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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 effectiveness of
coopetition strategies on market
dominance

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 mining
and quarrying

issn 0117– 1798

june The industry monitor is a monthly publication of the School of Economics of the University of Asia and the Pacific •
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 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.
 june 2014  F E A T U R E

Motion picture industry: An

industry monitor

analysis of the effectiveness of

coopetition strategies on market
dominance
Competition keeps prices and costs down, improves choice and quality, and supports economic growth.
Cooperation among firms, on the other hand, helps stimulate innovations from sharing of knowledge and
information along with other resources. First of two 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

L
ocal movie production and distribution outfits vary their decision making
regarding a film’s theatrical release considering a number of factors and possible
determinants of profitability.
Indicators of a film’s success are dependent on the
individual firm’s reliance on brand-related variables,
such as star power, director, genre, ratings, and producer
reputation. Producer reputation is developed through time
and can be enhanced in two distinct scenarios.
First, by producing massive crowd drawers or box-office
hits. Second, by getting awards from different award-giving
bodies, both domestic and international. The award may
be given to the cast, the director, the cinematographer, or
the film itself. In the Philippines, the award-giving bodies
include Gawad Urian, FAMAS (Filipino Academy of Movie
Arts and Sciences), PMPC (Philippine Movie Press Club),
FAP (Film Academy of the Philippines), Luna, and GMMSF
(Guillermo Mendoza Memorial Scholarship Foundation).
Two strategies may be used to produce quality films:
competition or coopetition. Competition refers to the
strategy wherein two distinct firms vie for market dominance
by releasing their respective films sometimes on the same
playdates. Profits, in this scenario, may not be maximized
since the local market can be segmented into two.
Coopetition refers to the strategy in which at least two
firms cooperate in a highly competitive market including
both domestic and foreign markets. The firms may share
costs and their respective contract talents in one film.
Cost-sharing involves the distribution of variable costs,
such as production and marketing costs, depending on
the comparative advantage of one firm over another. For
instance, movie producers of Viva and Regal may find it
difficult to promote their film given that they do not own
a major broadcasting network which can be in charge
of marketing and promotions. At appropriate times,
therefore, they partner with Star Cinema and GMA Films,
which own the largest national broadcasting networks.
Meanwhile, talent-sharing is exercised when one contract
talent of one firm is partnered with one talent of a “rival”
firm in one major film production. Known firms which
undergo cooperation and collaboration in the Philippine
Movie Industry are Star Cinema-Viva, Star Cinema-
Regal, and GMA - Regal. Coopetition in the local movie
industry is exemplified in a regular theatrical run, but
F E A T U R E
is more evident during the annual Metro Manila Film
Festival (MMFF).
MMFF is an annual tradition which caters to the promotion
of the local movie industry. The Festival officially begins on
December 25 and ends on January 7 of the succeeding year.
Coopetition is a dominant strategy for local films during
the MMFF to earn exponentially since no foreign film can
compete in the market for this two-week period.
Producers and distributors have varying conduct as
regards their competitiveness and behavior in the market.
Firm conduct during the annual MMFF allows them to
earn more than in a regular theatrical run. During this
period, local film production outfits can boost their sales
by producing movies catering to a wider audience – films
with a rating of General Patronage (GP) and Parental
Guidance (PG13) since these films have the largest market
in the Yuletide season. Given the existence of coopetition
in Philippine cinema, this study attempts to explain
the effectiveness of this strategy in securing the market
dominance of the top four production firms in terms of
current market share.
Statement of the problem
How do Star Cinema, Viva Films, Regal Films, and GMA
Films use coopetition to secure their market dominance in
the Philippine domestic film industry?
Objectives of the study
By the end of this study, the researchers must be able to:
1. Determine the significant differences in conduct
of firms with the consideration of a specified time period
2. Test the effectiveness of both competition and
coopetition in the process of generating greater revenues
3. Recommend a proposition that enables firm
players to maintain their market dominance in the two
time periods
Significance of the study
This study will primarily be beneficial to movie practitioners
as this will shed light on the possible persistence of
coopetition in Philippine Cinema since the strategy, on
the average, is not often used by movie production outfits
in a span of one year. Although diversity in possible
partnerships and collaborations is already established,
there is still a need to assess the effectiveness of the present
strategy in increasing chances of profitability of films from
2008-2013. This study will also determine the optimal
relationship among the top four firms, whether there is a
need to consistently adapt collaborative efforts or whether
producing films in a competitive level provides greater
incentives for profitability.
Scope and limitation
This study is limited to the analysis of the effectiveness of
the strategy of coopetition in terms of market share among

the top four firms, namely, (1) Star Cinema, (2) Viva
Films, (3) GMA Films, and (4) Regal Films. The analysis
of this strategy’s effectiveness is based on the interpretation
of the four firms’ financial statements from 2000 to 2013.
Moreover, the regression model incorporates per film
data from 2008 up to the end of 2013 on both regular-run
films and MMFF-released films. Per film data comprise
gross revenues, number of days in the cinema, and a
string of brand-related variables which include genre, the
nature of stars (star power), ratings, director, and producer
reputation (see Appendix 1). Also, the researchers
employed an instrumental variable technique to indicate
the influence of the word-of-mouth phenomenon.
Review of Related Literature
Background/history of the Metro Manila Film Festival
The Metro Manila Film Festival (MMFF) is an annual
event during the Christmas season that began in 1974
to recognize the role of the film industry in providing
artistic depictions of the country’s stories and history. The
Metropolitan Manila Development Authority (MMDA)
organizes an executive committee that spearheads the
MMFF. The MMFF is able to earn millions of revenues
as moviegoers line up for the movies participating in the
festival. Months prior to the festival, local film makers
submit their respective entries, and eight official entries
are selected for exhibition. Producers are active in the
preparation stage because they want to maximize the
opportunity of showing films without foreign movie
competition.
Competition
Competition can be referred to as rivalry among firms
where every seller tries to gain what other sellers seek. They
do it by offering the best practicable combination of price,
quality and service. It also refers to the arrangement of
competing firms to cooperate on specific projects or in
certain areas of business for mutual benefit, even while
remaining competitors in general. Sales, profits, and
market share dominance are some of the objectives that
suppliers seek. The competition prevalent in the market
induces firms to maximize efficiency and make optimal
UNIVERSITY OF ASIA & THE PACIFIC
decisions. Firms compete in a variety of ways, including
the following: providing unique customer satisfaction,

“Through the years: Controversies in the MMFF,” Business
World,   http://www.bworldonline.com/content.php?section=
Weekender&title=Through-the-years:-Controversies-in-the-
MMFF&id=64060 (accessed March 27, 2014).

