{"id":213839,"date":"2021-03-29T19:00:04","date_gmt":"2021-03-29T16:00:04","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/godzilla-vs-kong-director-tells-all-film\/"},"modified":"2021-03-29T19:00:04","modified_gmt":"2021-03-29T16:00:04","slug":"godzilla-vs-kong-director-tells-all-film","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/godzilla-vs-kong-director-tells-all-film\/","title":{"rendered":"#Godzilla vs. Kong Director Tells All \u2013 \/Film"},"content":{"rendered":"<div id=\"ez-toc-container\" class=\"ez-toc-v2_0_85 counter-hierarchy ez-toc-counter ez-toc-custom ez-toc-container-direction\">\n<p class=\"ez-toc-title\" style=\"cursor:inherit\">Table of Contents<\/p>\n<label for=\"ez-toc-cssicon-toggle-item-6a383d88e2e3b\" class=\"ez-toc-cssicon-toggle-label\"><span class=\"\"><span class=\"eztoc-hide\" style=\"display:none;\">Toggle<\/span><span class=\"ez-toc-icon-toggle-span\"><svg style=\"fill: #dd3333;color:#dd3333\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"list-377408\" width=\"20px\" height=\"20px\" viewBox=\"0 0 24 24\" fill=\"none\"><path d=\"M6 6H4v2h2V6zm14 0H8v2h12V6zM4 11h2v2H4v-2zm16 0H8v2h12v-2zM4 16h2v2H4v-2zm16 0H8v2h12v-2z\" fill=\"currentColor\"><\/path><\/svg><svg style=\"fill: #dd3333;color:#dd3333\" class=\"arrow-unsorted-368013\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"10px\" height=\"10px\" viewBox=\"0 0 24 24\" version=\"1.2\" baseProfile=\"tiny\"><path d=\"M18.2 9.3l-6.2-6.3-6.2 6.3c-.2.2-.3.4-.3.7s.1.5.3.7c.2.2.4.3.7.3h11c.3 0 .5-.1.7-.3.2-.2.3-.5.3-.7s-.1-.5-.3-.7zM5.8 14.7l6.2 6.3 6.2-6.3c.2-.2.3-.5.3-.7s-.1-.5-.3-.7c-.2-.2-.4-.3-.7-.3h-11c-.3 0-.5.1-.7.3-.2.2-.3.5-.3.7s.1.5.3.7z\"\/><\/svg><\/span><\/span><\/label><input type=\"checkbox\"  id=\"ez-toc-cssicon-toggle-item-6a383d88e2e3b\" checked aria-label=\"Toggle\" \/><nav><ul class='ez-toc-list ez-toc-list-level-1 ' ><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/buradabiliyorum.com\/en\/godzilla-vs-kong-director-tells-all-film\/#Adam_Wingard_Interview\" >Adam Wingard Interview<\/a><\/li><\/ul><\/nav><\/div>\n<p>&#8220;<strong>#Godzilla vs. Kong Director Tells All \u2013 \/Film<\/strong>&#8221;<\/p>\n<div>\n<p>                            <img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-664058 aligncenter\" src=\"https:\/\/d13ezvd6yrslxm.cloudfront.net\/wp\/wp-content\/images\/Adam-Wingard-interview-700x300.jpg\" alt=\"Adam Wingard interview\" width=\"700\" height=\"300\" srcset=\"https:\/\/d13ezvd6yrslxm.cloudfront.net\/wp\/wp-content\/images\/Adam-Wingard-interview.jpg 700w, https:\/\/d13ezvd6yrslxm.cloudfront.net\/wp\/wp-content\/images\/Adam-Wingard-interview-360x154.jpg 360w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><\/p>\n<p>While beating each other to a pulp, Godzilla and King Kong \u2013 two titans who find themselves at odds with each other in the new Legendary\/Warner Bros. MonsterVerse movie <em><strong>Godzilla vs. Kong<\/strong><\/em> \u2013 roar directly in each other\u2019s faces. It\u2019s a moment that makes director <strong>Adam Wingard<\/strong> (<em>You\u2019re Next<\/em>, <em>The Guest<\/em>, <em>Blair Witch<\/em>) \u201c<span class=\"s1\">teary-eyed,\u201d though he acknowledges it\u2019s an odd moment in the film to get emotional. Still, \u201cevery time I watch it, I\u2019m like, \u2018This is what it\u2019s all about,&#8217;\u201d he told us in a recent interview. \u201cAll the work, the three years that I put into this thing. All the heartache and the worry, it\u2019s all worth it for this one moment right here, because this is what everybody\u2019s paying to see.\u201d<\/span><\/p>\n<p>Read our full interview with Wingard below, which discusses the unique way he got the directing job on this monster-sized film, the visually distinctive neon city fight sequence, the challenges of post-production, and the element of the film he\u2019s the most proud of.<br \/><span id=\"more-664032\"><\/span><\/p>\n<h2><span class=\"ez-toc-section\" id=\"Adam_Wingard_Interview\"><\/span>Adam Wingard Interview<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p class=\"p1\"><span class=\"s1\"><b>I want to start at the beginning. What was your pitch like to get the job directing this movie?