i n dustr y updates a n d a n a l y ses f or sou n d busi n ess p l a n n i n g

A publication of the School of Economics, University of Asia & the Pacific, Philippines

In this issue
Feature

2 Motion picture industry:

An analysis of the explanatory
power of brand-related variables
and word of mouth for industry
performance

John Harmon M. Camu

Josette Albertine S. Quintos
Althea Mae M. Salcedo
Rige Gabriel N. Tuason
Jovi C. Dacanay

Industry statistics
12 Gross value added (GVA) in real
estate, renting, & business
activities

issn 0117– 1798

may The industry monitor is a monthly publication of the School of Economics of the University of Asia and the Pacific •
Pearl Drive, Ortigas Center, Pasig City, Metro Manila, Philippines 1605  •  Telephone: 637-0912 to 26; Telefax: 632-7968.

 2 0 1 4 The comments and views expressed in these papers are solely the responsibility of the authors and do not represent any
position held by UA&P. These papers may not be distributed in full or in part without prior written authorization.
Acknowledgements: Editing  Ma. Victoria Anastacio •  Layout  Rommel B. Casipit • Design  Art & Copy Communication
Design Inc.  •  Printing Inkwell Publishing Co. Inc.
 may 2014  F E A T U R E

Motion picture industry:

industry monitor

An analysis of the explanatory

power of brand-related variables
and word of mouth for industry
performance
Stars are the main drivers for the effect of word of mouth. Thus, having a hold on stars who are known for
blockbuster movies enables the Top 5 industry players to secure their dominant position in the market.
Fourth of four parts.

John Harmon M. Camu

Josette Albertine S. Quintos
Althea Mae M. Salcedo
Rige Gabriel N. Tuason
Graduate Staffmembers
Industrial Economics Program
School of Economics, UA&P

and

Jovi C. Dacanay
Economist
School of Economics, UA&P

T
he last part of this four-part series presents the final results and provides the
conclusion of the study.

Star Power and Word-of-Mouth factors. In Table 1, the regression results yielded John,
Apart from coopetition, it is also important to Sarah, and Anne as highly significant in the equation.
note the effect on and significance to overall gross This implies that films with these stars explain the
revenues of star power on its own before going into its film’s gross revenue. In effect, having John, Sarah and
contribution to a film’s weekly sales along with other Anne in a film may raise the film’s gross revenue.
Table 1 • Summary of results on the effect of star power Table 1 • Summary of results on the effect of star power
on overall gross revenues on overall gross revenues
Variable Significance Variable Significance
John +++ Toni NS
Sarah +++ Ai Ai NS
Anne +++ R2 59.59%
Angel + Adjusted R2 52.50%
Bea +
Note: +++ Highly significant (p-value is less than 0.01); ++ Very significant
Dingdong + (p-value is from 0.01 to 0.05; + Significant (p-value is greater than 0.05);
ns otherwise
Marian NS
F E A T U R E 

A. First-week Sales the significance of each variable, it turns out that

Table 2 • Description and code of variables for First-week
sales
Variables Description
Veteran: Sharon Cuneta,
Maricel Soriano, Aga
Muhlach, Vilma Santos
Rising Stars: John Lloyd
Cruz, Bea Alonzo, Sarah
Geronimo, Angel Locsin,
Star power
Toni Gonzaga, Dingdong
Dantes, Marian Rivera
Quality indicators, indicator
of a film’s strength in
drawing a good number of
audience
Genre Target market
General patronage (for all
viewers)
P-13 (Parental Guidance is
required for children 13 years
MTRCB
old and younger)
rating
R-13 (Limited to viewers 13
years old and above)
R-18 (Limited to viewers 18
years old and above)
Signal of quality and
Producer
Reputation
Code
John, Sarah, Bea, Angel,
Toni, Anne, Dingdong,
Marian
(1 is assigned when films
have stars and 0 when
otherwise)
Comedy, Drama, Romantic,
Horror (1 is assigned when
a film falls in a particular
category and 0 when
otherwise)
PG, PG1318, R
(1 is assigned when a film
falls in a particular category
and 0 when otherwise)
Star Cinema, Viva, Regal,
GMA, Octoarts
(1 is assigned when a film
falls in a particular category
and 0 when otherwise)
brand-related variables, most especially the stars, have
the highest explanatory power in determining first-
week sales. From a sample of 68 films, star power,
producer’s reputation, and the number of screens are
highly significant in explaining first-week sales. These
results are consistent with the results of the factor
analysis. Number of screens, John Lloyd, Sarah, and
Star Cinema receive the highest factor loading and
communality. This implies that the aforementioned
variables have a high explanatory power for revenues.
Results of the regression, however, show that the
model does not entirely encapsulate the dependent
variable because the Adjusted R2 is only at 49.71%.
This means that first-week sales can explain only 49%
of gross revenues.
Table 3 • Summary of significant variables for First-week
sales
Variable Significance
Screenweek1: Number of Screens
++
(Week 1)
Log (Competition) NS
John +++
Sarah +++
Anne ++

