as Miraz suggested but check that your inputs on the camera can be assigned to a designated single track as opposed to a composite mix - in this manner you will have one track recording audio ex the port, the other (generally track 2) presumably taking the ambient sound via the cam's own mic.
This then enables you to make seamless edits and creates a 'buzz track' on track 2 which is useful for integrating other vision (eg a couple of close ups/wides/cutaways taken out of sequence) without losing the sense of continuity when edited together. - You can then mixdown to stereo in the final.
Also if you're shooting upfront during the day remember to expose for the interior and use a graduated polariser to bring down the levels of the exterior - if at night remember to deact the tally light on the cam (the little red LED on the front that says you are recording) to avoid reflections in the windows. wide angle lens also helps.
Stating obvious I know: but make sure cam is restrained - even with a simple strap - had an extra rider upfront with a small sony DV that went sailing through the air on landing - proabably produced dramatic vision but not what was intended!
