C1 Advanced (CAE)
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Test 1 / 30

You will hear an interview in which two journalists called Jenny Langdon and Peter Sharples are talking about their work. Choose the answer which fits best according to what you hear.


What does Jenny say about the story which made her name?
What does Jenny suggest about the editor she worked for on her first national daily newspaper?
When Jenny got her own daily column on the newspaper, she felt
Peter thinks he got a job on Carp Magazine thanks to
Peter and Jenny agree that courses in journalism
When asked about their novels, Peter and Jenny reveal

Int: Today we’re looking at careers in journalism. My guests are Jenny Langdon and Peter Sharples, both regular columnists on major publications. Jenny, you made your name really young, didn’t you?

F: Relatively, yes. I was a raw recruit on the local paper when ascandal broke concerning a celebrity living nearby. Out of the blue I found myself with a scoop on my hands. Basically, I found the guy, interviewed him, then hid him someplace where reporters on rival papers wouldn’t find him. When the story broke next day, the editorial team had actually cobbled the front-page story together from my notes, but it was attributed to me by name. Before I knew what was happening, I’d been headhunted by a national daily. It was a turning point alright – but I can hardly claim it as a shrewd career move or anything!

Int: And the editor at that national daily was a notoriously bad- tempered individual …

F: Well, there’s no denying he deserved that reputation! I mean, having landed a dream job, I was really thrown in at the deep end! My desk was right outside his office, so I was first in the firing line if anything went wrong – even stuff I’d had no hand in! But I knew better than to argue, and was thick-skinned enough not to take it personally. Anyway that’s what the paper was like, always on the edge, and I really flourished in that environment.

Int: Eventually getting your own daily column ..

F:… and that’s where I really came into my own. I mean, I’d done stints on the sports desk, been celebrity correspondent – the works. Actually, I only got offered the column as a stop-gap when my predecessor left under a cloud. But I was desperate tohold on to it. And it came at just the right time – if itd been earlier, I’d never have had the nerve or the experience to make it my own.

Int: Let’s bring Peter in here. You started off on the celebrity magazine called Carp, didn’t you?

M: 1 did. Ostensibly thanks to a speculative letter to the editor when I was still a student. Actually, I’d been doing stuff for a student newspaper all through university. Skills I learnt there stood me in good stead. When Carp Magazine called me for interview, my approach to college news convinced them I was in touch with reality – you know, budgets, deadlines, all that – that’s what swung it in my favour – it wasn’t just having my finger on the pulse as far as youth culture was concerned – important as that was at Carp.

Int: Can I ask you both whether you’d say courses in journalism are worth doing? Jenny?

F: Well, I wanted to write and a journalism course seemed a reasonable enough starting point. Journalism s at least paid up front – unlike some forms of writing, and there’s no denying that was an incentive. So, yes, I did one. And, you know, if I hadn’t, who knows if I’d have been able to handle the stuff thrown at me when I first arrived at the newspaper – it does give you that grounding. But I wouldn’t say it taught me everything I needed. Fortunately a stint on the student newspaper filled in the gaps.

M: .. as is s0 often the case. They’re often criticised for taking too strong a line on issues, but they’re invaluable because they give you that free rein, and you’re generally writing from the heart rather than for the money. I’d say by all means do a course, theorise all you like in the classroom, but just bear in mind that it’s no substitute for getting out there – for developing your own style.

Int: Now you’ve both recently published novels – s this a change of direction?

F: People keep asking that. I like to think that, much as I rate myself as a journalist and feel I have nothing left to prove, I’m still up for the next thing that comes along. Ill never be a prize- winning novelist, but having a go at it keeps me on my toes. It would be easy enough to get stale doing a column like mine, but that does remain my grand passion – I don’t know about you Peter, but I’m hardly thinking of moving on.

M: Well, I expect there’s people who’d say we should stand aside to give up-and-coming writers a chance. But, no, I’m not. I’d go along with the idea of diversification keeping you nimble though, and I’m not making great claims for my novel either. But would take issue with the idea that journalism itself holds no further challenge. I wish I had your confidence Jenny – I’m always telling myself that I’m only as good as my last piece and there’s no room for complacency.

Int: And there we must leave it. Thank you both … [fade]

Test 2 / 30

You will hear an interview with Alex Mustard, an underwater photographer who has just published a successful book featuring his work.


What does Alex say about filming wildlife underwater?
When he was photographing free-diving, Alex
What does Alex say about his favourite shots in the book?
How does Alex feel about photographing dangerous creatures underwater?
Alex says that anyone wanting to take up underwater photography should
For Alex, the main attraction of going to Sardinia is
Test 3 / 30

You will hear part of an interview with a woman called Barbara Darby, who works as a casting director in the film industry.