“39th Metro Manila Film Festival (MMFF),” Clarkisitcom.
http://www.clarkisit.com/39th-metro-manila-film-festival-
mmff/ (accessed March 27, 2014).

  “Competition,” BusinessDictionary.com. http://www.
businessdictionary.com/definition/competition.html (accessed
March 23, 2014).

“Competition,” BusinessDictionary.com.
 june 2014  F E A T U R E
pampering existing customers, developing a certain niche
and concentrating on it, taking good care of employees,
using technology for the advancement of the business,
industry monitor
featuring a professional business image, emphasizing the
uniqueness of products, and giving a store character.
Working together with other firms is one way of leveling
the competition with other businesses. Moreover, lowering
the price of certain products is a competitive strategy to
generate more customers.
Cooperation
On the other hand, cooperation is a voluntary arrangement
in which two or more firms engage in mutually beneficial
exchanges. Cooperation between firms and different
types of organizations aims to improve their capacity
to innovate. Transfer of knowledge is more likely to
happen among firms involved in cooperation. They may
enter the realm of science, technology, and innovation
policies. According to Richardson, two firms with
distinct capabilities but complementary activities should
find cooperation as their best option. Production
becomes more efficient. Cooperation within a firm and
among firms results in increased productivity.
The term coopetition was first coined in the early 1990s
by Raymond J. Noorda, the founder of Novell Corp.,
and gradually achieved prominence.10 It is a combination
of the two concepts of competition and cooperation.
Bradenberger and Nalebuff, in their book Coopetition, state
that interactions among firms can “sometimes enhance
profits.”11 The five major components of coopetition are
as follows: players, added value, rules, tactics, and scope.
There will be opportunities for various players that engage
in both competition and cooperation.

“How Businesses Compete,” starupbizhub.com, http://
www.startupbizhub.com/how-business-compete.htm (accessed
March 28, 2014).

“How Businesses Compete.” starupbizhub.com.

  “Cooperation,” BusinessDictionary.com. http://www.
businessdictionary.com/definition/cooperation.html (accessed
March 23, 2014).

  “Cooperation understood as knowledge exchanges
driven by people: consequences for the design and analysis of
innovation surveys,” https://smartech.gatech.edu/bitstream/
handle/1853/32348/160-747-1-PB.pdf.txt?sequence=3
(accessed March 26, 2014).

Christos Pitelis and Anastasia Pseiridis, “A Conceptual
Framework for Firm Cooperation and Clusters and Their
Impact on Productivity and Competitiveness,” (working
paper, DYNREG Dynamic Regions in a Knowledge- Driven
Global Economy Lessons and Policy Implications for the
EU, 13/2007), http://www.esri.ie/research/research_areas/
international_economics/dynreg/papers/Working_Paper_No._
13.pdf (accessed March 28, 2014).
10
“Co-Opetition,” - Arrangement, Information, Business,
and Companies. http://ecommerce.hostip.info/pages/266/Co-
Opetition.html (accessed March 23, 2014).
11
Besanko, David et al., Economics of strategy. 6th ed. (New
York: Wiley & Sons, 2013).
Who are eligible to join the industry (players) should
be clear. It must be anticipated that there will be gainers
and losers, some with a higher degree compared to others.
The actions undertaken have to indentified and established
and are intended to increase the value added in order to
maximize profitability (value added). Rules that would be
mutually beneficial to the associated firms must be upheld
to ensure shared advantages. There must also be the
presence of an organizational body that has the power to
create, enforce, and overturn the rules (rules). The actions
one player does influence the strategies, actions, and
perceptions of other players in the market. Certain signals
and messages may be deliberately created to influence the
perception of other players (tactics) Lastly, the companies
should be able to create value added from linking their
products and services to a market (scope).
When organizations cooperate, they not only share
information and make adjustments in their services – they
share resources to help each other do a better job. In a
cooperative relationship, organizations may share staff,
volunteers, expertise, space, funds, and other resources.12
As coopetition provides those benefits, it enables the firms
to increase profits while minimizing costs.
It is often necessary to participate in both cooperation
and competition at the same time. Cooperation with
other players can foster market growth while competition
maximizes market share.13 There have been many
Philippine production and distribution outfits that have
engaged in cooperation, co-producing a few profitable and
successful Philippine movies that became blockbusters and
involving two or more outfits. These movies include It
Takes a Man and a Woman and No Other Woman which
earned P 375,024,507 and P 278,418,883 gross revenues,
respectively.14 MMFF season films have also achieved success
in terms of gross revenues. These blockbuster films Girl,
Boy, Bakla, Tomboy and Sisterakas involved cooperation
between two firms. Their gross revenues amounted to P
429,147,428 and P 391,400,00, respectively. 15 The four
films mentioned are part of the top-grossing films of all
time, and their common denominator is co-production.
12
  “Section 3. Promoting Coordination, Cooperative
Agreements, and Collaborative Agreements Among Agencies.”
Main Section. http://ctb.ku.edu/en/table-of-contents/
implement/improving-services/coordination-cooperation-
collaboration/main (accessed March 23, 2014).
13
“Strategy Hub – Framework of the Week – 82 – Value Net
/ Coopetition / PARTS.” Strategy Hub. http://66.147.244.90/
~stratey0/portfolio-view/framework-of-the-week-82-value-net-
coopetition-parts/ (accessed March 23, 2014).
14
It Takes a Man and a Woman, Box Office Mojo, Retrieved
February 25, 2014; No Other Woman, Box Office Mojo,
Retrieved February 25, 2014.
15
 Ricky Lo, “Vice Ganda beats Kris at the tills,” The Philippine
Star, January 20, 2014, Retrieved January 26, 2014, Sisterakas,
Box Office Mojo, Retrieved January 23, 2013.
F E A T U R E
These co-productions exemplify the profitability and
benefits of coopetition.16
Review of related empirical studies
According to most studies, coopetition combines the
advantages of both competition and cooperation into
a new and dynamic framework to generate more profit
and turn things in favor of the participating firms by
changing the business environment that directly affects the
companies.17 Competition keeps prices and costs down,
improves choice and quality, and supports economic
growth.18 Cooperation among firms, on the other hand,
helps stimulate innovations due to the shared pool of
knowledge and information along with other resources
that contribute to more efficient production and better
product quality.
According to the study of Gnyawali and Park entitled
“Coopetition Between Giants: Collaboration With
Competitors For Technological Innovation,” coopetition
between firms has increased its practical significance
especially in high-technology companies. Competing
firms possess relevant resources and face similar pressures.
It makes collaboration an attractive strategy to acquire and
create new technological knowledge in the pursuit of new
innovations.19 According to Joseph, innovations give a lot
of advantages to firms that practice them.20 Technological
innovations may contribute to expanding the market and
cutting of costs. Market expansion occurs when advanced
technology enables the firm to introduce its products to
a larger market. Innovations also help businesses keep
costs to a minimum because of the efficiencies introduced
in the production process. Price reduction, increased
productivity, improved profit, increased total turnover, and
acquisition of new relationships and partnerships are other
benefits that technological innovation brings.21 Given all
the positive outcomes that can arise from coopetition, it
16
 Box Office Mojo, International, Philippines, Retrieved
February 25, 2014.
17
 “Co-opetition,” businesssummaries.com. http://www.
slideshare.net/bizsum/coopetition-3052885 (accessed March
23, 2014).
18
 “Competition Benefits Eveyone,” The Competition
Authority. http://www.tca.ie/images/uploaded/documents/
Booklet%20-%20Competition%20Benefits%20Everyone.pdf
(accessed March 12, 2014).
19
 Devi Gynawali and Byung Jin Park, “Coopetition
between giants: collabortion with competitors for technological
innovation,” Elsevier: Research Policy. http://www.management.
pamplin.vt.edu/directory/Articles/Gynawali2.pdf  ( accessed
March 25, 2014).
20
 Chris Joseph, “Advantages & Disadvantages of Innovative
Technology,”  C hron.  h ttp://smallbusiness.chron.com/
advantages-disadvantages-innovative-technology-24267.html
(accessed March 25, 2014).
21
 “Business Innovation for Profit Maximization,” Business
Innovation. http://geoge.org/business-innovation-for-profit-
maximization-2.html (accessed March 25, 2014).