<\/b><\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">Well, there was never actually a formal pitch, if you can imagine that. Which sounds crazy for such a gigantic movie. But I think in a lot of ways, the reason for that, we have to <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/trip-and-travel\/\" data-internallinksmanager029f6b8e52c=\"10\" title=\"Trip &amp; Travel\" target=\"_blank\" rel=\"noopener\">travel<\/a> back in time to 2013 or so when <i>You\u2019re Next<\/i> was about to come out in theaters. Somehow, Peter Jackson had seen an early version of <i>You\u2019re Next<\/i>, and he was interested in me directing a sequel to his <i>King Kong<\/i> film. It was just going to be called <em>Skull Island<\/em>. <b>Simon Barrett<\/b> was going to write it. <b>Mary Parent<\/b>, who runs Legendary now and produced this movie, was on board with that. But this movie was set up at Universal, and the King Kong rights somehow ended up at Warner Bros. That movie went to the wayside, and so did I. In a long roundabout way, I think getting that vote of confidence from Peter Jackson stuck in Mary Parent\u2019s mind.<span class=\"Apple-converted-space\">\u00a0<\/span><\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">So I just had a <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/general\/\" data-internallinksmanager029f6b8e52c=\"3\" title=\"General\" target=\"_blank\" rel=\"noopener\">general<\/a> meeting with her in 2017. It\u2019s really one of those things where, as a filmmaker, you really have to take all of those general meetings. This is a big lesson to me because I remember the day of the meeting, I was in editorial working on my last film and I\u2019m sitting there at two in the afternoon and my assistant comes in and says, \u201cAre you ready for that general meeting at Legendary in an hour?\u201d and I\u2019m like, \u201cGeneral meeting? I don\u2019t remember that.\u201d We were really busy. I was like, \u201cMaybe we should just cancel it. We\u2019ve got so much work to do today.\u201d Then I thought, \u201cWell, you know what, I should just go do it. I haven\u2019t done a general meeting in a while because I\u2019ve been working so hard on this movie.\u201d So I almost didn\u2019t go, but I did, and that\u2019s how we started talking about the fact that they were thinking about <i>Godzilla vs. Kong<\/i> and I raised my hand im<a href=\"https:\/\/buradabiliyorum.com\/en\/category\/social-mediaa\/\" data-internallinksmanager029f6b8e52c=\"1\" title=\"Social Media\" target=\"_blank\" rel=\"noopener\">media<\/a>tely and said, \u201cI\u2019m very interested in that.\u201d<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\"><b>Since you were brought in in this unconventional way without a traditional pitch, what kind of ideas did you have early on? What stage was the <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/download-scripts-themes-apps\/\" data-internallinksmanager029f6b8e52c=\"9\" title=\"Download Scripts &amp; Themes &amp; Apps\" target=\"_blank\" rel=\"noopener\">script<\/a> in when you came on? How did that work?<\/b><\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">I can\u2019t remember everything we talked about in that general meeting. The main image that popped in my head right away in the moment was I remember telling Mary that I wanted to see Godzilla and King Kong in a futuristic, neon city with synthwave music playing, and I wanted to see Godzilla chasing Kong around with his nuclear breath in this city. I remember talking about that, and that\u2019s obviously a main set piece that made it into the film and was probably one of the first things we developed visually for the movie.<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">The only thing that had existed for the film at that point was <strong>Terry Rossio<\/strong> had run a writers\u2019 room for the movie and he had a three to five page outline that was very informal. I think even on his outline, he didn\u2019t call it a treatment, he called it the \u201c<i>Godzilla vs. Kong<\/i> proposal.\u201d He had a lot of the main set pieces and structure already there. So it had all these great ideas. And fortunately, it had an ending that took place in a big, futuristic city, so I thought, \u201cThat\u2019s perfect. That\u2019s already syncing up. That\u2019s a good sign.