Screens for Number of theaters that a Bea +

Screenweek1
the 1st week local film is allotted to Angel +

Demand Star +++

Number of local films which
competition
compete at the same time in CompeteWeek1 Regal +
for the 1st
the market
week GMA ++
Viva NS

The regression equation used in the analysis of 1st OctoArts +

week sales is illustrated in Figure 1. PG +

PG1318 +
Romantic +
Figure 1 • Regression equation for First-week sales
Drama NS
Horror +
Ln saleswk1it = β0 +β1starpoweri + β2ratingi +
UNIVERSITY OF ASIA
UNIVERSITY OF ASIA

Comedy +
β3produceri+β4genrei + β5screenweek1it -β6competeweek1 R2 63.97%
Adjusted R2 49.71%

Note: +++ Highly Significant (p-value is less than 0.01); ++ Very Significant
(p-value is from 0.01 to 0.05; + Significant (p-value is greater than 0.05); ns
otherwise; highlighted (factor11)
Following the conceptual framework, Table 3
contains the variables that explain gross revenue for the
& THE

first week of exhibition. It can be seen that production The following films exhibited the highest first-week
& the

and distribution outfits, John Lloyd, Sarah Geronimo earnings that could have been explained by brand-
PACIFIC

and other artists are relatively significant compared related variables such as star power (see Figure 2).
PACIFIC

to other factors such as genre and rating. Analyzing

 may 2014  F E A T U R E

Figure 2 • First-week ticket sales as explained by Star power

The regression equation to be used in the analysis
of 2nd week revenues is illustrated in Figure 3.
industry monitor

Figure 3 • Regression equation for Second-week revenues

Ln revwk2it = β0 +β1starpoweri + β2dayscinema β3

ratingi + β4produceri+β5genrei + β6screenweek1it + β7
percentrevweek1 – β8 competeweek1