can be said that it is a strategy businesses partake in as an
optimal decision.
Some examples of successful firms that engage
in coopetition are Apple and Microsoft in software
development, and Toyota and Peugeot in the creation of a
new city car for the European market. According to Dyer,
there are three levels of coopetition. First is cooperating
in a way that benefits are equally distributed. Second is
collaborating on the strategy they will take in order to
garner the maximum amount of gains despite the uneven
distribution of benefits. Third is partnering on the use of
resources to achieve the maximum possible amount of
benefits.22
Coopetition requires clarity of roles and responsibilities
among firms wherein the objectives are clear and the tasks
are defined. Commitment and fairness is another strong
foundation in a strategic partnership which is also present
in coopetition. Unfair treatment leads to lack of trust
among the firms. On the contrary, if firms are treated
fairly, confidence will persist among firms, and they are
better able to accomplish whatever objectives they had
initially set up.23
Theoretical Framework, Conceptual Framework, and
Empirical Methodology
Theoretical framework
In the book, Coopetition (1996), Adam Bradenberger and
Barry Nalebuff challenged Porter’s Five Forces since for
them, the premier framework used for industry analysis
focuses only on potential threats to industry profits.24
Porter held that all other firms, regardless of whether
they are competitors, suppliers or buyers, are threats.25
The two authors introduced a concept that saw firm
interdependence by simultaneous competition and
cooperation. They pointed out that interactions among
firms can “sometimes enhance profits and emphasize the
many positive interactions that Porter generally ignores.”26
It is an applied business theory in the spirit of game
theory and an “integrative theoretical bridge” between
the competitive business perspective and the cooperative
perspective.27
However, the coopetition theory is not meant to
UNIVERSITY OF ASIA & THE PACIFIC
contradict Porter’s Five Forces. Instead, the Value net
22
 Sue Dyer, “How to Create More Effective Teams
Through “Co-opetition,” ASME. https://www.asme.org/career-
education/articles/team-building/how-to-create-more-effective-
teams-through-co-op (accessed March 25, 2014).
23
Ibid.
24
Besanko et al., Economics of strategy.
25
Ibid., 318
26
Ibid., 318.
27
Harald Stein, “Literature Overview on the Field of Co-
opetition.” Vilnius Gedimas Technical University. http://www.
btp.vgtu.lt/index.php/btp/article/viewFile/29/29  (accessed
February 9, 2014).
 june 2014  F E A T U R E

or Coopetition framework intends to complement it for Table 2 • Luo’s typology of coopetition based on the
a more comprehensive business strategy or firm conduct. intensity of competition and cooperation
This is done by assessing both threats and opportunities
industry monitor

