Tired of feeling all by myself Being so different from everyone else Somehow you knew I needed your help Be my friend forever I never found my star in the night Building my dream was far from my sight You came along and I saw the light We'll be friends forever Refrain: I can't face the thought of you leaving So take me along I swear I'll be strong If you take me wherever you go I wanna learn the things that you know Now that you made me believe I want you to take me 'Cause I long to be Able to see the things that you see Know that whenever you do I'll follow you Somebody must have sent you to me What do I have you could possibly need All I can give is my guarantee We'll be friends forever I can't face the thought of you leaving So take me along I swear I'll be strong When you take me wherever you go I wanna learn the things that you know Now that you made me believe I want you to take me 'Cause I long to be Able to see the things that you see Know that whenever you do I'll follow you Teach me more with each passing hour By your side I'll follow you I know I would cover?
Their first movie production was Tanikala (Chain), 1980, a period film.
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.
As film editor, he won the Urian award for Brutal, 1980, with co- editor Mark Tarnate. In local movies, he pioneered the art of cinematographic wizardry. His parents are Rafael Accion and Filomena Bautista.
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.
It also conducts special craft workshops for specific movie productions, and one-on-one tutorials for lead and support actors. Her biggest break came when she portrayed the role of a maltreated waif in Roberta, 1951.
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.From the Asian Film Festival, he received the best cinematography award twice: the first time for Anak Dalita when it swept all the awards including best picture, and the second time for Badjao, when his work was singled out as best photography in black and white.The Citizens Council for Mass Media (CCMM) honored him for best cinematography for A Portrait of the Artist as Filipino, 1965.I'm so blessed my Lord I can see you In all the lovely things So fine and true I see you in the beauty Of the flowers and the rain I see you between the lines Of a sweet refrain I'm so blessed my Lord I can see you Even when I'm lonely and in pain I see you in the beauty of the stars at night I see you in my life I feel alright I see you Lord In sorrow and in happiness I see you in the glory Of sweet success I see you Lord Every hour, everyday I can see you Lord Whenever I pray I'm so blessed my Lord I can see you In the smile of a baby Sweet and true I can see you in the eyes Of my very best friends I see you in these bonds Just like your love that never ends I see you Lord In sorrow and in happiness I see you in the glory Of sweet success I see you Lord Every hour, everyday I can see you Lord Whenever I pray I see you Lord In sorrow and in happiness I see you in the glory Of sweet success I see you Lord Every hour, everyday I can see you Lord Whenever I pray I pray... 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. Abaya and Catalina Roxas, he is married to movie director Marilou Diaz-Abaya with whom he has two children.