His first film was Malaya, Mutya ng Gubat (Malaya, Muse of the Forest), 1948, starring Mila del Sol and Teody Belarmino.

He was assistant cameraman to Ray Lacap in Hantik (Black Ant), 1950, which won the Maria Clara best supporting actor award for Tony Santos Sr. He also photographed the prize winning Avellana documentary, El legado (The Legacy), 1959.

His partners in this venture were his wife and two high school buddies, film assistant director Gregg de Guzman and sound director Amang Sanchez.

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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.

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.

Its centerpiece project is its AWF Scholarship Program for Young Actors which provides selected talents a year-long curriculum and training in acting. The film broke box-office records and helped Sampaguita Pictures rise again after a big fire gutted its studio. Nolasco ’s Siete Dolores (Seven Sorrows) and Mga Busabos ng Palad (Slaves of Fate), 1948; Eddie Infante ’s Ina (Mother), 1948; and Tony Arnaldo’s Anak ng Pulubi (Child of a Beggar), 1951.

At one time, AWF produced a 30-minute daily TV drama called Wakasan which served as a practicum for workshop participants. She became the most popular child star of the decade of the 1950s, sharing top billing with major stars, such as Pancho Magalona and Lillian Leonardo in Anghel ng Pag-ibig (Angel of Love), 1951; Gloria Romero in Rebecca and Ramon Revilla and Sylvia La Torre in Ulila ng Bataan (The Orphans of Bataan), 1952; Katy de la Cruz and Norma Vales in Cumbanchera, 1953; and Fred Montilla in Nagkita si Kerubin at si Tulisang Pugot (Cherubim Meets Headless Bandit), 1954. Aguirre made her screen debut in Sampaguita Pictures ’ Himagsikan ng mga Puso (Revolt of the Hearts), 1938, which was based on the novel by Julian Cruz Balmaseda, Tala ng Bodabil (Star of Vaudeville). During the 1950s she was an exclusive contract star of LVN Pictures for mother roles in films like Pag-asa (Hope), 1951; Tia Loleng (Aunt Loleng), Tenyente Carlos Blanco (Lieutenant Carlos Blanco), and Matador (Bullfighter), 1952; and Tumbalik na Daigdig (Topsy-Turvy World) and Sa Paanan ng Bundok (At the Foot of the Mountain), 1953. She is the eldest child of Bernardino Alatiit of Roxas City and Angelica Liguid of Cavite. After high school, she took a one-year course on tourism and travel at the Centro Escolar University.

He became a full-fledged cinematographer in Kandelerong Pilak (Silver Candlesticks), 1954, which won for Lilia Dizon the best actress award in the Cambodian Film Festival. As actor, Accion appeared in films like Ang Lalaki (The Male), 1947; Sierra Madre, 1948; Tambol Mayor (Big Drum) and Kandidato (Candidate), 1949; In Despair, 1950; and Donato, 1954.

He was also the cinematographer of Malvarosa, 1958, which won for Rebecca del Rio the best supporting actress award in the 5th Asian Film Festival held in Manila. In his later years, he turned to movie directing and made Kung Kaya Mo, Kaya Ko Rin (If You Can Do It, I Can Do It, Too), 1979, with Christopher de Leon, and Coed, 1979, with Vilma Santos and Jay Ilagan.

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.