Интервью и вопросы к нему

На этой странице расположены текстовые задания ЕГЭ по английскому на аудирование – интервью с выбором правильного ответа к вопросам.

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Задание 1 на интервью и вопросы к нему

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1. Paul helps actors to …
1) sound more educated.
2) perfect regional or historical accents.
3) learn different languages.

2. Paul usually meets actors for the first time …
1) at his home.
2) during filming.
3) before filming.

3. What does Paul say about American opera singers?
1) They learn how to sing in a foreign opera quickly.
2) It can be a challenge to help them sing in foreign operas.
3) They often sing foreign operas better than the natives do.

4. If an actor can’t do an accent well, Paul says the problem is caused by …
1) himself.
2) the production company.
3) the actor.

5. What happens when an actor is only 99% correct with an accent?
1) His or her efforts are still praised.
2) Audiences are disappointed.
3) No one can notice the imperfection.

6. Paul helps language learners …
1) through lessons on his website.
2) in one-to-one sessions.
3) in the school where he teaches.

7. How do foreigners sometimes make mistakes with the ‘t’ in English?
1) They produce the sound wrongly.
2) They miss it out altogether.
3) They put it in the wrong places.

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Presenter: Hi everyone and welcome to the programme, Acting Up. With us today is dialect coach Paul Richards, who’s going to talk about his work with people and accents. Thanks for being here, Paul.

Speaker: You’re welcome.

Presenter: So for starters, tell us what you do exactly.

Speaker: I do a couple of things. One is I work with entertainers, such as actors, in helping them adopt accents for productions set in past eras or specific geographical locations. Some actors – although very talented – need a bit of extra help getting the pronunciation perfect. I also help individuals who simply want to improve their pronunciation, such as second-language learners who want to sound more like natives.

Presenter: With actors, do you work on set or do you meet them privately?

Speaker: Generally, I work with them at the film or TV studio. We meet at various times. Some meetings are arranged during the very first read-through of a script. Other times, though, I don’t see the actors until the day before they go on camera. It depends on scheduling and the actors’ needs.

Presenter: You also work with opera singers, don’t you? How do you help them ?

Speaker: Many operas have a specific cultural setting and cover a particular period in history, like films do. So for certain productions, the singer may need to sing in French, German, or Italian. Sometimes, even if the singer is French and they re performing in a French opera, they’ll need some minor assistance, although that’s much easier to do than, say, help an American opera singer in a French opera. That can be quite hard work!

Presenter: I see. Is it challenging work in general? With entertainers, I mean.

Speaker: It depends on the entertainer, really. With actors, although they can be very talented, they can be limited in their accent range. American actors, for example, can speak like a New Yorker or an American Southerner better than they can do an accent of British English, such as Cockney or Welsh. I do my best, but at some point, the actor has got to face the reality that it’s not an accent they can do. It can be a problem in the believability of the performance.

Presenter: Yes, we’ve all seen a film in which the actor is supposed to be British but you can tell that they’re not.

Speaker: Well, sometimes they fool audiences, as long as the audience isn’t British! It’s almost impossible to get the accent perfect, but if the actor puts in an enormous effort and gets the accent 99% correct, their hard work is recognised and appreciated.

Presenter: You say you’ve also worked with other individuals, such as language learners. Can you tell us a hit about that?

Speaker: Certainly. I do this kind of work in private lessons. J have a website which lists my services and explains how I can help. We learn our native accents, whether they be British, French, Spanish or whatever, when were children. So in a sense, we have to ‘unlearn some ways of pronouncing sounds in order to adopt the new ways.

Presenter: Can you give us an example?

Speaker: Yes, well, the way we produce individual sounds can be modified. Take “t” for instance. In some languages, there is no puff of air that comes out after saying the “t” but in English, there often is. Learning how to produce that puff of air, and then getting into the habit of doing it, adds one piece of native-sounding pronunciation to a persons speech …

Задание 2 на интервью и вопросы к нему

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1. How did Robin measure the amount of homework students had to do?
1) By the level of difficulty of the homework.
2) By the amount of materials they were given.
3) By how long it took them to do it.

2. Sixteen per cent of primary schoolchildren …
1) had no homework.
2) spent an hour on homework.
3) spent more than an hour on homework.

3. What percentage of secondary schoolchildren took half an hour to do their homework?
1) 13%.
2) 20%.
3) 40%.

4. Concerning the amount of homework students actually did, Robin noticed …
1) they did more reading than they were asked to do.
2) they often didn’t do their maths.
3) they did much less homework than they were given.

5. What did students complain about concerning homework?
1) They were always given too much.
2) It took a long time to get it marked.
3) Teachers would give too much feedback.

6. The relationship between school attitudes and homework involvement was …
1) very surprising.
2) not recorded.
3) fairly predictable.

7. What did Robin discover about group work?
1) Groups of three perform better than other group sizes.
2) High achievers greatly excel in group work.
3) The larger the group, the better the result.

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Presenter: Hi everyone and welcome to our programme, School Talk. Our guest today is education specialist Robin Collins. She’s here to talk about a study involving kids’ attitudes towards homework. Thanks for being here, Robin.

Speaker: My pleasure.

Presenter: So tell us a little bit about your study.

Speaker: One focus of the study was to gather information about the amount of homework students in the UK were given throughout the school year. We measured it by how much time students spent doing the homework. We found quite a few variations between the level of education and the amount of homework. Naturally, as the level of education increases, so does the amount of homework.

Presenter: What results did you find from that?

Speaker: Well, we found that among primary schoolchildren, about 43% of them were not given any homework at all. A quarter of them – 25% – were given homewor’k that took them half an hour to do. About 16% spent a full hour doing their homework, and about 10% spent more than an hour. The numbers changed quite a bit when looking at secondary schoolchildren.

Presenter: And how did they differ?

