You will hear part of an interview between head of Leo Burnett Entertainment and an interviewer. For each question (23-30), mark

Part Three. Questions 23 to 30.
You will hear part of an interview between head of Leo Burnett Entertainment and an interviewer.
For each question 23-30 , mark one letter (A, B or C) for the correct answer.
After you have listened once , replay the recording.
You have forty-five seconds to read through the questions.
[pause]
Now listen, and mark A , B,orC.
[pause]
Woman: What kind of finances can film producers expect by associating with brands?
Man: Right now, companies are willing to pay amounts ranging between $ 120,000 and $ 1,200,000, for placing their brands in films, but it depends on the budget of the film. Big-budget films with big stars can expect more. The size of this advertising is expected to grow nearly 100 percent in the next two to five years as more and more companies get attracted to this kind of advertising.
Woman: What are the advantages of in-film advertising to producers and advertisers?
Man: Advertisers are able to get big stars at a fraction of the costs they would normally shell out for an exclusive tie-up. Films are not subject to surfing, zipping or muting (unlike in TV and other media). Films appeal to emotions and scenes in films catch people off-guard unlike an advertisement, which catches the audience in a cold-evaluating mood. Films transcend geography, class and cultural barriers and catch people in a receptive mood. And films are target-specific.
Woman: How can films and brands connect?
Man: A film-viewer has a short attention span. The best way to deliver the message is to catch the viewer off-guard when his rational defense is down. Appealing to viewers’ emotions is better than appealing to their rational thought. The rational gate examines the advantages, benefits and features, and seeks value for moneys the emotional gate is all about trust, love, identification and belief. Films operate at the emotional level. Placing a product in a film is catching the viewer at an emotional level when he can connect with the brand.
There can be synergies between brands and films. The successful integration of product placement within the film’s storyline has a long history—the first example being the yellow Rajdhoot bike used in Raj Kapoor’s Bobby. Hollywood also leveraged brands such as BMW (Bond movies), Jaguar, Ford, Ray Ban (Tom Cruise in Risky Business and Mission Impossible) , Starbucks coffee, AOL and AT&T.
Man: Song-and-dance sequences invariably feature an ad in the background but most people don’t recall such scenes in detail. What is the advantage of the advertisement then?
Woman: It is true that ads have to be carefully placed in a film and one bad placement can do more damage than 10 good placements. Artistic integrity is crucial for successful brand placements and the operation has to be woven into the script. Sometimes, unreasonable clients demand more footage although research has shown that a two-minute clip can effectively deliver a message in a credible manner. The placement should be woven into the fabric of the film and shouldn’t be contrived and unnatural.
Man: Do such placements result in tangible benefits to the products advertised?
Woman: In the recently placed ad for Castrol engine oil in film Chalte Chalte, the makers of the engine have reported tangibly increased sales of the oil after the film’s release. The product seems to have connected on an emotional level with truck fleet drivers and owners. Ray Ban also benefited by its association with film Men in Black.
[pause]
Now listen to the recording again.
[pause]
That is the end of Part Three. You now have ten minutes to transfer your answers to your Answer Sheet.
[pause]