Table 5 contains the variables that explain gross

Source: IMDB
B. Second-week Sales
Table 4 • Description and code of variables for Second-
week sales
Variables Description
Films that starred both
John Lloyd Cruz and Sarah
Geronimo
Star power Films that starred John Lloyd
alone
Films that starred both Bea
Alonzo and Angel Locsin
Word-of-
Proxy variable representing
forecasted sales or fraction
mouth of total revenue gained in 1st
week model.
Number of days that the film
Days cinema
was shown in cinemas
Genre Target market
General Patronage (for all
viewers)
P-13 (Parental Guidance
is required for children 13
MTRCB
years old and younger)
Rating
R-13 (Limited to viewers 13
years old and above)
R-18 (Limited to viewers 18
years old and above)
IMDB Rating
Consumer rating which
ranks from 1-10
Film rating by Catholic
CBCP Rating Bishops’ Conference of the
Philippines (CBCP)
Signal of quality and
Reputation
Producer
When producers collaborate
Code
Actor*John+Actress*Sarah
Actor*John
Actress*(Bea+Angel)
Percentrevweek1 or
revweek2factor11/Grossrev
Dayscinema
Comedy, Drama, Romantic,
Horror (1 is assigned when
a film falls in a particular
category and 0 when
otherwise)
PG, PG1318, R
(1 is assigned when a film
falls in a particular category
and 0 when otherwise)
IMDB
Moral, Technical
Starcinema, Viva, Regal,
GMA, Octoarts
Star+Viva, GMA+Regal
(1 is assigned when a film
falls in a particular category
and 0 when otherwise)
revenue for the second week of exhibition. Although
there are less variables in this model, this model
explains gross revenue more due to a higher Adjusted
R2 of 73.92% as compared to Week 1 of only 49.7%.
This higher Adjusted R2 can be attributed to the
introduction and incorporation of a new variable
which is PercentRevWeek1, the proxy for word of
mouth. Indeed, the effect of information cascades is
at its peak during the second week.
An explanation for the second-week sales is the
signaling effect of demand determinants causing
information cascades. When the signals are strong
enough, moviegoers may follow these signals
whether or not these coincide with their personal
signals. Viewer feedback or response is not the only
manifestation of word of mouth. In this case, the
increase or decrease in the number of screens in Week
2 and the number of days a film is shown ultimately
affect gross revenues. Moreover, since information
cascades can either be caused by positive or negative
externalities, individuals would want to find out for
themselves what a film is about and formulate their
own judgment about it after watching it. Since movies
are experience goods, every person has a unique
experience and has his or her own perception of a
film. Those who do not watch in the first week will
be influenced by brand-related variables which entice
them to watch to experience the film themselves.
Thus, there will always be an increase in ticket sales as
long as word of mouth is present.

Screens for Number of theaters that a

Screenweek1
the 1st week local film is allotted to 
Maia King, The Dynamics of Informational Cascades of Local
Demand Films in Theaters: A Demand Study. Masteral Thesis. University
Number of local films which
competition
for the 1st
compete at the same time in CompeteWeek1 of Asia and the Pacific. May 2004.
the market
week 
Ibid.
F E A T U R E 

Table 5 • Summary of results for Second-week sales

mouth variables such as Kimmy Dora and the Temple
of Kiyeme, Four Sisters and A Wedding, and It Takes A
Variable Significance Man and A Woman.
Days Cinema +++
PercentRevWeek1 (proxy for Word- C. Overall gross revenues
++
of-mouth)
Screenweek1: Number of screens +++ Table 6 • Description and code of variables for Overall
IMDB +
sales

Star + Variables Description Code

Viva ++ Veteran: Sharon Cuneta,

Maricel Soriano, Aga
GMA + Muhlach, Vilma Santos
Rising Stars: John Lloyd John, Sarah, Bea, Angel,
Regal NS
Cruz, Bea Alonzo, Sarah Toni, Anne, Dingdong,
OctoArts NS Geronimo, Angel Locsin, Marian
Star power
Toni Gonzaga, Dingdong (1 is assigned when films
Actor*John + Actress*Sarah +++ Dantes, Marian Rivera have stars and 0 when
R2 78.20% Quality indicators, indicator otherwise)
of a film’s strength in
Adjusted R2 73.92% drawing a good number of
audience
Note: +++ Highly Significant (p-value is less than 0.01); ++ Very Significant
(p-value is from 0.01 to 0.05; + Significant (p-value is greater than 0.05); ns Proxy variable representing
otherwise Word-of- forecasted sales or fraction Percentrevweek1 or
mouth of total revenue gained in 1st revweek2factor11/Grossrev
week model.
An example is the film It Takes a Man and a Woman Comedy, Drama, Romantic,
by Star Cinema and Viva Films. The first regression Genre Target market
Horror (1 is assigned when
a film falls in a particular
contained John Lloyd and Sarah Geronimo, main category and 0 when
otherwise)
stars. Despite the high explanatory power, star power
General Patronage
was not sufficient to explain the P400 Million gross (for all viewers)
P-13 (Parental Guidance
revenue of the film. But in this model, it was already is required for children 13
PG, PG1318, R
MTRCB (1 is assigned when a film
captured. It can be inferred that significant brand- Rating
years old and younger)
falls in a particular category
R-13 (Limited to viewers 13
related variables, specifically star power present in the years old and above)
and 0 when otherwise)
R-18 (Limited to viewers 18
first week such as actors and production outfits are years old and above)
movie signaling indicators that affect word of mouth Starcinema, Viva, Regal,
in the second week as manifested in the drastic increase Signal of quality and
GMA, Octoarts
Producer (1 is assigned when a film
in box-office revenues. Reputation
falls in a particular category
and 0 when otherwise)
The following films exhibited more than 80%
growth increase from the 1st week: Screens for Number of theaters that a
Screenweek2
the 2nd week local film is allotted to

