A work in constant progress (and occasional regress).
Born:
November 15, 1980
Melissa Vera "Missy" Maramara is a Filipino actor, theater director, Intimacy director and coordinator, improviser, and educator. She holds a Master of Fine Arts in Drama (Performance) from the University of Arkansas (Fayetteville) through the International Fulbright Scholarship Program. She is also trained in mask work and silent play from the L'École Internationale de Théâtre Jacques Lecoq in Paris, Moment Work from Tectonic Theater Project in New York City, and Intimacy Work from Intimacy Directors and Coordinators (IDC) and Theatrical Intimacy Coordination (TIE) in New York City. She is an Assistant Professor in the Department of Fine Arts and English Department of the Ateneo de Manila University (AdMU) where she earned a Bachelor of Fine Arts in Theater Arts, a Master of Arts in English Literature and Cultural Studies, and a Doctor of Philosophy in English Language and Literature. Her most recent acting credits include Marie Curie in Lauren Gunderson’s The Half Life of Marie Curie, Sister Lucia in Floy Quintos' Grace, Uncle Jane in Nelsito Gomez's Uncle Jane, and Maro Liwanag in Joshua Lim So's A Color for Tomorrow. She received the LEAF Award for Most Outstanding Actress for Callie in Diana Son's Stop Kiss (2019), the Aliw Award for Best Featured Actress for Mitch in Floy Quintos' The Kundiman Party (2018). She is a proud member of SPIT Manila, Southeast Asia’s premier Improvisational theater company, and a teacher in Third World Improv. She is currently the president of the Philippine Theater Actors Guild (TAG Ph).
Most data and links to images for the Movies section come from TheMovieDB (TMDB).
Additional data for Film Titles come from The Open Movie Database (OMDb).
At least one plug-in comes from IMDb.
Data are -- hey, it's a plural -- subject to the limitations of their sources. (For example, TMDB search results currently max out at 20.) I am limiting myself to free data sources for now. (No, a "free trial" is not free.)
While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:
Regarding profile removals and data corrections:
Filtering is applied here to film projects flagged as "adult" by TheMovieDB. Pending "popular demand" I am contemplating a login and profile system with preferences (such as whether to allow adult images to appear) and permissions (such as data entry).
Whereas the overall purpose of this website is to serve as a personal demo/portfolio/workshop of web and data skills, this Movies section is not meant to compete with or substitute for far more definitive movie websites.
Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.