Cooperation
for industry growth and profitability as well.28 The five Low High
components of this framework are shown in Table 1: Contender:
Coopetitor:
High bargain, challenge,
compromise, influence
Competition appeasement
Table 1 • Five components of the Value net or
Partner:
Coopetition framework Low
Alienator: compliance,
accommodation,
circumvention
adaptation
Components Description
Source: Luo, 2004.
What are the opportunities for cooperation and competition
Players with each various players? Who else could join the industry?
Who stands against gain or lose if they do join? The researchers used the diagram in Figure 1 as a
What actions can be taken to increase the added value in guide in determining the factors which influence gross
Added value
order to maximize profitability? revenue. This concretizes the flow of this study toward
Which rules are helpful to the company and the industry? understanding coopetition as applied to the motion
Rules
Who has the power to create, enforce, and overturn rules? picture industry. First, brand-related variables and movie
What actions can one player take to shape the strategies, attributes will be tested in relation to gross revenue.
actions, and perceptions of other players in the market? Second, the outfits’ strategy of collaborating will be
Tactics How can you deliberately send signals and messages that
influence the perception of other players, which in turn may contrasted with their performance on their own in terms
influence their actions? of gross revenue. Moreover, in this regression analysis
What markets could potentially be linked? How could the some specific variables to indicate coopetition like
Scope company create value added from linking its products and sharing of talents will be included. Understanding the
services to that market?
variables that influence coopetition and the process itself
Source: Besanko et al., 318. is necessary for the creation of policy recommendations
addressed to the major players in the industry.
Dagnino and Padula propose a framework underlying
the coopetitive perspective,29 the coopetitive system Figure 1• Conceptual framework
of value creation, which states that cooperation and
competition merge together to form a new kind of
strategic relationship between firms:30 BRAND-RELATED VARIABLES AND
OTHER MOVIE ATTRIBUTES (STAR COOPETITION STRATEGY
a. “Firms’ interdependence is both a source of POWER AND MMFF)
economic value creation and a place for economic value
sharing.”
b. “Firms’ interdependence is based on a variable- GROSS REVENUES
positive-sum game which may bring mutual but not
necessarily fair benefits to the partners because of several
competitive pressures of different nature that may
undermine their coopetitive structure.” CONCLUSION AND RECOMMENDATION
c. In a variable-sum game structure, firm
interdependence is based on “partially convergent inter- Source: Authors’ own.
firm interests.”
In his book Coopetition in International Business
(2004), Luo presents various issues of business Empirical framework
relationships between different countries (see Table 2). Objective 1: Determine the significant differences in
He regards coopetition as a “loosely coupled system in conduct of firms with consideration of the time period and
which agents maintain certain interdependence without the extent of such influences on industry performance
losing their organizational separateness.”31 To understand the conduct of the four firms during
the two time periods, two regression models will be used,
Besanko et al., Economics of strategy, 318.
28
one for regular-run films and the other for films shown
Stein, “Literature Overview.”
29
during the festival. The Adjusted R-squared and the p-
30
Akin Koçak. “Developing and Validating Coopetition
Scale for Small Firms.” Ankara University. http://80.251.40.59/
values will be observed to determine the degree of their
politics.ankara.edu.tr/ozer/Makalelerim/Developing%20a significance in explaining gross revenue. This method is
nd%20Validating%20Coopetition_Scale_Among_Smal_ intended to identify the differences in firm behavior at
%20Firms.pdf (accessed February 12, 2014). two periods and their effects on industry performance.
31
Stein, “Literature Overview.” The model below will be used.
F E A T U R E
Y­t = θdayscinema(dayscinema) + θstarcinema (starcinema)
+ θviva(viva) + θregal(regal) + θgma(gma) + Films
θdummystars(dummystars)
Where, Y­t = gross revenues
dayscinema = total number of days of a feature
film’s theatrical run
starcinema = dummy variable for films released by
Star Cinema
viva = dummy variable for films released by Viva
Films
regal = dummy variable for films released by Regal
Films
gma = dummy variable for films released by GMA
Films
dummystars = dummy variable for stars (e.g.,
John Lloyd Cruz, Sarah Geronimo)
θvariable = coefficient of variables
Objective 2: Test the effectiveness of both competition and
coopetition in the process of generating greater revenues
In analyzing the coopetition strategy of the top four
firms in the industry, the researchers make use of three
regression models to compare and determine the effect
of coopetition on gross revenue (dependent variable).
The first model is the Competition Model. It consists of
the films from 2008-2013 that were produced by a single
firm only. The second model is called the Coopetition
Model and contains the films from 2008-2013 that were
co-produced by two outfits. To be able to make the
analysis comparable, the researchers kept the following
independent variables constant in both models: number
of days shown in the cinema (DAYSCINEMA), the four
production outfits, (STARCINEMA, VIVA, REGAL,
GMA), and prominent celebrities in the industry,
namely, John Lloyd Cruz (JOHNLLOYD), Sarah
Geronimo (SARAH), Vice Ganda (VICE), and Vic
Sotto (Vic). The use of the MMFF dummy variable
shows whether this annual phenomenon wherein there
is no foreign competition indeed plays a crucial role in
determining industry revenue. The regression equation
is as follows:
Y­t = θdayscinema(dayscinema) + θmmff(mmff) +
θstarcinema (starcinema)+ θviva(viva) + θregal(regal) +
θgma(gma) + θdummystars(dummystars)
Where, Y­t = gross revenues
dayscinema = total number of days of a feature
film’s theatrical run
mmff = dummy variable for MMFF-released
films
starcinema = dummy variable for films released by
Star Cinema
viva = dummy variable for films released by Viva
Films

regal = dummy variable for films released by Regal
gma = dummy variable for films released by GMA
Films
dummystars = dummy variable for stars (e.g.,
John Lloyd Cruz, Sarah Geronimo)
θvariable = coefficient of variables
Objective 3: Recommend a proposition that enables
firm players to maintain their market dominance in the
two time periods
Lastly, the overall regression model combines all
films and sees where among the variables the effect of
coopetition is manifested. A dummy variable PARTNER
will be introduced to indicate whether the film is
produced collaboratively or not. This dummy variable
will be interacted with variables that are significant in
the first two models. If these remain consistent with
the earlier models, then the researchers will be able
to point out the areas in which coopetition instead of
competition will work for the advantage of these outfits
and propose a recommendation for them to employ.
The overall regression equation is as follows:
Y­t = θdayscinema(dayscinema) + θdayscinema*partnership(daysc
inema*partnership) + θmmff*partnership(mmff*partnersh
ip) + partnership(partnership) + θstarcinema (starcinema)+
θviva(viva) + θregal(regal) + θgma(gma) +
θdummystars(dummystars)
Where, Y­t = gross revenues
dayscinema = total number of days of a feature
film’s theatrical run
dayscinema*partnership = interaction variable for
the number of days in cinema and partnership
or collaboration
mmff = dummy variable for MMFF-released
films
mmff*partnership = interaction variable for
MMFF-released films and collaboration
partnership = dummy variable for coopetition
starcinema = dummy variable for films released by
Star Cinema
viva = dummy variable for films released by Viva
Films
UNIVERSITY OF ASIA & THE PACIFIC
regal = dummy variable for films released by Regal
Films
gma = dummy variable for films released by GMA
Films
dummystars = dummy variable for stars (e.g.,
John Lloyd Cruz, Sarah Geronimo)
θvariable = coefficient of variables
The second part of this two-part series presents the
results of the study, conclusion, and the data used in the
analysis. IM
 june 2014  F E A T U R E