Figure 4 • Revenue growth from 1st week to 2nd week of Demand

Number of local films which
selected films Competition
compete at the same time in CompeteWeek2
for the 2nd
My Amnesia Girl the market
week
Ang Tanging Pamilya… A Marry Go Around
Tiktik: The Aswang Chronicles
Yaya and Angelina: The Spoiled Brat Movie
Wedding Tayo, Wedding Hindi
Temptation Island
The regression equation used in the analysis of
Four Sisters and A Wedding overall gross revenues of selected films is illustrated
UNIVERSITY OF ASIA
UNIVERSITY OF ASIA

Kimmy Dora and the Temple of Kiyeme

Bromance: My Brother's Romance
1st week In The Name of Love
in Figure 5.
2nd week Here Comes The Bride
BFF: Bestfriends Forever
Pak! Pak! My Dr. Kwak Kwak
Babe, I Love You Figure 5 • Regression equation for Overall gross revenue
Tenement 2 (T2)
It Takes A Man And A Woman
Sundo
Love Me Again
Source: IMDB 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100%
& THE
& the

With the regression model, the word-of-mouth

PACIFIC

phenomenon explains the increases in 2nd week

PACIFIC

revenues especially those which include the outliers By incorporating the effects of sales in Week 1 and
of previous regressions that do not include word-of- Week 2, Table 7, the summary of the regression model,
 may 2014  F E A T U R E

captures 86.36% of gross revenue. The variables that 3, 5, and 7). By doing so, they strengthen their hold
significantly explain gross revenues are the following: on the artists regardless of which outfit they belong to
industry monitor

number of days shown, word of mouth, number of or are in contract with. Coproduction allows firms to
screens, Star Cinema and the artists, John Lloyd Cruz share artists and in the Philippines’ case, this sharing
and Sarah Geronimo, in particular. These factors of artists seems to be very crucial to determining a
have to be considered if producers/distributors want movie’s revenue. Since stars are the main drivers for
to generate revenues. the effect of word of mouth, having a grasp on stars
who are known for blockbuster movies enables the
Table 7 • Summary of results for Overall gross revenues Top 5 industry players, despite some firms having an
Variable Significance average net loss, to have positive consolidated gross
Days Cinema +++ revenues and, in general, average profits. With this,
Word-of-mouth: Revweek2Factor11/
+++
they secure their dominant position in the market.
Grossrev
Screenweek2: Number of screens +++
Table 8 • Summary of results on the effect of coopetition,
IMDB + word-of-mouth, and star power as explanatory variables
Star +++ for Gross revenues
Viva ++ Variable Significance
GMA +
Days Cinema +++
Regal ++
Word-of-Mouth: Revweek2Factor11/
+++
OctoArts + Grossrev
Actor*John + Actress*Sarah +++ Screenweek2 +++
R2 88.60% Competeweek2 NS
Adjusted R 2
86.36% Moral + IMDB +++

Note: +++ Highly Significant (p-value is less than 0.01); ++ Very Significant Technical +
(p-value is from 0.01 to 0.05; + Significant (p-value is greater than 0.05); ns Actor*John +++
otherwise
Actress*(Bea + Angel) +++
Star + Viva +++
Figure 6 illustrates the number of days in cinema
GMA + Regal; +++
and gross revenues of selected films, as determined by OctoArts +++
specific variables such as star power, word of mouth, Romantic +++
and coopetition. Appendix 1 shows the gross revenues Horror NS
and days in cinema of selected films. PG +
R2 90.36%
Figure 6 • Gross revenues and Number of days in cinema of
Adjusted R2 87.58%
selected films
Note: +++ Highly significant (p-value is less than 0.01); ++ Very significant
(p-value is from 0.01 to 0.05; + Significant (p-value is greater than 0.05); ns
otherwise

Strengths-Weaknesses-Opportunities-Threats
(SWOT) Analysis
The abovementioned results can be summarized
through a presentation of the SWOT analysis.

