Hello, I'm Kirstie Young, and this is a podcast from the Desert Island Discs archive.

For Wright's reasons, we've had to shorten the music.

The program was originally broadcast in 1980, and the presenter was Roy Plumlee. On our desert island this week is the independent film director and producer Otto Premoncher.

Mr Premoncher, you're on this Desert Island all on your own with just eight records.

Could you adjust yourself to loneliness?

Could you bear it? No, I would jump into the sea and swim.

Does music play a big part in your life would these eight records help you?

Well I must tell you something I don't know much about music but I have an

instinct for the music which I want for my films and I've been very lucky because all my films usually use new composers

who never did any film scores before, and they were all very successful.

Why do you make a point of choosing new composers?

Because you'll be very disappointed.

They're less expensive. What I mean is this. You see usually people

finish the rough cut of a picture, then they show it to a composer and he spends

about six weeks to write a score.

I, on the other hand, want the composer to be with me from the first day of shooting all through shooting

and discuss with him by we are shooting what kind of music etc.

I want him to be part of the film. Now very successful older

composers would be too expensive. So it is a question of money. This is how I started to discover new composers and I must say I was very lucky and they're very happy with the system.

Let's have your first record out of the eight that you've chosen to take with you.

What's that going to be?

You mean Laura?

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