{"id":13317,"date":"2020-06-23T06:30:00","date_gmt":"2020-06-23T03:30:00","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/richard-shepard-walks-us-through-directing-the-zoes-extraordinary-playlist-pilot\/"},"modified":"2020-06-23T06:30:00","modified_gmt":"2020-06-23T03:30:00","slug":"richard-shepard-walks-us-through-directing-the-zoes-extraordinary-playlist-pilot","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/richard-shepard-walks-us-through-directing-the-zoes-extraordinary-playlist-pilot\/","title":{"rendered":"#Richard Shepard Walks Us Through Directing the \u2018Zoe\u2019s Extraordinary Playlist\u2019 Pilot"},"content":{"rendered":"

“#Richard Shepard Walks Us Through Directing the \u2018Zoe\u2019s Extraordinary Playlist\u2019 Pilot<\/strong>”<\/p>\n

Zoe\u2019s Extraordinary Playlist <\/i><\/b>is a big ol\u2019 ball of delightfulness. The NBC musical series<\/a> has a magical premise, in which Zoe (<\/span>Jane Levy) hears others\u2019 inner thoughts through song. It\u2019s a comedy with the sweet and the sour, plus ambitious song and dance numbers.\u00a0<\/span><\/p>\n

With its huge musical number in the streets of San Francisco and classic songs that don\u2019t come cheap, the pilot episode establishes that <\/span>Zoe\u2019s Extraordinary Playlist <\/span><\/i>isn\u2019t your average network programing. It was directed by <\/span>Richard Shepard<\/b>, who\u2019s no stranger to setting the tone and style for shows. In addition to making such feature films as The Matador<\/em> and Netflix\u2019s The Perfection<\/em>, he helmed the first episodes of <\/span>Criminal Minds <\/span><\/i>and <\/span>Ugly Betty<\/span><\/i>, as well as<\/span>\u00a0the premiere of the next season of <\/span>American Crime Story<\/span><\/i>.\u00a0<\/span><\/p>\n

We talked to Shepard about the process of directing a television pilot and specifically what the pilot of\u00a0Zoe\u2019s Extraordinary Playlist\u00a0<\/em>entailed.<\/p>\n

What is the app<\/a>eal of directing pilots?<\/b><\/p>\n

Getting to direct pilots is like a dream job for anyone who\u2019s in the television business as a director. Because as a pilot director, you get to shape the look of the show and the tone of the show. You get weeks, if not months, to help hone the script and to figure out the cast and to really work to create this thing.<\/span><\/p>\n

You also get a piece of the pie. You get a check every time a new episode is made because of the Director\u2019s Guild. As I said, you can do the pilot and then never have to work on the show again and you\u2019re still getting a little taste every week. So, it\u2019s the dream job. <\/span>It can be an incredibly tough business to get into. <\/span><\/p>\n

The studios and networks are making ten to twelve drama pilots, and they\u2019re spending anywhere from six to ten million dollars on each of them, so they\u2019re wasting a huge amount of money. <\/span>I think it\u2019s such a weird fucking business. You know, there are all these pilots that millions and millions of dollars have been spent on that just never see the light of day. So they are obviously very particular about who they hire. I\u2019ve made some independent films and thought that I should do a pilot and never could quite get into it.<\/span><\/p>\n

How\u2019d you get your foot in that door?<\/b><\/p>\n

After <\/span>The Matador<\/span><\/i>, the executive producer of that movie \u2014 a guy named <\/span>Mark Gordon \u2014 had a director drop out of<\/span> Criminal Minds<\/span><\/i>, the pilot, four weeks before they were going to shoot. They were looking for someone unique or different. He put my name out for it.\u00a0<\/span>I remember very specifically everyone said no to me because I had barely done any television at that point and I certainly hadn\u2019t done anything that anyone had seen. <\/span>The Matador <\/span><\/i>hadn\u2019t come out yet. Mark Gordon pushed me through the system and that was my first pilot.<\/span><\/p>\n