Speaker: Firstly, we found that all children received some form of homework. So, there was no category in which children were not given any homework at all, as with primary children. About 20% of them said it took half an hour to do their homework, and about 40% needed an hour. Twenty per cent needed an hour and a half, and 13% needed two hours. We compared all of this data to data that had been gathered in other countries, and we found that English schoolchildren, in general, are given less homework.

Presenter: Interesting. Do they get more homework in one subject than others?

Speaker: Yes, we found that students were given reading assignments the most often, more than once a week. That was at the primary education level. At the same level, we saw maths homework given only once a week, and nothing given in science. We also saw that there was a big gap between the amount of homework assigned, and the amount that was actually done.

Presenter: So, there are a lot of students who don’t complete their homework?

Speaker: That seems to be the case. We looked further into the issue by asking students what they thought of homework. It seems that students felt that their homework often didn’t relate well to what they were doing in class. They also felt that it wasn’t being marked and returned to them quickly enough. Often they didn’t feel that the teacher was giving them enough feedback. But, in cases where teachers were more consistent with setting daily homework assignments, students viewed the situation more favourably.

Presenter: So it seems they appreciate structure in the classroom.

Speaker: Exactly, and that was quite interesting to note. Also interesting – and perhaps a hit obvious – is the relationship between a pupil’s general attitude toward school and their involvement in homework. If they were happy with their school life, they viewed homework more positively.

Presenter: I see. How do you think homework could be improved?

Speaker: Well, we found that many students actually prefer doing assignments ingroups. We even studied which size of group works best. Groups of three seemed to excel at organising and completing homework, less so with groups of two, four and five. We did find that high-achievers preferred doing their work independently. But it seems that group work can benefit many students, so perhaps should be given more thought…

Задание 3 на интервью и вопросы к нему

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1. About her current job, Laura says …
1) she’s been doing it for fifteen years.
2) she misses certain aspects of her previous job.
3) she had to do additional studying.

2. Why does Laura find TCM interesting?
1) It’s a new trend in her field.
2) It’s a part of her personal life.
3) There are multiple reasons for her interest.

3. To answer whether TCM works better than western medicine, Laura says …
1) people who have taken it say different things.
2) there are many studies to prove it does.
3) it works better as long as you take the right amount.

4. What is or would be proof to Laura that TCM works?
1) The thousands of years of usage.
2) The opinion of some doctors.
3) Successful clinical trials.

5. Regarding the goji berry, Laura believes …
1) it doesn’t help with immune system disorders.
2) a part of it might be effective.
3) a similar berry probably has a similar effect.

6. Why is it difficult to get acceptance for TCM?
1) Western institutions are a bit sceptical about it.
2) The Chinese government keeps it from happening.
3) Western officials think it will harm drug sales.

7. Laura’s personal opinion about TCM is that …
1) she’d really like to know more about it.
2) she’d like to see it offered in hospitals.
3) medical professionals should have more faith in it.

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Presenter: Hi everyone and welcome to our programme, Health Today. With us is medical professional Laura Jones, who is here to talk about traditional Chinese medicine, or TCM, as it’s often called. Thanks for joining us today, Laura.

Speaker: Thanks for having me.

Presenter: Can you tell us a bit about what you do?

Speaker: Certainly. I work as a hospital administrator and I manage the day-to-day workings of the hospital. I’m also a trained general practitioner with about 15 years of practice behind me, which I started as soon as possible after medical school. I’ve been a hospital administrator for 2 years now, and I love it, although I do miss seeing my old patients now and again.

Presenter: And how did you become interested in TCM?

Speaker: Well as a hospital administrator, part of my job is to make sure I know about all the trends in medicine. TCM is a hot topic in the medical community because more and more people are becoming interested in alternatives to pharmaceutical drugs. My husband also happens to be Chinese, so I suppose you could say I also have a personal interest in TCM.

Presenter: What do you think of these remedies? Do they work better than traditional medicine?

Speaker: That’s a very good question. It’s a huge debate in the field of medicine. No one is quite sure of the answer because there haven’t been enough studies about TCM. We don’t know how it affects the body, what amounts are appropriate to prescribe, or how often it should be used. And the personal testimonies by people who have used it vary widely.

Presenter: So some people say it works for them, and others say it doesn’t, correct?

Speaker: Exactly. And we cant accept that as a basis of proof. We need proper clinical trials using TCM, and we need to monitor things like heart rate and blood pressure. We need to study its lasting effects as well. TCM has been in use for thousands of years, so there is probably some benefit from taking it. But to be distributed in a hospital, well, there are regulations, and we have to follow those.

Presenter: So it’s not really good enough that some doctors say it works. You need the data.

Speaker: Yes, and furthermore, we want to know what part of the specific TCM remedy works. For example, with herbal medicine, we’d like to know what element of the plant creates the cure. They say the goji berry is good for the immune system. What part of this plant works for that? Why can’t we just eat any type of berry? We’d like to know why the goji berry apparently works. That takes scientific study.

Presenter: Is anything being done to further those studies?

Speaker: One positive development is the Chinese government has been working to get Western institutions to accept TCM. They’ve been making the industry a bit more modern, so hopefully it gains acceptance. There is still a belief in the west that TCM is not a serious remedy.

Presenter: What’s your personal opinion about this?

Speaker: Well, personally I’d like there to be more studies on TCM. As a medical professional, I could never just say; ‘Well, I think it works’ because I really don’t know. I drink ginseng tea, for example, and I feel energised from it, but why? What’s in it that causes that? And because it works for me, should we start prescribing it at the chemist’s? So we need more answers to its mystical nature…

Задание 4 на интервью и вопросы к нему

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1. What is true about the art in Karen’s gallery?
1) Nothing in the basement was undamaged.
2) Most of the art on the main floor was undamaged.
3) Some basement collections were undamaged.

2. Some of the damaged paintings in Karen’s basement can be repaired …
1) by Karen herself.
2) by experts.
3) by the artists.

