Complete the flow-chart below.Choose SIX answers from the box and write the cor

You will hear three students on a media studies course talking about a film they are planning to make. First you have some time to look at questions 21 to 26.
[Pause the recording for 30 seconds.]
Now listen carefully and answer questions 21 to 26.
Reza: Hi Mike.
Mike: Hi Reza, this is Helen.
Helen: Hello!
Mike: We’re really pleased you’ve agreed to join us on this film project.
Helen: Yes, your experience is going to be so useful.
Reza: Well, I hope so. It’s the technical side I know best - lighting, sound and stuff.
Mike: But you think the script is OK?
Reza: Yes, I think it’s great! Um, have you decided where you’re going to shoot?
Helen: Well, there’s the water-mill scene at the end. And we’ve thought about some locations in town we can use. They’re behind the shopping mall and on a couple of residential streets. And in an empty shop on campus. It means we don’t have to worry about getting permission from a shopowner.
Mike: So(21)do you think we should go to all the locations with you?
Reza: It would be a good idea. We need to talk about the levels of background noise so we know they’re all going to be reasonable places to film.
Mike: But the sounds of traffic will make it more natural.
Helen: I think Reza means things like aeroplanes, trains and so on that would mean we have to stop filming.
Reza: Exactly. And also I’ll make notes for myself about what lighting I’m going to need. I think the university department has a good range of equipment, but I’ll need to make a list for each location for my own reference. Anyway, once we’ve had a look round,(22)you can do the roadworks check.
Mike: What do you mean?
Reza: You need to find out about building work or roadworks. Because you could start filming one day and come back in the morning to find one of the roads has been dug up! The local council have to be informed about things like that so you can find out from them.
Mike: OK. Then I think we need to work from the script and put together a list of all the scenes and decide which ones we’re going to film when. We need to(23)prepare the shooting schedule, day by day.
Reza: You’re right. Then when you know how long filming is going to last, you can tell everyone when they’re needed.
Helen: OK, so as soon as we can, we’ll audition, and then when we contact people to offer them parts we can send the exact dates and(24)make really sure they are free. Because often the actors are all enthusiastic but then when you try to pin them down about whether they’re really free at that time, you find they’ve got exams or something, or they’re off to a festival just before and you have to rush about looking for replacements.
Mike: Then, we need people who can take over the main parts if one of our stars falls ill or something.
Reza: Yes, I agree. So offer the main parts to the people we really want, and then look at other volunteers who were OK.
Helen:(25)Yes. We can select the understudies once the main roles have been confirmed. So, once we’ve got that sorted and we’ve held all the rehearsals of the main scenes, we’ll be ready to start filming.
Reza: Yes, that sounds good. Anything else?
Mike: Er, well, just housekeeping, really. We don’t actually need costumes because actors will wear their own clothes.(26)My family has agreed to lend us some pieces of furniture which we need, so we’ll go and fetch those the weekend before we start.
Helen: We’ll provide food and drink during shooting so I’m going to borrow some cool-boxes.
Mike: And I’ve got a little van. Most of the locations are within walking distance of the halls of residence anyway. The only one further away is the water-mill.
Reza: Ah, yes, can you tell me about that?
Mike: Um, OK. Er, hang on a minute, I’ll get my notes. There’s a plan in them.
Before you hear the rest of the conversation, you have some time to look at questions 27 to 30.
[Pause the recording for 30 seconds.]
Now listen and answer questions 27 to 30.
Mike: Here’s the mill. You see, basically you have a vertical water-wheel which was used to power the grinding stones.
Reza: Mm, it sounds really interesting. Will we film inside?
Helen: Yes. That’s where the final scene between the girl and the man takes place. Our plan is to(27)fix one camera outside bv the window next to the door, to film through the window, and then have another handheld camera inside the mill. That means we can get two views of the same scene. We were going to do something using a mirror, but we decided that would be too complicated.
Mike: Yes, by doing it that way,(28)all we’ll need is lights on the inside, next to the wall behind the wheel which can shine across to the opposite wall.
Reza: Hmm. Will that give enough light?
Helen: I think so, because the scene is in the evening; it shouldn’t be too bright. The actors will be carrying torches too.
Mike: And(29)we’ll have an old screen made of wood just inside the door, because it’s a new door and it’ll look wrong. The lights won’t shine directly on it so it’ll be fine.
Reza: So you won’t actually show the door open?
Mike: No.(30)There’s a huge box on the floor against the wall farthest from the wheel. We’ll see the girl approaching the mill on her bike. Then we see through the window and the man is inside looking at it, then the next shot is the girl, in the room with him, opening the box.
Reza: So it’ll be a mysterious ending! Well, I think it’s going to be a great project.
Mike: Good.
Helen: Thanks!