The market of the film industry is not limited to a specific

Source: IMDB
Table 8 encapsulates three mechanisms by which
the five major firms maintain market dominance. The
top 5 production/distribution firms cooperate instead
of compete, and this results in higher significance level
for all of them unlike when taken in isolation (Tables
group or class. It caters to different social classes or
different groups of individuals. This involves the principle of
broad strategy to regain the costs incurred by the industry.
With star power, a low-quality film would still bring in
revenue if a popular actor or actress stars in it.
Strengths Consumer access is high since different malls and cinemas
are found in different areas.
Movies can be used to endorse different products, thus
providing more sources of income for producers as well as
distributors.
Both positive and negative word of mouth make people
want to watch a movie.
F E A T U R E
There is a lack of creative minds in the industry that would
be able to produce quality stories that can guarantee box
office success.
There is a lack of incentives to work in the industry due to
Weaknesses the high amusement tax.
There are high levels of advertisement expenditures
incurred.
The actual cost of production is greater than the expected
cost of production.
In the coming years, creative industries will flourish,
according to Dr. Villegas, attracting more people to be
involved in the motion picture industry.
Participation of creative people in the industry will improve
Opportunities the quality of films produced.
Online business models can be used to develop the idea of
subscription.
The Internet can be used for advertising through social
networks.
The Internet is used to download pirated movies—Piracy
Threats Some consumers prefer to download and pirate foreign
films than watch movies in cinemas.
Conclusions and Recommendations
The sustained market dominance of the Top 5
production distribution firms in the motion picture
industry can be attributed to the three major
circumstances they engage in and utilize when
producing a movie: coopetition, star power, and word
of mouth. Over the years, there have been numerous
coproduced movies, specifically and more frequently
between Star Cinema and Viva, and GMA-Regal.
Coopetition entails benefits in the form of generating
more revenues from a film, and at the same time
spreading production costs through the division of
expenses.
Greater revenues are usually generated through
the practice of coopetition due to the fact that the
firms are able to share their star power in a movie.
Famous actors and actresses under contract with
different production companies can star in the same
movie when coproduction takes place. As a result,
the companies are able to attract the fans of the
movie stars through the sharing of star power. Star
power, as mentioned, is the most important brand-
related variable that audiences usually consider when
choosing a film to watch. The better known the star,
the higher the first-week ticket sales. Additionally, the
word-of-mouth phenomenon intensifies, depending
on the star power in the movie. People talk about
the brand-related variables along with the film itself,
and this talk attracts a bigger audience in the second
and following weeks. As observed, the three practices
are intrinsically knotted together, beginning with
the practice of coopetition. Coopetition, star power,
and word-of-mouth phenomenon are the major