Appendix 1 • Selected data for films in which producers behaved competitively

Main
Main Actor Director (1
industry monitor

Actress
(Veteran One or Two
(Veteran IMDB
Movie Actors and actresses 3, Rising Director awards, 2 Genre
3, Rising rating
Star 2, More than
Star 2,
Starlet 1) 2 awards)
Starlet 1)
Apat Dapat: Dapat Apat, Friends Rufa Mae Quinto, Candy Pangilinan,
1 1 Wenn V. Deramas 1 6.2 Comedy
for Life and Death Pokwang
Ryan Agoncillo, Maja Salvador, Pauleen Comedy/
My Kuya’s Wedding 2 2 Topel Lee 0 5.7
Luna Romance
Rica Peralejo, Mark Herras, Jennylyn Action/Horror/
Tiyanaks 1 2 Mark Reyes 1 7.4
Mercado, TJ Trinidad Thriller
Eric Quizon, Jean Garcia, Alessandra de Horror/
Hide and Seek 2 2 Rahyan Carlos 0 5.2
Rossi, Ryan Eigenmann Thriller
Maricel Soriano, Angelica Panganiban, Maryo J. Delos
A Love Story 2 3 2 6.5 Romance
and Aga Muhlach Reyes
I’ve Fallen for You Kim Chiu and Gerald Anderson 2 2 Lino Cayetano 0 6.3 Romance
Cathy Garcia
One More Chance John Lloyd Cruz and Bea Alonzo 2 2 1 6.4 Romance
Molina
Pasukob Ai Ai delas Alas, Rufa Mae Quinto 1 2 Wenn V. Deramas 1 4.9 Comedy
Anak ng Kumander Manny Pacquiao, Ara Mina, Dan Alvaro 1 1 Jose Balagtas 0 3.6
Maricel Soriano, Eric Quizon, Marian
Bahay Kubo 2 3 Joel Lamangan 2 7.1
Rivera
Christopher De Leon, Paolo Contis,
Banal 3 0 Cesar Apolinario 2 7.2
Alfred Vargas
Ruffa Gutierrez, Rufa Mae Quinto, Iza
Desperadas 0 2 Joel Lamangan 2 5.6
Calzado
Lorna Tolentino, Bayani Agbayani,
Katas ng Saudi 2 3 Jose Javier Reyes 2 5.7
Vangie Labalan
Ramon ‘Bong’ Revilla Jr., Dingdong
Resiklo 2 2 Mark A. Reyes 2 3.3
Dantes, Jennylyn Mercado
Judy Ann Santos, Ryan Agoncillo, Derek
Sakal, Sakali, Saklolo 2 2 Jose Javier Reyes 2 6.9
Ramsay
Shake, Rattle & Roll IX John Pratz, Katrina Halili, Pauline Luna 1 1 Topel Lee 0 5.3
Comedy/Musical/
Ikaw pa rin: Bongga ka boy! Robin Padilla, Ai-Ai de las Alas 2 2 Wenn V. Deramas 1 6.6
Romance
Maryo J. De Los
Torotot (Destierro) Maui Taylor, Yul Servo 1 1 2 6.6 Drama
Reyes
Cherry Pie Picache, Jiro Manio, John
Manay Po! 2: Overload 1 2 Joel Lamangan 2 6.1 Comedy
Prats, Polo Ravales, Rufa Mae Quinto
Comedy/
Loving You Yasmien Kurdi, JC de Vera 1 1 Don Cuaresma 0 5
Romance/Drama
Drama/
Mag-ingat Ka Sa... Kulam Judy Ann Santos, Dennis Trillo 2 2 Jun Lana 2 6.8
Horror/ Thriller
My Monster Mom Ruffa Gutierrez, Annabelle Rama 1 2 topel Lee 0 5 Comedy
Jolina Magdangal,Rufa Mae
Romance/
I.T.A.L.Y. Quinto,Dennis Trillo,Eugene 2 2 Mark A. Reyes 1 5.4
Comedy
Domingo,Rhian Ramos,Mark Herras
Sam Milby, Toni Gonzaga, and Kristine
My Big Love 2 2 Jade Castro 2 6.8 Romance/ Drama
Hermosa
SupahPapaLicious Vhong Navarro, Valerie Concepcion 2 1 Gilbert Perez 0 6 Comedy
Caregiver Sharon Cuneta, John Estrada 2 3 Chito Rono 2 6.9 Drama
For the First Time KC Concepcion and Richard Gutierrez 2 2 Joyce Bernal 1 6.8 Romance
Cathy Garcia Romance/
My Only U Vhong Navarro and Toni Gonzaga 2 2 1 6.8
Molina Comedy
Phillip Salvador, Jericho Rosales, Anne
Baler 3 2 Mark Meily 2 6.5
Curtis
Nash Aguas, Katrina Michelle Legaspi,
Dayo 1 1 Robert Quilao 2 7.3
Michael V.
Ruffa Gutierrez, Rufa Mae Quinto, Iza
Desperadas 2 0 2 Joel Lamangan 2 6
Calzado
One Night Only Katrina Halili, Diana Zubiri, Ricky Davao 2 2 Jose Javier Reyes 2 6.7
Roxanne Guinoo, J.C. de Vera, Mylene Topel Lee, Michael
Shake, Rattle & Roll X 1 1 0 6.4
Dizon Tuviera
Ai-Ai de las Alas, Eugene Domingo,
Ang Tanging Ina N’yong Lahat 0 2 Wenn V. Deramas 1 5.5
Shaina Magdayao
Michael Pequet, Zyrus Desamparado,
Magkaibigan 1 0 Jose Javier Reyes 2 4.6
Jinggoy Estrada
Iskul Bukol: 20 Years After Tito Sotto, Vic Sotto, Joey de Leon 2 0 Tony Y. Reyes 1 4.2
Rufa Mae Quinto, Paolo Contis, Alfred Romance/
Status: Single 1 1 Jose Javier Reyes 2 6.2
Vargas Comedy
Romance/
OMG (Oh, My Girl!) Judy Ann Santos, Ogie Alcasid 2 2 Dante Nico Garcia 9 6.8
Comedy
F E A T U R E 

