Bacarisse placed him in contact with Ricardo Urgoiti, who in 1929 had founded the firm Filmofono, a cinema production company that achieved enormous success with films of a commercial bent. Remacha's work at Filmofono evolved from the mere synchronisation of records (in the silent-film period) to tasks as the genuine manager and technical expert in musical affairs. He also composed incidental music for four Spanish films produced by Filmofono in the talking-film period: "Don Quintin el amargao" ("Mr Quentin the Sourpuss") (1935). "La hija de Juan Simon" ("Juan Simon's Daughter") (1935), "¿Quien me quiere a mi?" ("Who Loves Me?") (1936) and "Centinela alerta" ("Sentinel Alert") (1936). This was precisely the work that brought him into contact with Luis Buñuel, who acted as producer and in some cases, as in "Centinela alerta", as director. Remacha's cinema activity was also linked to the firm Cinematiraje Riera, engaged in copying films, which called on Remacha's services and knowledge in 1932.