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Interviewer: And how are the figures actually created?

Amanda: After all the relevant measurements are obtained, a clay mould is created. Because wax shrinks, the mould must be 2% bigger than the actual measurements. Once a head cast is created, melted wax is slowly poured into the mould to avoid air bubbles which would spoil the final look. The body of each figure is moulded in the same way. However, it is made from fibreglass instead of wax for durability. Then, strands of real human hair are inserted individually into the wax head, including eyebrows and eyelashes. Next, the hair is cut and styled to match the desired look and the teeth and eyes are added. Finally, skin colour is established on the figure by the application of 10 layers of paint.

Interviewer: And the last question. Does your work finish the moment you put the figure on display?

Amanda: As we don't cordon off our exhibits from visitors, occasionally some minor damage does happen. That's why our artists constantly monitor the figures. Every morning they go from sculpture to sculpture to check the condition of our exhibits. When necessary, they paint skin or curl hair. Outfits require regular steaming or dry cleaning. Our artists must also update the figures by introducing all the changes in the celebrity's appearance that are reported. So, for example, when a celebrity has a new tattoo done, it is subsequently carefully reproduced on the figure. We can even age a celebrity's likeness by carving crow's feet or shading the skin to replicate the merciless passage of time. When it comes to the sculptures at Madame Tussauds, the artists' job is never done.

Interviewer: Amanda, thank you for talking to us.

Text 2

It was a sunny day in July and I felt as though I was standing on a film set. The whistle of the steam train sounded as I set foot on the impeccably preserved Victorian platform at the station in Alresford. The pale yellow and green station palette, barley twist lamp posts and original signage was virtually the same scene as 100 years ago, and colourful blooms amplified the serene setting. The sound of the train marked the beginning of my journey back in time to when the county's famed watercress began to spread nationwide.

Although watercress may not be a plant frequently used worldwide, in Britain, where it's been grown commercially for hundreds of years, it is still commonplace at mealtimes. Its Latin name is aptly translated as 'nose twister', to which anyone crunching on its punchy, peppery leaves can attest. These days it's mainly used as the base of watercress soup or to perk up salads and sandwiches, while more fancy uses in classy eateries include watercress pesto and hummus. However, in the past, watercress used to be a symbol of poverty. In fact, in Victorian times, when street sellers in London sold bunches of it in paper cones to be eaten as a snack, watercress was nicknamed 'the poor man's bread'. And in the 20th century, especially during both world wars, watercress sandwiches became a national institution as people rejoiced in inexpensive, homegrown, healthy produce.

During my visit to the town of Alresford I discovered that the area provides a constant supply of crystal-clear chalk spring water in which the watercress grows. The water comes out of the ground at a constant 10 to 11 degrees Celsius. This is essential for proper growth as it protects this fragile crop when the temperature outside becomes more extreme in winter or in summer.

The handsome market town of Alresford has been the home of watercress for centuries. However, watercress was far too perishable to be transported by horse and cart along poor roads. That's why, in 1865, the railway link connecting Alresford to London was opened. This meant that watercress could be rapidly transported to the capital and beyond and owing to the huge quantities sent to London's Covent Garden Market each day, the service was soon dubbed the 'Watercress Line'.

Although the line was closed in 1973 due to British Rail discontinuing loss-making branch lines, volunteers raised finances and eventually reopened it in 1985, this time as a heritage line, running a 10-mile route from Alresford to Alton. Today, crowds of visitors who flock to Alresford to travel on the 'Watercress Line' are lured by the quintessentially English countryside, the Georgian town with its pastel-coloured mansions, and the opportunity to learn about the history of the region.

During my July visit, I noticed what used to be the busy goods yard where the watercress would have been unloaded onto railway wagons. Farmers would bring the watercress by horse and cart and pack it into wooden boxes with ice and water to keep it fresh en route. As a sign of the times, the old goods yard now serves as the station car park.

2.1. While elaborating on the measurement stage, Amanda

A. explains how the model's final pose is agreed upon.

B. highlights the importance of having a number of sittings.

C. justifies the decision to refrain from using the latest technologies.

D. draws attention to the use of multiple methods to collect the required data.

2.2. Which is TRUE about the process of creating the figure?

A. The clay moulds exactly match the measurements taken from the celebrity.

B. Imperfections may occur if a certain procedure is carried out too rapidly.

C. Custom-made wigs with natural hair are prepared for the figures.

D. Wax is used to create both the head and body of the figure.

2.3. When answering the last question, Amanda focuses on

A. the continuous need to adjust and maintain the figures.

B. efforts made to mitigate the signs of ageing on the figures.

C. the measures taken to protect the figures from getting damaged.

D. updating the outfits worn by the figures in line with contemporary trends.

2.4. Based on the description of the station, it can be concluded that

A. it faithfully captures the spirit of a bygone era.

B. its architecture was the inspiration for a scene in a film.

C. it has been considerably altered in the last hundred years.

D. its peaceful atmosphere stirred up mixed emotions in the speaker.

2.5. The speaker points out that watercress

A. is used globally to a greater extent than in Britain these days.

B. is looked down upon nowadays as food suited for the poor.

C. is erroneously believed to have a spicy flavour.

D. is sensitive to temperature fluctuations.

2.6. When talking about the revival of the 'Watercress Line', the speaker

A. voices his concern that tourists' interest in the service might be fleeting.

B. advocates expanding the present rail service in the future.

C. draws attention to the purpose the line serves nowadays.

D. speculates how the line could regain its former glory.