According to Barbara. a casting director needs above all
Barbara says that she looks for actors who
At which stage in the casting process does Barbara meet the actors?
What led Barbara to become a casting director?
Barbara explains that what motivates her now is a need for
What made Barbara give up her job for a while?
Test 4 / 30

You will hear an interview with an engineer called Roger Moffat, who now works in the film industry.


How did Roger feel initially about being made redundant?
Roger regards his early days in business as
What does Roger feel is the greatest benefit of running his own business?
What is Roger's attitude towards his future?
How can Roger's appraisal of engineers best be summarised?
What does Roger find most satisfying about the ‘tools of the trade’?

Interviewer: It seems only fitting that former construction engineer Roger Moffat should’ve used his redundancy money to change direction and break into Hollywood, creating special effects for film and television. For, by his own flamboyant admission, he’s no conventional engineer, but a born performer who loves an audience. Do you remember a certain car commercial in which the car was driven down the side of a skyscraper? The building facade and windows were built by Roger’s own company for a daring stunt whose trade secret he will not divulge. He also constructed sections of a bridge for the film Mary Reilly, which starred Julia Roberts and John Malkovich. So, Roger, how did it all start?
Roger Moffat: Well, about ten years ago I had a heart by-pass operation and about the same time I was made redundant. I was feeling pretty low at the time, so I decided that the only thing to do was to take my working life into my own hands and set up my own business.
Interviewer: And what kind of success did you have in the early days?
Roger Moffat: You could say it was a bit like taking a roller-coaster ride and wondering when you were going to come flying off at break-neck speed! Everything was a challenge: finance, production, marketing.
Interviewer: But that’s all in the past, you’re… you’re apparently much sought after now. I hear forthcoming film productions are queuing up for your services.
Roger Moffat: Some – yes. There’s no doubt that we’re certainly growing rapidly but we’re still small, and I think it’s probably important to remain that way. I’ve seen too many organisations just grow and grow and in the end they finish up over reaching themselves – stretching themselves to the limit.
Interviewer: Do you have any regrets about the way things have gone? About the way your life has taken a different turn?
Roger Moffat: To be honest, none at all. I feel that I’ve escaped being a slave to a regular income, from commuting, from having to justify my actions to everyone, from having to attend the office party, from having to book my holidays in advance – actually, I don’t have any holidays at all at the moment, come to think of it. I’m too busy! But best of all, I’ve nothing to do with office politics!
Interviewer: Probably the biggest advantage of all! So, what’s the secret of your meteoric rise?
Roger Moffat: Oh, I couldn’t have done anything without the support of my wife, Lili, who’s also my business partner, and there’s our two daughters, of course, Natasha and Katia. They’ve all been wonderful.
Interviewer: So what kind of job did you start out doing?
Roger Moffat: I graduated in mechanical engineering and then spent about twenty years in industry. Then my job – I was the chief engineer in an air-conditioning firm – just disappeared overnight. Anyway, after that, I set up my own computer-aided system that makes really intricate architectural models.
Interviewer: And you also supply components for the aerospace industry, don’t you?
Roger Moffat: We do, but I have to admit that it’s the film work that really interests me most.
Interviewer: Do you worry about the future?
Roger Moffat: No more than anyone else. I mean, there’s no job security anywhere these days, is there? Of course, it’s a risk running your own company, but then you’re equally as vulnerable staying employed. I decided it was safer to be in charge of my own show than to be a part of someone else’s. Naturally, I’ve had problems. We had to sell the family house, the one I built myself. But, looking back, it all seems worth it. I was always infuriated by having to justify myself to people whom I didn’t consider to be my intellectual superiors!
Interviewer: How would you describe yourself? What are your strengths, weaknesses?
Roger Moffat: I think I’m a bit of an oddball character really. I suppose you might say that I was a hard-headed romantic. I believe that an engineer has to invent ideas. You need to be very talented. You need to have a feeling for balance and form. You also need to feel you have status and that people value what you’re doing. I’ve always seen engineers as sort of visionaries, if you like. Engineering can give you great power, a position in the world and, if you don’t look after your engineers, then you’re in great danger of losing your prestige, your position. Engineering’s still the ‘workshop of the world’ in every country. We’ve built superb ships, motorbikes, motor cars. Now we’re entering a new phase with new challenges.
Interviewer: And what about the tools of your trade? How do you view those?
Roger Moffat: To me, mechanical things are magical: a motor car is a thrilling bit of science. The microchip is a masterpiece of theoretical design; machines of unbelievable complexity make them. But from my point of view, the most rewarding thing of all is that all these things are designed by engineers.
Interviewer: You certainly seem to have a passion for your profession. I think the mystique of the film world will be pretty safe in your hands. Thanks for coming to talk to us today, Roger.