Appendix 1 • Selected data for films in which producers behaved competitively

Main
Main Actor Director (1
Actress
(Veteran One or Two
(Veteran IMDB
Movie Actors and actresses 3, Rising Director awards, 2 Genre
3, Rising rating
Star 2, More than
Star 2,
Starlet 1) 2 awards)
Starlet 1)
Marian Rivera, Roxanne Guinoo, Dennis Drama/ Fantasy/
Tarot 2 2 Jun Lana 2 7
Trillo Horror
Nandito Ako...Nagmamahal Aljur Abrenica, Kris Bernal, Baron Maryo J. de los
1 1 2 5.4 Drama/ Romance
Sa’Yo Geisler Reyes
Robin Padilla,Sunshine Dizon,Katrina
Sundo 2 1 Topel Lee 0 6.1 Suspense/ Thriller
Halili,Rhian Ramos
Yaya and Angelina: The Spoiled Michael V., Ogie Alcasid, Jomari
2 2 Mike Tuviera 0 6.1 Comedy
Brat Movie Yllana, Aiko Melendez, Iza Calzado
Love Me Again Angel Locsin and Piolo Pascual 2 2 Rory Quintos 0 5.4 Romance
Tenement 2 (T2) Maricel Soriano, Eric Fructuoso 1 3 Chito Rono 2 6.4 Horror
BFF: Bestfriends Forever Sharon Cuneta and Ai Ai delas Alas 2 3 Wenn Deramas 1 5.6 Comedy
Maja Salvador, Jake Cuenca, Geoff
Villa Estrella 2 2 Rico Ilarde 0 5.9 Horror
Eigenmann, Shaina Magdayao
Bea Alonzo, Derek Ramsay, and Sam
And I Love You So 2 2 Laurenti Dyogi 0 6.3 Romance/ Drama
Milby
Vilma Santos, Luis Manzano and John
In My Life 2 2 Olivia Lamasan 2 6.9 Drama
Lloyd Cruz
Ang Tanging Pamilya… A Marry Ai Ai delas Alas, Toni Gonzaga, ERAP,
2 2 Wenn Deramas 1 5.8 Family/ Comedy
Go Around Sam Milby
Comedy/ Fantasy/
Love On Line (LOL) Vic Sotto, Paula Taylor, Gina Pareño 2 1 1 3.7
Romance
Ramon ‘Bong’ Revilla Jr., Phillip
Ang Panday 2 2 Mac Alejandre 0 4.1
Salvador, Iza Calzado
Gabby Concepcion, Angelica
I Love You, Goodbye 2 2 Laurice Guillen 2 6
Panganiban, Derek Ramsay
Ang Darling Kong Aswang Vic Sotto, Cristine Reyes, Dante Rivero 2 2 Tony Y. Reyes 1 4.4
Maja Salvador, Mark Anthony Rico Gutierrez,
Shake, Rattle & Roll XI 1 2 0 6
Fernandez, Gina Alajar Jessel Monteverde
Sharon Cuneta, Zsa Zsa Padilla, Boots
Mano Po 6: A Mother’s Love 0 3 Joel Lamangan 2 5.6
Anson-Roa
Nobody, Nobody But Juan Dolphy, Eddie Garcia, Joe Aldeguer 3 0 Eric Quizon 2 5.5
Manny Pacquiao, Angelique Velez,
Wapakman 1 1 Topel Lee 0 5.3
Arvin Sadsad
Hating kapatid Judy Ann Santos, Sarah Geronimo 1 2 Wenn V. Deramas 1 6.4 Romance/Comedy
Eugene Domingo, John Lapuz, Diether
Mamarazzi 2 2 Joel Lamangan 2 6.9 Comedy
Ocampo, Carla Abellana
Drama/
White House Iza Calzado, Lovi Poe, Maricar Reyes 1 2 Topel Lee 0 4
Horror/ Thriller
Cathy Garcia Romance/
My Amnesia Girl John Lloyd Cruz and Toni Gonzaga 2 2 1 5.6
Molina Comedy
Paano Na Kaya Kim Chiu and Gerald Anderson 2 2 Ruel Bayani 1 6.1 Romance/Comedy
Cathy Garcia
Miss You Like Crazy John Lloyd Cruz and Bea Alonzo 2 2 1 5.9 Romance
Molina
Kc Concepcion, Gabby Concepcion, and Maryo J. Delos
I’ll Be There 2 2 2 4.7 Drama
Jericho Rosales Reyes
Sam Concepcion, AJ Perez, Jodi Sta.
Cinco 1 2 Various 6.5 Horror
Maria
Lorna Tolentino, Christopher de Leon,
Sa Iyo Lamang 3 3 Laurice Guillen 2 7 Family/ Drama
Bea Alonzo, Coco Martin
I Do Erich Gonzales, Enchong Dee 2 2 Veronica Velasco 2 6.1 Romance/Comedy
Till My Heartaches End Kim Chiu and Gerald Anderson 2 2 Jose Javier Reyes 2 5.6 Romance/ Drama
UNIVERSITY OF ASIA & THE PACIFIC

Angelica Panganiban and Eugene

Here Comes The Bride 2 2 Chris Martinez 2 6.5 Comedy/ Fantasy
Domingo
Si Agimat sa Mundo ni Enteng Vic Sotto, Ramon ‘Bong’ Revilla Jr.,
2 1 Tony Y. Reyes 1 5.4 Action/ Comedy
Kabisote Sam Pinto
Ang Tanging Ina Mo Rin (Last Ai-Ai de las Alas, Eugene
2 2 Wenn V. Deramas 1 6.5 Comedy
Na ‘To!) Domingo, Marvin Agustin
Kris Aquino, Diether Ocampo, Gina
Dalaw 1 2 Dondon S. Santos 0 5.8 Drama/ Horror
Pareño, Karylle
Father Jejemon Dolphy, Nash Aguas, Roy Alvarez | 3 1 Frank Gray Jr. 0 6 Drama
Dolphy, Phillip Salvador, Jennylyn
Rosario 3 1 Albert Martinez 1 7.6 Drama
Mercado, Dennis Trillo
Aga Muhlach, Vhong Navarro, Eugene
RPG: Metanoia 3 2 Luis C. Suarez 0 7.2 Drama
Domingo
Shaina Magdayao Ricky Davao Mhalouh Topel Lee Zoren
Shake, Rattle & Roll XII Crisologo Jackie Lou Blanco Elijah Alejo 1 1 Legaspi Jerrold 0 6.4 Drama/ Horror
John Feir Tarog
 june 2014 10 F E A T U R E