3. Which option does Karen prefer for recovering the cost of the art?
1) Repairing it and selling it at a discount.
2) Waiting for her insurance company to pay in full.
3) Asking the artists to claim on their insurance.

4. An artist that Karen knows …
1) luckily had her work insured.
2) will need two years to repair the damage.
3) couldn’t afford insurance.

5. What happened to some public works of art?
1) They were damaged in the storm.
2) They were completely lost in the storm.
3) They were placed under protective material.

6. The institute for art conservation …
1) was extremely busy round the time of the storm.
2) received flood damage as a result of the storm.
3) was physically removing structures from art centres.

7. What does Karen hope will result from the storm?
1) The art world will help communities rebuild.
2) Artists may draw inspiration from the storms effect.
3) People will value art more highly.

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Presenter: Hi and welcome to our programme, Art Talk. With us today is Manhattan gallery owner; Karen Karns, to talk about the damage that Hurricane Sandy inflicted on the art world in New York City. Thanks for joining us.

Speaker: I’m glad to be here.

Presenter: You lost a lot of art as a result of the storm, didn’t you?

Speaker: Yes, I did. My gallery is in Chelsea, Manhattan, and it has a basement area where I store collections. The basement flooded, so as you can imagine, those collections were mostly ruined. Thankfully I had the most valuable works on the main floor of the gallery. And luckily anything on the shelves downstairs was OK also.

Presenter: What was the cost of the damage to your gallery?

Speaker: I would say probably more than 100,000 US dollars. We’re still in the process of determining that. I’ve got to see what pieces are completely ruined, and which ones can be fixed by art specialists. Most paintings are a total loss. It wasn’t just rainwater, but there are mud stains on the canvases. And, the water caused the wooden frames to swell so canvases actually got torn.

Presenter: That’s terrible. What happens if the work of art can’t be fixed? Is it a total loss to the artist?

Speaker: It depends. My gallery is insured, so once we determine the value, then we can arrange for payments from the insurance company. This will take months, though. Another option is that if a work of art can be restored, it’s possible to sell it at a discount. I’d rather the insurance cover the full cost, but it doesn’t always work out that way.

Presenter: Do most galleries have insurance?

Speaker: I don’t know for sure, but it’s likely that all major dealers do. But more than just art galleries were damaged in the storm. Artists studios were also flooded, and my guess is that many of these artists don’t have insurance on their work. It’s incredibly expensive and you know what it’s like to be a struggling artist. I know of a woman whose entire collection of sculptures – two years’ worth of work – was completely destroyed. Insurance wasn’t an option for her due to cost so she’ll have to start again from scratch.

Presenter: That must be gut-wrenching. What about public works of art? Were they protected?

Speaker: Yes. The museums in the city removed a lot of sculptures from their public gardens, and tied down others so they couldn’t blow away. The larger pieces that couldn’t be moved were wrapped in thick layers of material to protect them from falling debris.

Presenter: It sounds as though much was done in preparation for the storm.

Speaker: There is an institute for art conservation which has been around since the 1970s. They have a department that specialises in helping art centres prepare for disasters. They work to educate art centres on the best techniques for protecting their art from storms, fires, earthquakes, et cetera. They’ve even got a helpline, although I heard it was completely jammed with calls around the time of the hurricane.

Presenter: At least there’s an organisation in place to address this issue.

Speaker: Exactly. Of course, the storm affected so many peoples lives. Homes were lost and some people lost their lives. At least with art, it’s something that can be recreated. Perhaps some works will be created that reflect the impact the storm had on our community…

Задание 5 на интервью и вопросы к нему

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1. According to David, a hacker can be …
1) anyone who owns a computer.
2) someone who tricks a person out of their password.
3) anyone who works for a computer company.

2. Why does David technically consider himself a hacker?
1) He has broken into computers before.
2) He admires the hacking culture.
3) He is able to build and program computers.

3. The simpler ways that data thieves operate …
1) are well-publicised by the media.
2) are not thought about very often.
3) affect thousands of normal people.

4. According to David, writing a computer virus …
1) is more difficult than just asking for a password.
2) is easier than trying to get someone to tell you a password.
3) is a guaranteed way of obtaining a password.

5. How do hackers convince an employee to reveal a password?
1) They offer them a financial incentive.
2) They imply that they might get fired if they don’t.
3) They offer to help the employee in some way.

6. What kind of people does David say are vulnerable to fake emails?
1) All kinds of people.
2) Usually just older people.
3) People who are naturally very trusting.

7. David believes that ‘hacktivists’ are …
1) no better than other criminals.
2) valuable members of society.
3) working on behalf of organisations.

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Presenter: Hi everybody and welcome to the programme, Data Entry. With us today is computer expert David Simms. He’s here to talk to us about computer hacking. Welcome to the studio, David.

Speaker: Thank you.

Presenter: Can you give us a description of what a hacker is?

Speaker: Certainly. A hacker has a couple of definitions. One is someone who accesses a computer system without the permission of the computer’s owner. This is done either through a computer virus or through manual techniques such as simply asking for passwords from unsuspecting people. Another meaning of a hacker is just someone who knows their way round a computer; I mean how to program it and so on.

Presenter: Most of us think of hackers as you first described them.

Speaker: Yes, but technically, I’m a hacker, because I know how to write computer programs, and I know how to assemble computer hardware. But I would never refer to myself as a hacker because it mainly has a negative meaning.

Presenter: I see. Tell us about the way the bad hackers access data.

Speaker: There are many ways a hacker can do this. We imagine hackers as people who create complex computer programs that infect your computer. This is the most well-known way a hacker works, because these computer programs, or viruses, get a lot of media attention when they affect thousands of innocent users. But we don’t usually think about the other, simpler ways hackers go about data theft.

Presenter: Which are?

