is okay – we earn better compared to the average movie worker,” he is also aware that most of his colleagues “have to resort to sidelines.” Of the nearly one hundred members of the Sound Technicians Association for Motion Pictures or STAMP, only about ten are actively involved in the more lucrative phase of post-production. The two-year-old FAP guild, first headed by Famas multi-awardee Juanito Clemente and now by Magna Tech Omni resident soundperson Rolando Ruta (helping out Reyes’ indisposed father, who at present is recovering from a mild stroke), has been striving to finalize a standardization of rates for duly accredited members.
Compared with the experience of the other FAP guilds, the STAMP could run into a lot of static owing to the crosslines involved in the allocation of a post-production budget which could reach as low as Php 20,000 out of the Php 1 million required for a passable production. Frets Reyes, “How can you demand an increase in salary when you still have to look out for what you can get for your particular phase of production?” More often than not, a practitioner can get too grateful for a generous budget for sound engineering to be able to worry about how much will go to her or him as payment for her or his services. As can readily be gleaned from application forms for workshops and courses of the Movie Workers Welfare Fund, bright-eyed locals raring to crash into the festive world of filmmaking almost one-to-a-person rank sound supervision as their least-preferred field of specialty. “It doesn’t have glamour, and it doesn’t have the capacity, financial or otherwise, to compensate for the absence of glamour,” Reyes says. “The age range of sound supervisors is thirty-five to thirty-eight and increasing. The young ones think it’s not rewarding enough as a craft while the older ones say it’s not rewarding enough as a profession.”
And then of course there are the several discordant influences prevailing upon filmmaking as both art and craft. Censorship at the moment has generated the loudest uproar: “Sound doesn’t suffer as much from [celluloid] cuts as do the visuals, although the effect is more pronounced on music. The more important repercussion is the limitation the process imposes on post-production. The extra time the film spends with the censors should be used for necessary improvements on the finished product.” As to the provision of help for candidates for legal derailment, Reyes admits that soundpersons can only supply creative detours – “the creaking of a bed or the moaning of a couple in a lovemaking scene can be toned down so as not to become too suggestive.”
Other professional hazards come even from well-meaning sources, or what in a broad sense may be termed “self-styled sound critics.” Reyes enumerates three examples: the clumsy synchronizing of dialogue, the re-processing of prints from positives instead of master negatives, and the absence of standards for sound equipment in commercial theaters – all of which have detrimental effects on film sound. “When people hear out-of-sync delivery, hisses and scratches, or just plain bad playback, they tend to blame the soundperson without figuring out that the film editor is responsible for synchronization, the laboratory technician for print processing, and the theater owner for playback equipment. The solutions to these problems would require greater effort than the STAMP can muster, but we can go a long way if we start with enlightened movie-goers.” He tactfully avoids mentioning critics, but the implication is, or should be, deafening enough.
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Soundperson as Person
For his part, Reyes intends to persist in the pursuit of his career in the neglected dimension of film sound. Given the opportunity, he would not hesitate to work “for about three or four years in a more competitive milieu – the United States would be perfect – to acquire familiarity with advanced facilities and exchange knowledge and experience with experts.” Immigration would be out of the question though. “I’d still prefer to practice here, although a generation from now, when new blood comes in, I might have to start a stable business of my own just to be able to get by.” Such pessimism may not be in keeping with the promise of progress in local cinema, but for Reyes it will do. “At least by then I might be able to contribute a few things on my own terms.”
The prospects would not seem too far-fetched when Reyes’s status as the country’s premier soundperson is taken into account. He has just finished working double-time on another ECP project called Misteryo sa Tuwa (dir. Abbo de la Cruz), is winding up work with Sebastian Sayson on still another ECP film called Soltero (dir. Pio de Castro III) as well as with Juanito Clemente on a Regal production called Sinner or Saint (dir. Mel Chionglo), and is set to tackle the latest Mike de Leon film, Sister Stella L. Believers in historical determinism might all-too-readily concede that Reyes’s award-based recognition for this year will be ensured by any of the four titles mentioned. Whatever the turnout of events, Ramon Reyes would be content with awaiting his next quality offer while earning his keep from the usual ones and relaxing with biking and ball games. “I could get by with a good massage or an out-and-out comedy movie, so long as I don’t get to dwell too much on the technical side of life.” So says one compleat professional, the ace technician in his field of endeavor, and his colleagues, competitors, and audience can dwell on the certainty that his craft, consummate as it is, will contain enough humor and humanity to go around for some time to come.