It ended up obviously turning into a huge big hit TV series, but it also was, at the time, I think, a really cool looking pilot. It suddenly opened all the doors for me that would never have been opened without Mark Gordon pushing me through the system. <\/span>From there, the next pilot I did was <\/span>Ugly Betty<\/span><\/i>, which was about as far from <\/span>Criminal Minds<\/span><\/i> as you could possibly get. But that was something I really wanted to do. I remember being sent six pilots, and I remember my agent at the time said, \u201cDo any of these except<\/span>\u00a0Ugly<\/em><\/span> Betty<\/span><\/i>.\u201d That was the one I fell in love with, so I did it. Like all the pilots I\u2019ve done, it\u2019s a very close collaborative process with the writer-showrunner, because he or she has been laboring over this for possibly years and I\u2019m coming in at the last minute now to make it three dimensional, to make it real.<\/span><\/p>\n

So it\u2019s about keeping the faith and thinking about it for over a year and now trying to visualize it in a way that\u2019s actually hopefully an improvement even on how they\u2019ve been thinking about it. In a weird way, it\u2019s incredible collaboration in which, ultimately, it\u2019s the writer\u2019s decision, not the director. <\/span>In television, the writer is the power. But if you\u2019re working in a deeply close relationship like I\u2019ve been able to do on my pilots, you end up really collaborating and you get to create a vision for the show that hopefully exceeds the dreams of the writer to begin with.<\/span><\/p>\n

You have to do it quickly; you have to have a planned vision. It\u2019s not like season six of a TV show that is like a machine that just generates week after week. It\u2019s basically a movie you\u2019re making with very little money, so it always suited me really well. Not really being part of the development of the script and then coming in a month or two before you shoot with fresh eyes has always really been good. <\/span>I\u2019ve been able to take apart the script, not necessarily in a negative way but just ask questions that now need real answers. It\u2019s figuring out ways to make things visual and how to condense stuff and how to legitimately figure out the character, cast, one-line description.\u00a0<\/span>Figuring out what clothes they\u2019re wearing, where they live, and all of that stuff. To me, it\u2019s a huge amount of thought.\u00a0<\/span><\/p>\n

As a competitive person, it\u2019s a really strange thing. A normal network pilot will be greenlit at the beginning of January. Then by the beginning of May, they make their decisions on which ones they\u2019re picking up. So there\u2019s a three-month scramble basically to get the best pilot out the gate and to beat all the other ten or twelve pilots that are being done for that network.<\/span><\/p>\n

They pick them up or they don\u2019t. If they pick it up, you\u2019ve done your job. You succeed. In independent films, a lot of times it\u2019s hard to get distribution. Your movie barely opens. Or at least these are my movies that barely opened. In general<\/a>, this idea of not quite getting a moment where you feel like you\u2019ve crossed the finish line, in TV pilots you really do get that. That\u2019s what I really enjoy.<\/span><\/p>\n

What were some of the questions you had for <\/b>Zoe\u2019s Extraordinary Playlist<\/i><\/b>? Where did your work start?<\/b><\/p>\n

The first thing is that often we start with a really great script. From our very first meeting, we really hit it off. The question really is about tone. How can we keep this grounded while something very insane is going on? How do we make it relatable to people? How do we make it fun and breezy but also allow the humanity and the emotion to come in? Because the script has a lot of that. These are questions that a lot of time is spent discussing it.<\/span><\/p>\n

A lot of time is spent discussing the cost, and then the choreographer, Mandy Moore<\/strong>, may do more. Just discussing how are we doing the musical numbers. Are they looking in the camera like in normal musical numbers? Are we doing a lot of cutting like a music video? <\/span>Or are we going to do it in a way in which the movement makes sense for Zoe and makes sense for the emotion of what we\u2019re trying to show? A huge amount of time was spent on that. <\/span><\/p>\n

Often I joke because simple things, like, \u201cWhat\u2019s in Zoe\u2019s apartment? What are on the walls? What is on her desk?\u201d These kinds of questions are crazy but they have to be answered. There has to be something on her wall and there has to be something on her desk. So if we can just find some specifics that help define her character, that will make it all more tangible.<\/span><\/p>\n