explanatory indicators for gross revenue. The constant
engagement of the top five firms in the industry in the
three major variables enables them to maintain their
market dominance in the industry.
With all these being said, it may be concluded that
the top five firms are successful in sustaining their
market dominance through frequent engagement.
However, two of the five firms experienced overall
profit losses rather than gains from 1997 until 2011.
Thus, it cannot be concluded that the industry is
generally experiencing success. For the top five players
to sustain their market dominance and at the same
time generate enough revenues for general profit
gains, the group recommends the following actions
that may serve as opportunities for the industry to
perform better.
• Experimentation with new genres, plots,
locations, and other technicalities
The production/distribution companies may
experiment with new genres, plots, locations,
and other technicalities to create films that are
different from typical movies today. Perhaps
experimenting with new themes or even new
technology may raise the quality to export
level. Films of export quality would attract
investors from abroad and widen exhibition
to other countries. More sources of revenue
from different countries will compensate for
the cost of experimentation to produce a
different film than usual.
• Use of social media for advertisement of films
and certain projects. Increased awareness will
intensify word of mouth and increase ticket
sales.
• Use of a step-by-step framework as a response
to the expected boom in the creative industries
in the next few years.
According to Dr. Bernardo Villegas, in the
next ten years, there will be a higher demand
UNIVERSITY OF ASIA
UNIVERSITY OF ASIA
for creative industries due to the rise of
multidisciplinary research dialogue among
individuals. He believes that creativity is
embedded in the Filipino character, and
developing this creativity may contribute to
employment opportunities in these sectors. In
& THE
& the
spite of the prevalence of such optimism, he
PACIFIC
asserts that “economic development occurs in
PACIFIC
cycles revolving around a series of innovations.
The innovator is the key to a rise in income
 may 2014  F E A T U R E
after a period of relative stagnation.” Industries
expecting to boom in the next decades
industry monitor
comprise of fashion, music, entertainment,
animation, filmmaking, graphic design,
storytelling, culinary arts, wood carving,
furniture making, and architecture.
The motion picture industry should work toward
creating a sustainable environment. The researchers
have identified three key solutions to address the
short-sightedness of the motion picture industry.
First, the Philippines can follow the procedures
currently aiding the Korean film market. The Korean
government, to propagate Hallyu, provides incentives
for local firms in the form of reduced taxes. In the
Philippines, in contrast, taxes are gradually killing the
industry through expensive amusement tax, cultural
tax, value-added tax, and other taxes.
Second, to reduce production costs, dominant
players in the industry can resort to the production
of films with branded content as well as study the
backward integration that could explain the outlier,
A Secret Affair. A film production outfit can enter
into a contract with a product distributor so that
the distributor shares in the production costs as
compensation for advertising a product in specific
segments of the film. The film production outfit may
also enter into an agreement with a local government
unit for promoting a tourist destination by using it as
shooting location. In exchange, the local government
unit will share in the production costs.
Third, since some stars have exclusive contracts
with their respective management, co-production
is still the best way to generate greater profits. It
empowers independent film makers to produce quality
films which can be distributed commercially. Despite
these arrangements, every producer should know
the distribution process to avoid misunderstandings
that can damage relationships between production
and distribution outfits. Firms can study which
combination of artists will appeal to moviegoers and
produce higher revenues at the most cost-efficient
structure.
According to the analysis of Porter’s five forces
in relation to factors affecting threats to entry,
government protection of incumbent industries is
currently low. High taxation of the film industry is
a significant barrier to entry to the film production
and distribution industry. Normally, production
costs exceed the initial production budget. For the
filmmaking industry to successfully maximize its
productivity as it approaches a period of high demand,
reducing the number of taxes will speed up the growth
of the film industry.
At present, dominant industry players choose the
path of being profit-oriented by following a formula
with greater probability of success. For instance, in the
last five years, Star Cinema has already produced three
films starring John Lloyd Cruz and Sarah Geronimo,
all of which follow their original love story. These
films were released in 2008, 2009, and 2013. Its 2009
movie, You Changed My Life can be analyzed using
the first regression seen in the model which greatly
stresses the importance of star power. However,
its 2013 movie, It Takes A Man and A Woman, as
calculated in the different regressions, incorporates
word of mouth in the regression equation. Actual
revenues of P401 million exceeded the forecasted
revenues by almost half. The researchers suggest that
further study be done on the variables explained in
the section on Factor Analysis and Regression model
in Part 3 of this study, Industry Monitor April 2014.
Next, the role of the audience is limited in the
encoding process since formulas have already been
fixed by management. Once a “romantic formula” has
been accepted widely by the public, the plots of future
films revolve around the same concept and story line.
In the Philippine film industry, the boom of No Other
Woman paved the way for adult-oriented films in the
likes of A Secret Affair, The Mistress, and My Neighbors’
Wife. Still, production and distribution companies
must consider both positive and negative reviews of
critics to achieve greater diversification of products.
The researchers would want industry practitioners
to strike a balance in the use of established formulas.
Aside from wider profit margins, experimentation
may lead to increased quantity of films for export and
an influx of award-winning and critically acclaimed
projects in the future.
If the planning stage has already been successfully
established, practitioners in the industry can now
take a look at an alternative market which caters to
avid moviegoers who prefer to watch movies in their
own houses. Rather than watching low-to-medium
quality Internet downloads, these movie fans may
be interested in subscribing to high-quality local and
foreign films. IM
F E A T U R E
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F E A T U R E 11