Appendix 1 • Selected data for films in which producers behaved competitively

Main
Main Actor Director (1
industry monitor

Actress
(Veteran One or Two
(Veteran IMDB
Movie Actors and actresses 3, Rising Director awards, 2 Genre
3, Rising rating
Star 2, More than
Star 2,
Starlet 1) 2 awards)
Starlet 1)

Super Inday and the Golden Bibe Marian Rivera, Jake Cuenca, John Lapus 2 2 Michael Tuviera 0 6.1 Action Comedy

Who’s That Girl? Anne Curtis, Luis Manzano 2 2 Wenn V. Deramas 1 6.3 Comedy
Tumbok Cristine Reyes, Ryan Eigenmann 1 2 Topel Lee 0 4.7 Horror/ Thriller
Dennis Trillo, Lovi Poe, Carla Abellana,
My Neighbor’s Wife 2 2 Jun Lana 2 6.7 Drama
Jake Cuenca
Action/Fantasy/
Aswang Lovi Poe, Paolo Avelino, Jillian Ward 2 2 Jerrold Tarog 2 5
Horror
Joshua Dionisio,Barbie Forteza,Jake
Vargas, Bea Binene, Elmo
Tween Academy: Class of 2012 1 1 Mark Reyes 1 6.5 Teen
Magalona, Louise delos Reyes,Alden
Richards
Carmina Villaroel,Marvin Agustin,Rhian
The Road 2 2 Yam Laranas 2 5.4 Horror
Ramos, TJ Trinidad, Barbie Forteza
Bulong Vhong Navarro, Angelica Panganiban 2 2 Chito Rono 2 6.3 Horror/ Comedy
In The Name of Love Angel Locsin and Aga Muhlach 2 2 Olivia Lamasan 2 6.8 Romance/ Drama
Cathy Garcia
Forever and a Day KC Concepcion and Sam Milby 2 2 1 7.2 Romance
Molina
The Adventures of Pureza Melai Cantiveros and Jason Francisco 1 1 Soxie Topacio 1 4.8 Comedy
Julia Montes, Kathryn Bernardo, Enrique Jerry Lopez
Way Back Home 1 1 1 7.3 Family/ Drama
Gil, and Sam Concepcion Sineneng
Vic Sotto, Ai-Ai de las Alas, Eugene
Enteng Ng Ina Mo 2 2 Tony Y. Reyes 1 5.1 Action/ Comedy
Domingo
Kris Aquino, Dingdong Dantes, Angelica
Segunda Mano 2 2 Joyce Bernal 1 5.6 Horror
Panganiban
Ramon ‘Bong’ Revilla Jr., Marian
Ang Panday 2 2 2 Mac Alejandre 0 5.2 Action/ Drama
Rivera, Phillip Salvador
Ryan Agoncillo, Judy Ann
My Househusband (Ikaw Na!) 2 2 Jose Javier Reyes 2 7.1 Comedy
Santos, Eugene Domingo
Chris Martinez
Zanjoe Marudo, Maricar Reyes, Bugoy
Shake, Rattle & Roll 13 2 2 Richard Somes 0 6.7 Drama/ Horror
Cariño, Celia Rodriguez, Ervic Vijandre
Jerrold Tarog
Manila Kingpin: The Asiong
Jorge Estregan, Roi Vinzon, Danny Labra 1 1 Tikoy Aguiluz 2 7.6 Drama/ Action
Salonga Story
Maricel Soriano, Gabby
Yesterday, Today, Tomorrow Concepcion, Jericho Rosales  Dennis 2 3 Jun Lana 2 5.7 Drama
Trillo
Hitman (I) Cesar Montano, Phillip Salvador 2 1 Cesar Montano 0 5.4 Action
Moron 5 and the Crying Lady Luis Manzano, Billy Crawford 2 1 Wenn V. Deramas 1 5.3 Comedy
A Secret Affair Anne Curtis, Derek Ramsay 2 2 Nuel C. Naval 1 5.5 Drama
Rigodon Yam Concepcion, John James Uy 1 1 Erik Matti 1 6.2 Sexy Drama
Gabby Concepcion, Ruffa Gutierrez,
The Mommy Returns 3 2 Joel Lamangan 2 6.2 Comedy
Jillian Ward, Pokwang
Lovi Poe, Empress Schuck, Benjamin
Guni-Guni 1 2 Tara Illenberger 2 4.9 Horror
Alves
Andi Eigenmann, JM de Guzman, Janice
Pridyider 1 2 Rico Ilarde 0 5.1 Horror
de Belen, Baron Geisler, Venus Raj
D’ Kilabots Pogi Brothers Weh?! Jose Manalo, Wally Bayola, Pokwang 2 2 Soxy Topacio 1 6.8 Comedy
Rhian Ramos,Aljur Abrenica,Bea Romance/
My Kontrabida Girl 1 1 Jade Castro 2 7.3
Binene, Jake Vargas Comedy
The Witness Gwen Zamora, Pierre Gruno 1 1 Beby Hasibuan 0 5.1 Action/ Horror
Just One Summer Julie Anne San Jose, Elmo Magalona 1 1 Mac Alejandre 0 7.5 Romance/ Drama
Dingdong Dantes, Lovi Poe,Joey
Tiktik: The Aswang Chronicles Marquez,Janice de Belen, Ramon 2 2 Erik Matti 1 6.1 Fantasy/ Horror
Bautista
Maja Salvador, Xian Lim, Matteo
My Cactus Heart 1 2 Enrico Santos 1 6.4 Romance/ Drama
Guidicelli
Cathy Garcia
UnOfficially Yours John Lloyd Cruz and Angel Locsin 2 2 1 6.6 Romance
Molina
Corazon: Ang Unang Aswang Erich Gonzales and Derek Ramsay 2 2 Richard Somes 2 6.1 Horror/ Psycho
Romance/
Every Breath U Take Piolo Pascual and Angelica Panganiban 2 2 Mae Cruz 0 7
Comedy
Born to Love You Coco Martin and Angeline Quinto 2 1 Jerome Pobocan 0 6.5 Romance/ Drama
Kimmy Dora and the Temple of
Eugene Domingo 2 2 Joyce Bernal 1 6.5 Comedy
Kiyeme
F E A T U R E 11