It\u2019s not so easy because you have to dig a little deeper even then for the idea you have in your head. So, I ask these questions. I ask a huge amount of questions. I do my best not to drive the showrunner crazy. But in <\/span>Zoe\u2019s Playlist<\/span><\/i>, this is a monumental undertaking.\u00a0<\/span>We were going to shoot in Vancouver, but we were also going to shoot for a few days in San Francisco. We had to deal with recording the songs, choreography to the songs, and the orchestration of the songs. Then we also had to build an incredible set and find a space that we bring the set. So there was just a lot of stuff. There were certain days where you\u2019re like, \u201cWe\u2019re never going to get there.\u201d [Laughs] Then somehow you do.<\/span><\/p>\n

\"Zoe\"<\/img><\/p>\n

What is most thrilling about putting together a musical number?\u00a0<\/b><\/p>\n

Well, I was super excited to be able to do a musical. I have always really wanted to do one. I had done a musical number on an episode of <\/span>30 Rock<\/span><\/i> and I had done a little number on the show <\/span>Girls<\/span><\/i> that I directed a lot of. But I had never done a full-blown five or six song musical like <\/span>Zoe\u2019s<\/span><\/i> was. So it was truly exciting. As soon as Austin and I won the fight to let us shoot in San Francisco, we really knew we had to show San Francisco or the people paying for the show were not going to be happy.<\/span><\/p>\n

Then I started to figure out how we were going to do the stuff we wanted to do, which was to have longer takes and not a lot of cuts. To make it feel like it would be this type of number you could do in a feature film as opposed to just a television show. We also knew that because <\/span>Zoe<\/span><\/i> is such a specific show, we knew this was going to be used in the advertising if the show got picked up.\u00a0<\/span><\/p>\n

So it was a huge amount of pre-planning. I was working seven days a week while we were shooting. On the weekends, Mandy and Austin and I would fly to San Francisco with our AD or DP and figure out exactly how we were going to shoot it.\u00a0<\/span>Then we\u2019d fly back to Vancouver to shoot the normal week and then we\u2019d fly back again because you need to prep and all of that stuff. Had it been pouring rain, we probably would not be talking about <\/span>Zoe\u2019s Playlist<\/span><\/i>. It was the last two days of the show, we had finished our Vancouver work. We flew down there and the whole entire sequence was planned as if it was not raining. We didn\u2019t have a backup plan. It\u2019s one of those crazy things where the TV gods are looking out for you. I\u2019ve been in other situations where it\u2019s pouring rain and we\u2019re really soaked. But thankfully, we did not encounter that.<\/span><\/p>\n

When you\u2019re directing a pilot, what\u2019s the collaboration with a major network like?\u00a0<\/b><\/p>\n

You have to ask for things, and you can will them to happen in a weird way. I think one of the reasons I continue to work is that I\u2019m someone who, I come in on schedule and I come in on budget as best I can and I\u2019m not out of my mind when it comes to that stuff.<\/span> I think the studio had an understanding that I was being realistic about what I was tasked to do. But when I said, \u201cListen, I\u2019d love to shoot in North Beach and I\u2019d love to be on Broadway and I\u2019d love to fill the little park in the middle of the street to do a musical number at the beginning.\u201d People are like, \u201cThere\u2019s no way that can happen.\u201d<\/span><\/p>\n

Then you just keep repeating it. At some point, they\u2019re like, \u201cThere\u2019s no way you can shoot on a Sunday.\u201d Then at some point, the production manager says, \u201cWell you know we could shoot on a Sunday.\u201d Then suddenly it happens because, on the production side, they look for solutions and try and give the people what they want if they can do it. So we did it. It was crazy, but on that Sunday that we were shooting in North Beach in this colorful part of the town, we got the whole street and I was like, \u201cI can\u2019t believe this.\u201d<\/span><\/p>\n