Appendix 1 • Gross Revenues of Selected Films

Number of Films Number of
Year Month Gross IMDB
# Movie Shown for the Days shown in
shown shown Revenues rating
month cinemas in NCR
1 Status: Single 2009 1 2 10.68 6.2 21
2 Love Me Again 2009 1 2 66.89 5.4 35
3 Paano Na Kaya 2010 1 1 82.02 6.1 42
4 When I Met U 2009 2 2 58.66 5.1 35
5 You Changed My Life 2009 2 2 225.62 6.9 49
6 Miss You Like Crazy 2010 2 1 143 5.9 42
7 UnOfficially Yours 2012 2 1 157.25 6.6 28
8 A Moment in Time 2013 2 1 64.54 6.1 28
9 Sundo 2009 3 1 46.22 6.1 35
10 Who’s That Girl? 2011 3 2 58.68 6.3 35
11 Catch Me…I’m In Love 2011 3 2 120.21 6.7 35
12 Corazon: AngUnangAswang 2012 3 1 51.14 6.1 35
13 It Takes A Man And A Woman 2013 3 1 401.03 7.4 49
14 Manay Po! 2: Overload 2008 4 2 31.39 6.1 28
15 When Love Begins 2008 4 2 91.27 4.6 42
16 Tenement 2 (T2) 2009 4 1 86.45 6.4 35
17 Working Girls 2010 4 2 31.99 5 21
18 Babe, I Love You 2010 4 2 96.19 6.6 35
19 Pak! Pak! My Dr. KwakKwak 2011 4 1 77.05 6.3 28
20 Ikaw pa rin: Bonggaka boy! 2008 5 2 24.67 6.6 14
21 Caregiver 2008 5 2 139.54 6.9 35
22 BFF: Bestfriends Forever 2009 5 1 107.69 5.6 35
23 You to Me Are Everything  2010 5 2 93.82 7.4 35
24 Here Comes The Bride 2010 5 2 117.16 6.5 42
25 Tumbok 2011 5 2 6.79 4.7 21
26 In The Name of Love 2011 5 2 117.23 6.8 35
27 The Mommy Returns 2012 5 3 30.85 6.2 7
28 Every Breath U Take 2012 5 3 50.2 7 21
29 Born to Love You 2012 5 3 52.37 6.5 35
30 The Bride and the Lover 2013 5 2 11.15 3.3 7
31 Bromance: My Brother’s Romance 2013 5 2 73.85 6.3 28
32 I’ll Be There 2010 6 1 42.17 4.7 35
33 Forever and a Day 2011 6 1 44.73 7.2 28
34 Kimmy Dora and the Temple of Kiyeme 2012 6 1 133.61 6.5 42
35 Four Sisters and A Wedding 2013 6 1 145.05 7.7 21
36 My Monster Mom 2008 7 1 29.28 5 21
37 Villa Estrella 2009 7 1 47.18 5.9 28
38 Hating kapatid 2010 7 1 82.01 6.4 35
39 Temptation Island 2011 7 2 62.78 6 28
40 The Adventures of Pureza 2011 7 2 19.84 4.8 28
41 The Healing 2012 7 1 104.6 7.4 28
42 For the First Time 2008 8 1 134.70 6.8 42
43 Tarot 2009 8 2 16.51 7 21
44 And I Love You So 2009 8 2 54.09 6.3 35
45 Mamarazzi 2010 8 2 21.17 6.9 35
46 In Your Eyes 2010 8 2 63.59 5.3 42
47 Wedding Tayo, Wedding Hindi 2011 8 1 37.46 6.8 28
48 Just One Summer 2012 8 1 6.16 7.5 7
49 NanditoAko...NagmamahalSa’Yo 2009 9 3 4.91 5.4 21
50 Yaya and Angelina: The Spoiled Brat Movie 2009 9 3 59.77 6.1 42
51 In My Life 2009 9 3 135.73 6.9 42
53 I Do 2010 9 2 42.44 6.1 28
54 My Neighbor’s Wife 2011 9 2 27.80 6.7 21
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UNIVERSITY OF ASIA