Speaker: Well, this is what I mentioned before about getting passwords by just asking people for them. Hackers can pose as security personnel. It’s much easier to obtain a password just by asking for it, rather than creating a sophisticated program that you hope the user downloads. A hacker can actually call a company, pretend they’re a security professional and trick an employee into giving a password.

Presenter: Really? People actually fall for that?

Speaker: Well, a hacker has to be really convincing. They can make the employee believe their job depends on it. The employee, in a frightened state, reveals information. Or, the hacker can try a different approach, one of asking for cooperation, in which the hacker needs the employees help in solving a problem. People are more likely to fall for that than if they re offered money.

Presenter: Interesting. What about outside of corporations? Don’t hackers contact random individuals this way?

Speaker: They do, but it usually takes place through spam email. The user receives an email that seems to be from a trusted source. People reply with all sorts of information – passwords, credit card data, ID numbers. Most people think only older people are vulnerable to this technique and they’d never fall for it. But because hackers can be so sophisticated in their approach, no one is really immune.

Presenter: What about these hackers who steal information for the greater good of the public? In other words, they reveal things that governments are doing behind our backs, that sort of thing.

Speaker: Oh, you mean a “hacktivist”, a hacker who is a like an activist, working for the good of society. Well I suppose it’s a matter of opinion, whether or not the’re doing something good. Really; they’re doing something illegal, because they’re accessing some organisation’s private data. That’s an invasion of privacy. I think there are other ways to solve the worlds problems than resorting to illegal methods, so I would never condone this behaviour…

Задание 6 на интервью и вопросы к нему

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1. Stephanie’s projects in the past have covered ..
1) masters degree trends.
2) high school studies.
3) undergraduate courses.

2. What is true for someone entering the working world with a master’s degree?
1) They are guaranteed to find a job.
2) They are likely to get a higher salary.
3) They will find it extremely hard to get a job.

3. From 1996 to now, the increase Stephanie mentions involves …
1) the time it takes to get a masters degree.
2) the number of master’s degree subjects being offered.
3) the number of workers who have master’s degrees.

4. Which type of job is most likely to require a master’s degree?
1) An aerospace engineering job.
2) A job in social work.
3) A teaching job.

5. Jobs with unspecified degree requirements …
1) pay masters degree holders a much higher salary.
2) are more likely to be obtained by bachelor-degree holders.
3) don’t pay more-qualified candidates any better.

6. Stephanie says most undergraduate students …
1) can consider their master’s degree while they study.
2) don’t want to obtain a master’s degree.
3) know what they want to specialise in whilst still at school.

7. What is true about the 64% of bachelor-degree holders?
1) They are unemployed after six months.
2) They find jobs within six months.
3) They go on to get master’s degrees.

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Presenter: Hello everyone and welcome to State of Education, the programme about learning trends. With us today is Stephanie Watts. She’s here to talk about graduate studies. Thanks for joining us, Stephanie.

Speaker: My pleasure.

Presenter: So Stephanie, you work in higher education research. Can you tell us more about what you do?

Speaker: I work with a team of researchers who look at university education data. We’ve done a lot of different projects in my office, such as trends in undergraduate courses and student demographics. But we’re currently focusing on master’s degrees and what they can do for students.

Presenter: If I understand correctly, you’ve been determining how valuable a master’s degree really is, is that right?

Speaker: Yes, that pretty much sums it up. We’re trying to find out some more detailed information about what having a master’s means in the working world. We know that most people with master’s degrees get better salaries and have a higher chance of employment. But that’s not always guaranteed, so we’d like to know more about that.

Presenter: What have you found so far?

Speaker: Well, firstly there are quite a few more people in the workforce with master’s degrees today than there were 20 years ago, an increase from 4% in 1996 to 11% now. And the number of people applying for master’s degrees has increased as well, so the competition to get accepted for postgraduate study is tougher. However, simply getting a master’s degree for the sake of having it isn’t necessarily very helpful.

Presenter: The specific master’s degree subject must make a difference. How would you compare a master’s in aerospace engineering to one in, say, social work?

Speaker: You bring up an interesting point. For an aerospace engineering job, a master’s degree would be essential. You wouldn’t even get the job without one. And when you do get it, you’ll be paid handsomely. Jobs in social work, or fields such as teaching, don’t necessarily require a master’s, but having one makes you a more attractive candidate.

Presenter: Are many jobs advertised with a master’s degree requirement?

Speaker: Actually, no. This is where it gets tricky. If the position doesn’t specify that it requires a master’s degree, someone with a master’s will be competing with someone with a bachelor’s degree. The master’s degree holder will be in a better position to get the job, but the pay rate will be similar to what the bachelor’s degree holder would get. And that’s after the master’s candidate has paid extra money for their post-graduate degree, so this doesn’t appear to be a very successful outcome. But there is really one key element to bear in mind when making a decision about getting a master’s in the first place.

Presenter: Which is?

Speaker: You really have to know what it is you want to do. And I don’t mean just picking a first degree course at university. You have to go deeper than that. You have to think about specialisation. It’s probably not something an undergraduate student can do straight out of school. But while they’re at university, they can keep this in mind.

Presenter: So it sounds as though there are benefits to having a master’s degree, but it definitely requires some strategy to achieve them.

Speaker: Yes, however about 86% of students who acquire master’s degrees find professional employment in about six months. That’s compared with 64% of those with bachelor’s degrees. It’s an interesting study we’re working on and we hope to find out more things in the near future …

Задание 7 на интервью и вопросы к нему

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1. Crispin thinks that his first name
1) is better than Spin.
2) sounds awful.
3) should be Darrell.

2. By saying universities ‘give me the creeps’ Crispin means that universities
1) give him nothing useful for real life.
2) make him study hard for the exams.
3) cause a feeling of anxiety in him.

3. When speaking about himself at the age of 18 Crispin admits that he
1) worried about the secret parties in his house.
2) was somewhat interested in communism.
3) was going to join the Communist Party.