We rehearsed the day before in a parking lot in San Francisco. We basically built that little area where everyone\u2019s sitting in the beginning of the number. We\u2019ve done it in a parking lot. We rehearsed it with the camera and figured out exactly how we were going to shoot it because we couldn\u2019t even begin to build it until the Sunday morning of the day that we were shooting. So Sunday morning, 7:00 am, they started building that little shooting area while we shot some other stuff. Then at 11:00 am we came. Because we rehearsed it the day before, we shot the first forty seconds of the song in a oner in, you know, an hour. It was one of those things because we knew what we were doing. The whole number took a day when you piece it all together.\u00a0I think the sense of victory was huge when we were done.<\/span><\/p>\n

The musical number between Peter Gallagher and Jane Levy, there are not as many extras and you\u2019re indoors, but is it as complicated as a musical number in the streets of San Francisco?\u00a0<\/b><\/p>\n

Weirdly, it\u2019s almost harder. Help is so big. At a certain point, we all were sitting there looking at the monitor. If the dance works, it works, and if it doesn\u2019t work, it doesn\u2019t work. There\u2019s not really a question mark. It either works or it doesn\u2019t. It\u2019s almost like a stunt. A stunt either works or it doesn\u2019t. Dance sequences are a little bit like that. The scene with Peter Gallagher and Jane was such an emotional scene that, for our sake, we thought about sweeping everything away. Then it was just really about allowing those actors to be as honest as they could. So I\u2019m in a situation where we had recorded Peter Gallagher\u2019s singing \u201cTrue Colors,\u201d but I wanted to record it live on the day as well. <\/span>We had it in our back pocket in case he lost his voice or couldn\u2019t do anything. <\/span><\/p>\n

Basically, that\u2019s him singing live. It added such humanity to the whole thing. It was so personal. It was very difficult. It was a small space and Jane is crying and Peter is\u2026 It\u2019s not easy. In a way, thirty dancers jumping in the air down a street in San Francisco is weirdly easier than that. One of the things I think that attracted people like Peter Gallagher and Jane Levy to the project was the fact that the show has such a different scope. It can be big and fun and bouncy and it can also be very emotional. I think that to me is a sweet spot in terms of what I love to do. I love comedy and drama and I love it when it can mix together.\u00a0<\/span><\/p>\n

I think that sometimes it\u2019s easier to do a simple drama. The stuff that mixes tones is just harder, but it\u2019s always been something that I\u2019ve been attracted to. Maybe because it is difficult, but also because it\u2019s still a lot more like life. In life, even in the most dramatic moments, there is humor. And even in the funniest moments, sometimes there\u2019s sadness. So to me, that feels a lot more real. It\u2019s a difficult tone in general and film and TV is a tough nut.<\/span><\/p>\n

\"Peter<\/img><\/p>\n

Working with very charismatic actors like Jane Levy or America Ferrera, do you think, \u201cHow can I best communicate their charisma with the camera?\u201d\u00a0<\/b><\/p>\n

You do. Listen, with America and with Jane, you\u2019re talking about two outstanding actors who are coming in basically ready to go. My job as a director always is to ensure that the other actors around them were up the shelf. We\u2019ve rehearsed it and discussed it and there\u2019s a level of comfort. But I will do a bunch of takes. Someone like Jane will do a take that\u2019s very big and a take that\u2019s very small and everywhere in between. In a pilot, I encourage that a lot. Let\u2019s see what really ends up working in the editing room, because we may need to make this funnier, we may feel like it\u2019s too silly when we play it back. So we did do a lot of variances of stuff.<\/span><\/p>\n

At the end of the day, one of the pleasures of being a director is between action and cut, because the actors get to just suddenly make it real. If they\u2019re doing their job, which they usually are, then you look good as a director without doing much. You set them in a beautiful place and then they do the beautiful work. I find that when I\u2019m directing actors, it\u2019s usually when it\u2019s a child or a dog, that\u2019s when you\u2019re really directing. How do you get a child to do something? With a really good actor, they\u2019re doing ninety-five to ninety-nine percent of it. In Jane\u2019s case, we were in love with her after the first day of shooting. We were like, \u201cHoly, shit, she\u2019s so good.\u201d I was like, \u201cThis shit is awesome. The show is going to work. She is unbelievable.\u201d That\u2019s the hardest part of the show. If she is not great, it doesn\u2019t matter how good the musical numbers are. She just killed it.<\/span><\/p>\n