Appendix 1 • Selected data for films in which producers behaved competitively

Main
Main Actor Director (1
Actress
(Veteran One or Two
(Veteran IMDB
Movie Actors and actresses 3, Rising Director awards, 2 Genre
3, Rising rating
Star 2, More than
Star 2,
Starlet 1) 2 awards)
Starlet 1)
The Healing Vilma Santos and Kim Chiu 1 3 Chito Rono 2 7.4 Horror
Enrique Gil, Xian Lim, Kean Cipriano,
The Reunion 1 1 Frasco Mortiz 0 5.1 Teen/ Comedy
Enchong Dee
Angel Aquino, Enrique Gil, Martin del
Amorosa 1 2 Topel Lee 0 6.3 Horror
Rosario
The Mistress John Lloyd Cruz and Bea Alonzo 2 2 Olivia Lamasan 2 4.2 Drama
Light Drama/
Suddenly It’s Magic Erich Gonzales, Mario Maurer 2 2 Rory Quintos 0 4.2
Comedy
Romance/
24/7 In Love Ensemble (Star Magic Artists) 2 2 Various 7.5
Comedy
Angel Locsin, Angelica
One More Try 2 2 Ruel S. Bayani 6.5 Drama
Panganiban, Dingdong Dantes,
Herbert Bautista, Janice de
Shake, Rattle & Roll 14 Belen, Arlene Muhlach Dennis Padilla 2 2 Chito S. Roño 2 4.6 Action/ Comedy
Snooky Serna Dimples Romana
Action/ Drama/
The Strangers Enchong Dee, Julia Montes, Enrique Gil 2 1 Lawrence Fajardo 2 5.9
Horror
Thy Womb Nora Aunor, Bembol Roco, Lovi Poe | 2 3 Brillante Mendoza 2 7 Drama
Lovi Poe, Jennylyn Mercado, Paulo
The Bride and the Lover 2 2 Joel Lamangan 2 3.3 Comedy/Drama
Avelino
Richard Gutierrez, Marian Rivera, Victor Romance/
My Lady Boss 2 2 Jade Castro 2 7.3
Aliwalas Comedy
A Moment in Time Julia Montes and Coco Martin 2 1 Emmanuel Palo 0 6.1 Romance
Kathryn Bernardo, Daniel Padilla,
Must Be…Love 1 1 Dado Lumibao 0 8.1 Romance
Enrique Gil
Bromance: My Brother’s
Zanjoe Marudo and Cristine Reyes 2 2 Wenn Deramas 1 6.3 Comedy
Romance
Bea Alonzo, Toni Gonzaga, Angel Cathy Garcia
Four Sisters and A Wedding 1 2 1 7.7 Family
Locsin, and Shaina Magdayao Molina
Eugene Domingo, Enchong Dee, Leo
Tuhog 2 2 Veronica Velasco 2 7.4 Dark/ Comedy
Martinez, Jake Cuenca
Romance/
Bakit ‘Di Ka Crush ng Crush Mo? Kim Chiu and Xian Lim 2 2 Joyce Bernal 1 7.4
Comedy
On the Job Gerald Anderson and Piolo Pascual 2 1 Erik Matti 1 7 Action/

Alagwa (Breakaway) Jericho Rosales and Bugoy Carino 2 1 Ian Lorenos 0 7.9 Drama

She’s The One Bea Alonzo and Dingdong Dantes 2 2 Mae Cruz 0 6.5 Romance
Romance/
Status: It’s Complicated Paulo Avelino and Jake Cuenca 2 2 Chris Martinez 2 5.8
Comedy

Call Center Girl Pokwang, Enchong Dee, Jessy Mendiola 2 2 Don Cuaresma 0 3.5 Comedy

Andi Eigenmann, Jake Cuenca, Cristine

When the Love is Gone 2 2 Andoy Ranay 1 7.3 Romance/ Drama
Reyes, Alice Dicxon, Gabby Concepcion

Vic Sotto, Kris Aquino, James Yap Jr.,

My Little Bossings 2 2 Marlon Rivera 1 4.9 Comedy
Ryzza Mae Dizon
Kimmy Dora: Ang Kiyemeng
Eugene Domingo and Sam Milby 2 2 Chris Martinez 1 6.7 Comedy
Prequel
Source: IMDB
UNIVERSITY OF ASIA & THE PACIFIC
 june 2014 12 statistics

Gross value added (GVA) in mining and quarrying

Q1 2012 to Q1 2014 (current prices)
industry monitor

Unit: P million

2012 2013 2014

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

Copper mining 2,147 2,069 1,593 1,649 1,881 2,736 2,775 3,475 2,499

Gold mining 5,422 5,305 5,082 4,602 4,252 4,789 5,013 4,733 4,941

Chromium mining 27 31 54 53 41 42 38 8 28

Nickel mining 4,487 9,826 4,282 1,318 4,654 7,759 3,615 1,081 3,829

Other metallic mining 567 615 649 1,129 383 393 381 721 293

Crude oil, Natural Gas & Condensate 9,964 11,354 9,719 10,860 10,019 9,608 9,855 8,219 11,247

Stone quarrying, clay and sandpits 3,955 2,174 2,863 3,907 5,079 2,299 3,187 4,567 5,463

Other non-metallic mining 4,476 6,735 2,618 1,902 1,476 5,857 3,808 2,716 4,849

GVA mining and quarrying 31,045 38,110 26,860 25,420 27,785 33,483 28,671 25,521 33,150

GVA in mining and quarrying

Q1 2012 to Q1 2014 (constant prices)
Unit: P million

2012 2013 2014

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

Copper mining 1,690 401 457 337 1,724 562 741 540 2,079

Gold mining 1,124 1,054 903 880 895 1,129 1,068 1,124 1,171

Chromium mining 25 12 21 36 41 14 12 5 25

Nickel mining 4,731 9,205 5,325 1,206 6,405 9,434 5,152 1,188 5,294

Other metallic mining 69 174 161 264 50 171 126 216 39

Crude oil, Natural Gas & Condensate 4,283 10,375 3,455 4,504 4,232 9,622 3,523 3,046 4,055

Stone quarrying, clay and sandpits 3,085 1,566 2,093 3,376 3,801 1,784 2,285 3,871 3,945

Other non-metallic mining 3,067 4,471 1,414 2,283 1,312 4,637 1,616 2,569 3,509

GVA mining and quarrying 18,074 27,258 13,829 12,885 18,460 27,353 14,524 12,558 20,117

Source: Philippine Statistics Authority