4. Crispin is happy because this year
1) he band’s music has changed a bit.
2) his band are going to star in a new Hollywood film.
3) new people have joined the band.

5. When writing songs Crispin
1) is inspired by childhood memories.
2) usually stays at his parents’ house.
3) needs to be all alone to succeed.

6. Crispin decided to sell his first house and buy a new one because
1) he was tired of being the centre of attention in his neighbourhood.
2) the main road near the house made the place too noisy.
3) the new house was a good way of investing money.

7. Crispin thinks music fans are being reasonable when they
1) call bad music rubbish.
2) avoid listening to music which causes health problems.
3) express their negative feelings openly and honestly.

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Presenter: Here we are then from Radio 1 and in a corridor with Spin, a pop-star.

Speaker: Hello.

Presenter: Spin, is this your name then?

Speaker: No, it’s not; it’s just that most people think that ‘Crispin’ is too embarrassing to call me. They call me Spin because it’s the only kind of cool abbreviation that you can make from a terrible name like Crispin.

Presenter: Fine.

Speaker: It’s not my fault, you know; it’s my parents’ . From a very early age, when they called me it, I would cry for months in my cot, and they didn’t know why, because I couldn’t explain that it was because they’d named me Crispin. But then I got it out of my system. It could have been worse; I could have been called Darrell.

Presenter: Where did you study?

Speaker: Yeah, my parents said over and over again that university could improve my chances of career development. So, I went to Sheffield. I did philosophy and theology but I dropped out after two years. I took a year off to get into pop music, and I always thought I might go back, but I’d never enjoyed school. And I used to get into a real panic before the exams. In fact, even now I feel nervous about all this stuff and the idea of going back never happened. No, I don’t really like universities as places, to be honest. They give me the creeps.

Presenter: What were you like then when you first went to college?

Speaker: You know, I was 18, and I was into this kind of Communist thing, and I thought I was a real Communist but it never occurred to me to join the Communist Party. We got a house of our own, and we were the only people in the whole of Sheffield University to have a house of our own so it became like a commune and we were like members of some secret society. In fact, our secret life was rather innocent. You know, everyone would come around, and there’d be 20 or 30 people there having parties.

Presenter: Have you learned much in this last year? Because, you know, you’ve just grown, and people’s respect for you has grown so much in the last year.

Speaker: We were pretty much ignored last year. And then it started changing for our people all of a sudden this year. I think it’s because everyone’s kind of revived themselves. We brought back to life some forgotten ideas and we also got interested in folk music. I think we’re doing something new now. Our work is really creative
and rewarding. This is the greatest satisfaction of my life. I’ve met many people, some of whom have been an inspiration to me. That really is Hollywood. It turns into a film; it’s just like a fantasy world.

Presenter: Have you written any new songs then? Is there an album coming out?

Speaker: There is. I’ve got a kind of library of ideas. But the problem is that I have to be on my own. It’s like, you know, when you’re a little kid, and you’re playing in the corner of the living room with your cars or whatever. You’re in the middle of this fantasy, and the moment you notice your mum saying ‘Ah, how sweet,’ and looking at you, the magic charm disappears instantly. But I’ve increased this library, and I’m going to leave in December. I’m going to rent a cottage in the middle of nowhere, and work really hard.

Presenter: You’re one of the few pop-stars that we never hear talking about cars or your bank account. W hat do you do with your money? Better yet, what’s the first expensive thing you bought?

Speaker: The first expensive thing that I bought was a house.

Presenter: W hat was it like owning your first home?

Speaker: A t the time I bought it, I had no idea how famous I really was. It was across the street from a school and we had kids coming across all day knocking on the door. It was crazy. The house was on a main road, it was a busy road full of cars but that didn’t bother me. The problem was the people around. Sometimes when I went out I had to cover up most of my face. So we put an end to all these problems, sold the house, lost a part of money and bought a new house. That’s probably the best investment I’ve made, my new house.

Presenter: It all sounds as though you don’t like your fame and your fans.

Speaker: W hy? Music fans are among the most reasonable groups of people in the whole world.

Presenter: Sounds great! Do you mean that fans going wild at the concerts are perfectly reasonable?

Speaker: You know, I don’t like people to go wild. But I’m sure that keeping feelings of irritation and annoyance bottled up is a really bad idea. For starters, where would you find a bottle big enough to contain the oceans of anger created by someone calling your favorite band ‘rubbish’ or ‘good dinner-party music’ ? If you leave all that stuff inside, you’re asking for headaches and other health problems. So, let your emotions out!

Задание 8 на интервью и вопросы к нему

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1. The idea of becoming a photographer
1) came to Chris after seeing big sculptures.
2) was the result of his work with sculptures.
3) made him lose interest in sculptures.

2.Chris assisted the photographer who
1) had the latest photographic equipment.
2) gave Chris valuable professional advice.
3) used to ask Chris challenging questions.

3. According to Chris, working as an assistant is a good way into a career because you can
1) get a better understanding of the profession.
2) learn the basic techniques of taking pictures.
3) make friends with a lot of talented people.

4. The reason for buying a plastic camera was that it
1) allowed him to take original pictures.
2) was not very expensive.
3) was light to carry around.

5. Chris uses the phrase “That got the ball rolling” to say that
1) he became popular with the dancers.
2) he suddenly got very rich.
3) his art became more dance-oriented.

6. Chris goes to the dance performances because
1) the choreographer recommends him to see the piece.
2) it is always interesting for him to be at the premiere.
3) he wants to find the links between them and his work.

7. Chris thinks that dancers are great to work with because they
1) are lively and enthusiastic.
2) can cope with any problem.
3) can work long hours.

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Presenter: Our guest today is Chris Nash who is widely recognized as one of the most creative photographers in his field. He has held over 40 exhibitions of his dance photographs worldwide and has worked with world renowned dance companies and choreographers. And my first question is: What inspired you to become a photographer?