When you\u2019re directing a pilot, do you get to have much say about casting?<\/b><\/p>\n

Occasionally an actor will be attached. When I did <\/span>Ringer<\/span><\/i>, Sarah Michelle Gellar was already attached. On<\/span> Ugly Betty<\/span><\/i>, they were circling America but the deal hadn\u2019t quite closed yet. With <\/span>Zoe\u2019s<\/span><\/i>, no one was cast. So part of what I love about it is to be able to sit with the writer and bat around who would be great for this. Then you find out who\u2019s available and who\u2019s interested. Sometimes you get really lucky. Jane Levy was someone who we all were like, \u201cWe should go out for Jane Levy.\u201d We didn\u2019t know whether she could do it. We were fans of hers. So sometimes you just have an instinct about an actor and then you meet them and they get to show that they understand what the show is.<\/span><\/p>\n

On TV pilots, sometimes you replace actors. It happens more than you would imagine, in which a pilot is shot and then they\u2019re like, \u201cWe love this pilot but we can\u2019t find the boyfriend. He\u2019s walked away.\u201d They\u2019ll need to re-shoot this. It happens a lot. Because you are basically casting, not even quite sure what the show is yet. Then you do the show and you\u2019re like, \u201cThis show is much funnier than we ever thought but the guy playing the boyfriend isn\u2019t that funny.\u201d<\/span><\/p>\n

A part of what your job is as a director is trying to really think twelve steps ahead. Can we find an actor who can be both funny and dramatic? Then we shoot them both funny and sometimes dramatic. So that in the editing room if we\u2019re feeling like they\u2019re not going to do it then we don\u2019t have to replace them. We don\u2019t have to do all of that. We can get the show kicked off. Listen, it\u2019s happened. I\u2019ve directed reshoots on almost all of the pilots I\u2019ve ever done.\u00a0<\/span><\/p>\n

Is it assumed with most pilots that reshoots will happen?<\/b><\/p>\n

When we\u2019re shooting a pilot, there\u2019s no discussion of reshoots. It\u2019s really a discussion of, can we just get this done with the cast that we have? So let\u2019s say you did the pilot in March and it gets picked up in April and May and now they\u2019re going to start shooting in July, the first few days of July will be spent reshooting the few days worth of footage of the boyfriend. It <\/span>becomes part of the schedule of the show. <\/span><\/p>\n

If the director of the pilot is available then he or she flies off to Vancouver or wherever they\u2019re shooting the show and you direct those two days on a reshoot. Sometimes they replace an actor because the show got picked up and now they want a bigger star for that supporting role. Like, it\u2019s the grandpa. The grandpa in the pilot is an actor that we could get for ten grand and now the show\u2019s been picked up, and suddenly, there\u2019s more money so we can afford to get this type of actor.<\/span><\/p>\n

That must be a hard choice, too.\u00a0<\/b><\/p>\n

It\u2019s heartbreaking every time that it happens. I heard a story early on about an actor who was cut out of a movie and not told by the director and brought his parents to the fucking premiere. You have to have a big heart as a director, for actors because it\u2019s the only job on a film set I couldn\u2019t do myself. If someone said, \u201cYou have to light the show,\u201d I could light it. It wouldn\u2019t be very good but I could light it. If they said, \u201cYou have to give the sound,\u201d I could figure out how to do the sound. But I can\u2019t act. I have no capacity to find that openness that actors do, the real vulnerability they have to be able to access. So when someone gets replaced as an actor it\u2019s heartbreaking. It also happens. They move on and they get another job and they forget about it.<\/span><\/p>\n

The show is so appealing to the eye. What kind of feeling did you want to evoke with the aesthetic?\u00a0<\/b><\/p>\n