 By some estimates rapid population growth not only returned to the Philippines, but has exceeded the Asian region’s former topnotcher Pakistan (see CIA World Factbook and World Bank reports); it is outpaced by Singapore, which is also comparatively highly developed.
 Excluding inflation, Php 20,000 would be about 500 and Php 1 million about 20,000 US dollars. These relative costs will be difficult to adjust to current rates, since the digitalization of production has restandardized film practice. Contemporary independent films, for example, are known to have cost as little as Php 2 million, while low-cost studio productions might cost at least ten times that amount.
 As it turned out, Reyes (during my last year as a member) did compete with himself and received his latest critics’ award for Mike de Leon’s Sister Stella L.; with four more trophies afterward, he would emerge as topnotch winner, though lifetime achievement awards have so far been given to practitioners in other categories.
Avellana, Lamberto V., dir. A Portrait of the Artist as Filipino. Scr. Donato Valentin and Trinidad Reyes. Diadem Productions, 1965.
Brocka, Lino, dir. Cain at Abel. Scr. Ricardo Lee. Cine Suerte, 1982.
———, dir. Jaguar. Scr. Ricardo Lee and Jose F. Lacaba. Bancom Audiovision, 1979.
———, dir. Maynila: Sa mga Kuko ng Liwanag. Scr. Clodualdo del Mundo, Jr. Cinema Artists, 1975.
CIA World Factbook. Raw Data. “Country Comparison: Population Growth Rate.” 2012.
Chionglo, Mel, dir. Sinner or Saint. Scr. Ricardo Lee. Regal Films, 1984.
Coppola, Francis Ford, dir. & co-scr. Apocalypse Now. Co-scr. John Milius. American Zoetrope, 1979.
De Castro, Pio III, dir. Soltero. Scr. Bienvenido Noriega, Jr. Experimental Cinema of the Philippines, 1984.
De la Cruz, Abbo, dir. & scr. Misteryo sa Tuwa. Experimental Cinema of the Philippines, 1984.
De Leon, Gerardo, dir. El Filibusterismo. Scr. Adrian Cristobal. Bayanihan and Arriba Film Productions, 1962.
———, dir. Tatlong Kasaysayan ng Pag-ibig. Scr. Pierre Salas. AM Productions, 1966.
De Leon, Mike, dir. & co-scr. Batch ’81. Co-scr. Clodualdo del Mundo, Jr. and Raquel Villavicencio. MVP Pictures, 1982.
———, dir. Itim. Scr. Clodualdo del Mundo, Jr. and Gil Quito. Cinema Artists, 1976.
———, dir. & co-scr. Kisapamata. Co-scr. Clodualdo del Mundo, Jr. and Raquel Villavicencio. Bancom Audiovision, 1981.
———, dir. & co-scr. Kung Mangarap Ka’t Magising. Co-scr. Rey Santayana. LVN Pictures, 1977.
———, dir. & co-scr. Sister Stella L. Co-scr. Jose F. Lacaba and Jose Almojuela. Regal Films, 1984.
Diaz-Abaya, Marilou, dir. Brutal. Scr. Ricardo Lee. Bancom Audiovision, 1980.
———, dir. Moral. Scr. Ricardo Lee. Seven Stars, 1982.
Gallaga, Peque, dir. Oro, Plata, Mata. Scr. Jose Javier Reyes. Experimental Cinema of the Philippines, 1982.
Guillen, Laurice, dir. Salome. Scr. Ricardo Lee. Bancom Audiovision, 1981.
McWhirter, Norris. Guinness Book of World Records. New York: Bantam, 1983.
Villaflor, Romy, dir. Assignment: Hongkong. Scr. Ben Feleo. Ambassador Productions, 1965.
World Bank. “Population Growth (Annual %).” Table to 2010-2014.
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