Chris Nash: I kind of came at it from an odd angle. I was studying fine art at college and as part of the course we spent a week in the darkroom. I found it a bit like magic, watching the pictures develop. At the time, I was making a lot of big pieces of sculpture, and because I didn’t have anywhere to store them, I would have to take photographs of them and then destroy the sculptures. This was a bit heart-breaking really, so I took real pride in the images and gradually began to develop a greater interest in photography.

P.: Did you have any formal training?

C. N.: Not really. I spent more and more time in the darkroom. The tutors were the artists making work that was photographicbased. The darkroom technician at the college was great. He was a professional photographer and introduced me to John, the photographer I assisted when I left college. I wanted to do things, and John would tell me what I would need, what equipment, what books to read. I kind of taught myself, but he was there to help with any questions I had. The best way of learning is doing.

P.: You just said you worked as an assistant; is this a good way into a career?

C. N.: Yes, absolutely! In fact I think it is the best way. When you see a photographer working on the job, you come to realize, get a clear idea of what photography is about. You have to deal with a lot of talented people: models, performers, make-up artists etc. All of them have their particular habits and eccentricities. You need to be able to draw the best out of them and to be really patient. Ideally when you are at college you are taught all the basic techniques, but when you come out, there is a whole lot of other important stuff to learn.

P.: What was your first camera? Or the first photo you took?

C. N.: A really cheap plastic camera. I had that when I was twelve and then I bought a single lens camera when I got to college. Then I went back to a plastic camera. I saw this exhibition where a photographer had used a really cheap camera called a Diana. It had a cheap plastic lens on it, which made everything go fuzzy and dreamy. I wanted to get the same effect, so I went to a lot of markets, to try and pick up a second-hand camera. I had two which I would carry around with me.

P.: When did you become interested in dance?

C. N.: It was while I was studying in London. At that time the Dance Centre was attached to our college. So I met a lot of dance students and saw a bit of contemporary dance. I thought this would make a great subject for photography. So, I encouraged one of the dance students to go into the studio and let me take some photographs. I was fascinated by the results and sent the pictures into a competition and I won. I won 50 pounds worth of photographic materials. That got the ball rolling. This was about 1979.

P.: Do you go to dance performances of the people you photograph?

C. N.: Yes, but not very often. The way I work is a bit back-to-front. When I take pictures, it’s usually way in advance of the actual piece being created. Working with the dancers I can only imagine what the future performance will be like. And it is interesting to find out if the work I have done corresponds to the real play. So, sometimes I will go and see the premiere. It is important for me to see if the photographs make any sense and if the piece is how it was originally described to me.

P.: What do you enjoy most about your career?

C. N.: With the exhibitions I’ve done, I’ve got to do lots of travelling. I’ve had trips abroad on shoots, which can be a great thing. Also, I have really enjoyed working with dancers and working with creative people. Dancers always have a lot of energy and are always active. When you ask them to do things, all those little directions, they have absolutely no objections. When you work with other people who don’t have that physical training, it can be difficult to work in the same way. I love going to see dance performances, but it’s different when you work with dancers. It’s right there with you and it’s really exciting. That’s what I love.

Задание 9 на интервью и вопросы к нему

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1. Raymond began to understand the real value of James Bond books after
1) getting a chance to read them all.
2) seeing his first Bond movie.
3) reading them for the second time.

2.Thanks to the Internet, today’s Bond fans
1) have become much more united than they used to be.
2) can publish more magazines about Bond.
3) hold conventions devoted to Bond more frequently.

3. Raymond is still a Bond fan, but now he
1) doesn’ t like new Bond movies.
2) writes fewer articles about Bond.
3) has a wider sphere of interests.

4. Raymond believes that Ian Fleming would have
1) liked recent Bond movies if he had seen them.
2) been surprised at a long-term success of Bond series.
3) enjoyed the way James Bond is portrayed now.

5. According to Raymond, books and films about spies will
1) be interesting only to Bond fans.
2) only be associated with the cold war.
3) always be attractive to people.

6. Now that Raymond has stopped writing about Bond he
1) still has enough money not to work anymore.
2) has an opportunity to travel the world.
3) feels that he has got rid of great pressure.

7. Raymond’s advice to the next Bond writer is to
1) look through all Bond websites.
2) get ready for some really hard work.
3) understand what Bond fans want.

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Int: You probably have heard about Ian Fleming, who was the first to create the famous spy James Bond. Another writer, Raymond Benson, continued Fleming’s book series about Bond. Now Raymond has retired from writing Bond books, but is willing to share his experience. So, Raymond, when did you first start reading Ian Fleming’s novels about James Bond?

Raymond Benson: I first saw one of the James Bond movies, “Goldfinger”, in the cinema when I was 9 years old and I was blown away. I immediately started reading whatever Bond books I could get my hands on. By the time I was 11 I had read them all even though I was too young at the time to fully comprehend them. I reread them again around the time I was in high school, and that’s when I figured out what was so good about these books and I’ve reread them several times since.

Int: You’ve been involved in the Bond fan community for a long time. How has it changed over the years?

RB: The Internet has changed it in many ways. Back in the 70s and 80s, there wasn’t a whole lot that could bring fans together and that’s the thing the Internet has done for them. In the past there were only fan clubs that published Bond magazines and some of the bigger cities held conventions where fans could meet each other more or less frequently. Now that the fans have the Internet they have created millions of Bond websites.

Int: Are you still a Bond fan?

RB: Of course! But it’s different now. I will still see the films as they come out and probably read the books if and when they are published. But the days of me writing articles about Bond are gone. I like to think I’ve moved on. There are plenty of other things that keep me engaged. I’m a huge fan of many different things, from various types of music and films to other authors and genres.

Int: Do you think Ian himself would have found the popularity of the series unexpected?