I wanted to make it bright and accessible without it feeling like a sitcom. I wanted it to be able to be magical without ever having to do anything magical to the show. We were like, \u201cShould we change the lighting? Should we do this?\u201d These are a lot of conversations that happened prior. Then there are the musical numbers. It was about building roles that visually could go into beautiful canvas without it ever really changing. A lot of that was just from the learning curve. There were certain shots that I did in the pilot of <\/span>Zoe <\/span><\/i>that didn\u2019t make it into the finished product. They were a little too raw. Suddenly the lens is too wide and it feels a little too much like we\u2019re stepping back from the motion and talking about it from a different point-of-view, from the director\u2019s point-of-view. So we chose not to use that shot.<\/span><\/p>\n

I imagine these pilots give you the financial freedom to go make movies like <\/b>Dom Hemingway <\/i><\/b>or <\/b>The Matador<\/i><\/b>. Do pilots allow you to only make the original movies you want to make?\u00a0<\/b><\/p>\n

I am so lucky. I have never had to make a movie I didn\u2019t want to make, but I also don\u2019t make my living through my movies. Because they\u2019re so cheap, though, I\u2019m able to make them and I\u2019m very thankful for it. The role of directing pilots has allowed me to make short films and documentaries and take a year off to make a movie and all of this stuff. It has afforded me that lifestyle, which is very specific to who I am as an artist. I can go out and make a thirty-minute short film in Tokyo, which I did two years ago. We ended up selling it to HBO and Lizzy Moss was in it. I\u2019m really proud of it. It\u2019s called <\/span>Tokyo Project<\/span><\/i>. I just wanted to have that experience. From that experience, I learned and it affected my future work and all of that.<\/span><\/p>\n

There\u2019s no television right now, but listen, when COVID is done we are in a moment where there is a lot of TV being produced. They are finally starting to hire people of color and women and other people who for years, decades, have been kind of excluded from TV because of this overprotective world where they\u2019re worried about, \u201cOh my God, they just did one independent movie. Can they direct a TV pilot that we\u2019re spending ten million on?\u201d That feeling has led to a lot of, I don\u2019t want to say racism and sexism, but I\u2019ll just say that it has led to a lot of non-creative choices for people who direct pilots.<\/span><\/p>\n

Now that we\u2019re in a brave new world<\/span> of understanding, they are letting people direct pilots who aren\u2019t necessarily with a huge resume behind them. We\u2019re going to see more and more interesting stuff because there\u2019s just a huge amount of interesting voices out there who should be able to be making movies and television. <\/span><\/p>\n

For me, I\u2019m always thankful every year if I get offered a pilot that I like to do. That for me is like, wow, this is simply another year that I\u2019m going to get to have this experience. <\/span>Believe me, I\u2019ve done pilots that have not been picked up. I\u2019ve done more pilots that have been picked up than not picked up, thankfully. <\/span>Zoe <\/span><\/i>was the year that I did three pilots and [only] one of them got picked up. But in our business, it\u2019s just completely anonymous. No one knows.\u00a0<\/span><\/p>\n<\/p><\/div>\n

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“#Richard Shepard Walks Us Through Directing the \u2018Zoe\u2019s Extraordinary Playlist\u2019 Pilot” Zoe\u2019s Extraordinary Playlist is a big ol\u2019 ball of delightfulness. The NBC musical series has a magical premise, in which Zoe (Jane Levy) hears others\u2019 inner thoughts through song. It\u2019s a comedy with the sweet and the sour, plus ambitious song and dance numbers.\u00a0…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"","fifu_image_alt":"","footnotes":""},"categories":[17],"tags":[10294,1597,26150,26149,1389],"class_list":["post-13317","post","type-post","status-publish","format-standard","hentry","category-social-mediaa","tag-interviews","tag-nbc","tag-richard-shepard","tag-richard-shepard-walks-us-through-directing-the-zoes-extraordinary-playlist-pilot","tag-tv"],"_links":{"self":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/13317","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/comments?post=13317"}],"version-history":[{"count":0,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/13317\/revisions"}],"wp:attachment":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media?parent=13317"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/categories?post=13317"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/tags?post=13317"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}