55 No Other Woman 2011 9 2 278.42 5.7 42

56 The Mistress 2012 9 1 262.82 4.2 35
57 Mag-ingatKa Sa... Kulam 2008 10 2 78.45 6.8 35
58 My Only U 2008 10 2 79.19 6.8 35
59 Patient X 2010 10 2 24.49 4.8 14
60 Till My Heartaches End 2010 10 2 60.48 5.6 28
61 A Secret Affair 2012 10 3 118.24 5.5 28
62 Tiktik: The Aswang Chronicles 2012 10 3 83.35 6.1 28
& THE

63 Suddenly It’s Magic 2012 10 3 47.2 4.2 21

& the

64 Aswang 2011 11 2 31.77 5 21

65 The Road 2011 11 2 36.85 5.4 28
PACIFIC

66 One True Love 2008 11 1 58.8 6.4 35

PACIFIC

67 Ang Tanging Pamilya… A Marry Go Around 2009 11 1 60.2 5.8 42

68 My Amnesia Girl 2010 11 1 144.82 5.6 35
Source: NSO, Box Office Mojo (Philippines), IMDB
 may 2014 12 statistics

Gross value added (GVA) in real estate, renting, & business activities
Q1 2011 to Q4 2013 (current prices)
industry monitor

Unit: P million
2011 2012 2013

Industry/industry group Q1 Q2 Q3 Q4 Q1 Q2 Q3 Q4 Q1 Q2 Q3 Q4

Real estate 45,500 55,837 56,828 59,705 58,252 67,262 68,245 71,602 70,058 82,208 88,109 81,786

Renting and other business activities 111,330 128,641 125,680 133,558 123,177 145,024 144,609 148,155 133,673 163,408 169,303 166,985

Ownership of dwellings 96,578 97,231 97,572 96,661 100,771 103,032 104,079 102,281 105,691 108,157 108,556 104,753

GVA in real estate,

renting, & business activities 253,407 281,709 280,080 289,924 282,200 315,318 316,933 322,038 309,422 353,773 365,968 353,523

GVA in real estate, renting, & business activities

Q1 2011 to Q4 2013 (constant prices)
Unit: P million
2011 2012 2013

Industry/industry group Q1 Q2 Q3 Q4 Q1 Q2 Q3 Q4 Q1 Q2 Q3 Q4

Real estate 26,257 31,889 32,349 33,754 32,601 37,327 37,524 39,329 37,994 44,422 47,281 43,403

Renting and other business activities 54,759 67,402 64,007 66,085 58,407 73,869 70,128 69,937 60,664 82,366 79,141 76,465

Ownership of dwellings 65,506 65,830 65,730 64,678 66,954 67,221 67,145 65,988 68,444 68,818 68,771 66,366

GVA in real estate,

renting, & business activities 146,521 165,120 162,086 164,518 157,962 178,418 174,796 175,254 167,102 195,607 195,192 186,234

GVA in real estate, renting, & business activities

Q1 2011 to Q4 2013
Implicit Price Index
2011 2012 2013

Industry/industry group Q1 Q2 Q3 Q4 Q1 Q2 Q3 Q4 Q1 Q2 Q3 Q4

Real estate 173.3 175.1 175.7 176.9 178.7 180.2 181.9 182.1 184.4 185.1 186.4 188.4

Renting and other business activities 203.3 190.9 196.4 202.1 210.9 196.3 206.2 211.8 220.4 198.4 213.9 218.4

Ownership of dwellings 147.4 147.7 148.4 149.4 150.5 153.3 155.0 155.0 154.4 157.2 157.9 157.8

GVA in real estate,

renting, & business activities 172.9 170.6 172.8 176.2 178.7 176.7 181.3 183.8 185.2 180.9 187.5 189.8

Source: Philippine Statistics Authority