RB: Yes. He didn’t think they would last so long. Unfortunately, he only saw the first two films and never got to enjoy the huge success that Bond brought others. As he once said, ‘It’s all been such a joke.’ However, I don’t think he would have appreciated the way James Bond is portrayed now, the way they’ve made him more politically correct, a ‘nicer’ guy, so to speak.

Int: Although the era of the cold war is over and spies are slowly becoming a thing of the past, do you think the public will ever lose an interest in James Bond?

RB: They don’t show any sign of doing so. The same can be said concerning fiction and movies about spies in general. You see, spies are not necessarily linked to the cold war — we had spies in World War I, World War II, Vietnam, and we have spies today. Spies will never be a thing of the past. There will always be something for Bond to do.

Int: How does it feel not to be writing Bond now? What have you been doing with yourself in the past two years?

RB: Well, for seven years the job gave me the opportunity to travel the world, meet lots of people, and get my name into the publishing world. The income wasn’t what people sometimes think it was. You’d be surprised how many people automatically assume I was making millions of dollars. But I made the same amount of money as I would have made at an office job. Now that it’s over, I have to find ways to supplement the writing income. There are days when I miss the job, but overall I’m relieved not to have that Bond thing hanging over me.

Int: Do you have any advice for the next writer, whoever it may be?

RB: Make sure you’ve got a thick skin and stay away from Bond websites! Don’t get me wrong, the fans are very valuable to the Bond industry and I say God bless them all — even the ones that didn’t like my work. I certainly didn’t expect everyone to. One must understand that it’s a much tougher job than it seems. The pressure to produce on a timely basis is immense. It’s a balancing act between pleasing the publishers, the readers and pleasing oneself.

Задание 10 на интервью и вопросы к нему

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1. John has to use artificial fur because
1) it makes clothes look better.
2) It is less expensive than the real one.
3) his clients want to wear it.

2. Walking down Fifth Avenue one day, John realized that
1) a lot of fur people wear was not artificial.
2) he could hardly see people wearing fur.
3) clothes with fur trim had gone out of fashion.

3. What does John do in his fight for cruelty-free fashion?
1) He accuses publicly the Scandinavian fur industry of killing animals for fur.
2) He encourages students to get away from real fur in their designs.
3) He supports designers who participate in cruelty-free design contests.

4. John thinks that the main reason why many designers still work with fur is because
1) it’s a good way to invest money.
2) people want to show off.
3) a lot of people are selfish and uncaring.

5. What does John mean comparing the fight against racism to that for cruelty-free fashion?
1) Fighting for justice always involves violence,
2) People’s outlook on different things changes gradually.
3) Both problems are equally important.

6. John thinks that it would be easier for him to become a vegetarian if
1) he had been raised in a family of vegetarians.
2) more vegetarian products were available.
3) he ate only chicken rather than red meat.

7. What is John going to do to protect animals from being killed for their fur?
1) He is going to persuade his clients not to buy fur clothes.
2) He is thinking of refusing to use artificial fur in his collections.
3) He is thinking of heading up some animal protection organization.

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Presenter: John, you’re one of very few major designers who are publicly committed to being fur-free.

John: I haven’t used fur in my collections for over 16 years. I haven’t used leather for probably almost as long.

Presenter: What’s your opinion about using artificial animal products, like fur and leather, for example? They look so much like real fur that people might get the wrong idea.

John: You’re absolutely right. The technology has advanced so much that you’re able to get the look and feel of real fur. And also leather — with leather, even more than with fur, the technological alternative is so obvious that there is no argument about it. It’s more durable and the price…, well, it varies a lot, sometimes it can cost as much as real leather. But the problem is that you’re propagating the idea that fur is acceptable by wearing it, because a lot of people can’t tell what is real and what is not real. You know, I’d refuse to use even artificial fur, but I can’t because of my clients, for whom fur is a status symbol.

Presenter: Is fur still a big deal in fashion? It seemed to go out of fashion for a while.

John: I know. I just got back from an appointment uptown. The weather was so nice I decided to walk down Fifth Avenue. The amount of furs that I saw on people and the amount of fur trim — whether on men’s jackets or baubles hanging from hats to full length coats — is surprising. And as an expert in this field, I can tell what is fake and what’s net, and the amount of real fur out there is shocking.

Presenter: I think your fight for cruelty-free fashion is really tough. What about your opponents?

John: There are a lot of them. For example, the Scandinavian fur industry is one of many. It keeps trying to bring furs back into fashion. They educate young designers about the different animal furs available, giving them furs free, and helping them integrate fur into their designs. I’m actively engaging with young designers as well but in a different manner. In addition to my own participation in the ‘Cool vs. Cruel’ design contests, I’m a guest lecturer at some very prestigious city design schools. This semester I’m challenging students to create a collection ‘without any animal products’ at all.

Presenter: So are only industries like the Scandinavian fur one responsible for fur in fashion or are there any other reasons?

John: Of course, there’s a financial aspect to it. You know, I could have got millions of dollars in fur licensing by now. I could be rich. I would be able to live a much better lifestyle than I’m living right now if I had taken these offers. But I sleep in peace at night knowing that I’m not part of that. Then there’s also this, you know, ‘well why should I worry about animals’ attitude with a lot of people who are in fashion. I think this is a major problem here. They only think about themselves, and their reputations. They are self-obsessed. They are the worst!

Presenter: What do you think are some ways we can get the fashion-wearing public and designers to care?

John: I think just constantly making them aware of the cruelty involved. Just a continuous bombardment with information. I believe in protesting without violence, of course, that’s exactly what we’re trying to fight against — violence against animals. It’s a slow process which could be compared, maybe to…, for example, to the long-lasting fight of black people for their rights. A hundred years ago people also thought that black people shouldn’t have the rights of white people. And 30 years ago people thought that smoking was okay for you. It’s all a matter of becoming a more advanced society and more caring individuals.

Presenter: John, are you a vegetarian?

John: You know, I’m trying to become a vegetarian. But having been brought up in a traditional way, it’s always a battle. I eat red meat once in a while. Now and then I also have chicken. I think today vegetarian food is available not only for well-to-do people but for everybody. The problem is dietary habits you have had since your early childhood. They are difficult to change. I know it’s a slow process, but I hope by the end of this year I’ll have completely cut meat out.

Presenter: John, what first made you aware of the cruelty involved in fur?

John: I think any intelligent person, no matter how old he or she is, realizes there’s death involved with this type of fashion. And you read about it and just become aware of how savage this industry is. When I was a young designer, I had a bunch of fur, which I used in one of my collections. And I thought, ‘Oh how beautiful, how fabulous!’ My clients also admired the collection. But then I became aware of what goes on, and I guess, more mature as an individual and a more of a caring person about the environment and the lives of helpless animals. It’s really depressing to realize that we aren’t doing enough to protect the environment. Maybe I even shouldn’t be showing fake fur. With the technology today artificial fur looks so real that by wearing it you are advertising it. I would like to help as much as I can with any of the organizations that want to help protect animals, including vocal protests as well as financially.

Задание 11 на интервью и вопросы к нему

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1. Before moving to the USA Kara’s parents decided to
1) send her to a bilingual school.
2) start teaching her English at home.
3) take a basic English course themselves.

2. Kara thinks it’s easier to learn a foreign language at an early age because children
1) are not afraid to communicate with strangers.
2) learn it the way they learn their mother tongue.
3) are highly motivated learners.

3. The main problem the children from immigrant families face in the USA is that they
1) quickly forget their native language.
2) have a hard time learning English.
3) can’t fit into the English-speaking environment.

4. Kara thinks the key element in learning French is
1) language environment.
2) a good teacher.
3) a good textbook.

5. Kara uses Spanglish when she
1) talks to the older members of her family.
2) lacks words to express her thoughts.
3) talks to the Spanish who are beginners in English.

6. The adults in Kara’ s family are against
1) teaching their children Spanish after they have started school.
2) making English the only language of communication in the family.
3) their children speaking English after they are five years old.

7. Kara buys books in English if
1) she wants to practice and improve her language.
2) they are no: translated into Spanish.
3) she wants to read them in the original.

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Interviewer: So, Kara, your family moved to the United States when you were about eight, and you had already been attending an ordinary school in Mexico and started learning Spanish as your native language. As far as I know, there was nobody in the family who could speak English. So, when your parents got a resident’s permit they considered the situation thoroughly and started attending a language course at elementary level in Mexico to have a better chance of getting a job in the States. And you started learning English at school with a bilingual program only when you moved to the US, didn’t you? Was it difficult? How did you feel?

Kara: You know, like many other children, I was really scared of not being able to communicate with strangers. But coming at an early age like that can make things much easier. Children learn differently. The child’s brain is like a sponge — it absorbs everything around it. A child doesn’t even know why he or she is doing this. When it comes to learning languages children seem to be more comfortable with sounds and intonation than adults. He says a word three times and it’s his forever. He picks up words and makes sentences, and it doesn’t matter what language he uses — the first or the second… or maybe the third. He learns them using the same method.

Int: Oh, and what did you think about bilingual education in the United States?

Kara: The school I happened to go to had a great bilingual program. They actually helped us to continue our Spanish speaking education both in reading and writing, which was great. But a lot of kids who were born and raised speaking Spanish, are deprived of that because most schools in the US don’t have bilingual programs. Once these students start school and start learning English they stop speaking Spanish in the family. Partially because they want to fit into the English speaking environment as quickly as possible. In a couple of years they cannot read or write Spanish.

Int: Now, you’ve also taken classes in French in high school. Do you think it was easier to learn French through a textbook or to learn English being thrown into the United States and having to learn it?

Kara: I think learning a second language made it much easier to jump into a third language. You already sort of have a foundation for a new language environment. But it depends a lot on the teachers and the way they teach the language because I can read textbooks and try to understand what they are teaching. However, it’s a lot easier when I have a real expert in front of me who knows the language, who can answer my questions and not only that: an expert I can listen to and hear the pronunciation and make sure that I’m doing it correctly.

Int: Kara, in your family setting, when you are having family get-togethers, do you normally speak English or Spanish or is it a mix?

Kara: It’s definitely a mix; some people call it, Spanglish. I have some younger relatives who speak English; they were raised here and speak it well. So sometimes we feel more comfortable speaking in English. But there are a lot of my relatives who moved here when they were old, and never had an opportunity to learn English — therefore I speak only Spanish to them. There are also times when talking to a certain person in English in school or in shops, I suddenly forget a word or it pops up into my head faster in Spanish, so I go from English to Spanish and then back and that’s when we call it Spanglish, just because it’s a little mixture of both.

Int: And what about your nephews and nieces? I know they were born here in the United States. How is their Spanish?

Kara: Well, that was actually something we often talked about in our family because we didn’t want them to lose that part of, you know, their heritage and their culture. They have been surrounded by English since they were born and started speaking it when they were about two years old. But we wanted them to speak Spanish too, so we decided we would mostly talk to them in Spanish, especially for the first five years of their life. Because when they start school they come home and they suddenly just speak English and don’t want to speak Spanish anymore. So we try really hard to speak Spanish around them, at least at home.

Int: Kara, being bilingual you have a lot more choices than, say, I do with things like movies, music, books. When you go to the store and buy a book, do you normally buy it in English or in Spanish or does it just depend on the book?

Kara: I think it depends not only on the book; it depends on the mood. You know, there are times when I really feel that I forget certain things if I don’t speak enough Spanish, so then I go and buy a Spanish book so that I can keep up on that. I sometimes buy books by foreign authors that are translated into Spanish if they are really interesting. But, you know, there are times when I just want to read a really good book and the translation is not exact. So if the book is written by an American or English writer, I buy it in English just because I want the real thing.