\u201d Things like the ship battle, the details weren\u2019t in there, but the idea that that\u2019s where one of the action scenes is going to take place [was there], and the sense of the film being a journey into Hollow Earth. All of those things were kind of there and then from that point on, I started meeting with Terry and we would notecard the whole movie. We had a Legendary boardroom to ourselves and we filled them up with every scene and got into more and more detail about how I wanted to approach them as a director, and we came up with all these nuances. Then he went off to write the script. So it was really nice to be there working from the ground up on this thing.<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\"><b>You mentioned that neon city set piece. That\u2019s one of my favorite moments in the movie. It\u2019s so visually distinctive. I think that\u2019s one of the big complaints a lot of us have about modern blockbusters: they have that dull look. Where\u2019s the fun? I love that it doesn\u2019t really make sense that every single skyscraper in Hong Kong is outfitted with a different color of neon, but it looks so cool. Talk about your use of color here and what you were able to do with that in this movie.<\/b><\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">I think we\u2019re going to be moving into a new phase of blockbusters, and I think we have been over the past few years. Maybe what really kicked it off was <i>Avatar<\/i>, and it took a while for everybody to catch up to it. You look at James Wan\u2019s <i>Aquaman<\/i>: that movie is the most psychedelic thing I\u2019ve seen in theaters in a while. I think we\u2019ve gotten past the point where special effects <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/watch-movies-tv-seriess\/\" data-internallinksmanager029f6b8e52c=\"8\" title=\"Watch Movies &amp; TV Series\" target=\"_blank\" rel=\"noopener\">movies<\/a> need to be so geared toward making you believe that the reality is real. We believe Godzilla is real because Gareth Edwards really brilliantly was able to give us a palette cleanser from the \u201998 <i>Godzilla<\/i> film with his movie, and he really put it in a reality that we could believe. But it\u2019s not one of those things that you want to just see over and over again. Once you believe Godzilla is real, where do you go from [there]? The MonsterVerse films have kind of followed this natural trajectory that the original Showa era <i>Godzilla<\/i> films did, which was the very first <i>Godzilla<\/i> movie, for its time, was very grounded and real and depressing and tragic and very much a disaster movie. Then they slowly got more psychedelic and trippy and cartoony and colorful as time went on. I\u2019m kind of the <i>Destroy All Monsters<\/i> era, I think those type of films, if I had to pick one. A film that\u2019s very colorful.<span class=\"Apple-converted-space\">\u00a0<\/span><\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">Even the way we approached the special effects \u2013\u00a0we had a lot of discussions early on that I knew I wanted the fight scenes to be really high-octane and very fast. I wanted it to be unpredictable, as though you\u2019re watching a street fight in an alleyway. The problem with that, though, is that normally, when you\u2019re trying to show off scale of creatures that are 300-foot plus, the way to do that is to artificially slow them down and give them a slow motion look so you get more of the size and the weight of them. We did a lot of tests, and what we realized is that if we slowed down all the debris and the smoke and the broken glass falling from the sky, kept those at that same type of slow motion pace, that gives you a feeling of the scale. But we kept the monsters, for the most part, moving very quickly. What I like about it is that it gives almost a modern day stop-motion feel. It doesn\u2019t look a hundred percent real, but it looks really interesting in the same way that, for instance, the original <i>King Kong\u2019<\/i>s effects hold up nowadays: not because they look hyperrealistic or anything, they just look beautiful and interesting and they get the idea across.<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-661954 aligncenter\" src=\"https:\/\/d13ezvd6yrslxm.cloudfront.net\/wp\/wp-content\/images\/godzilla-vs-kong-soundtrack-700x321.jpg\" alt=\"godzilla vs kong soundtrack\" width=\"700\" height=\"321\" srcset=\"https:\/\/d13ezvd6yrslxm.cloudfront.net\/wp\/wp-content\/images\/godzilla-vs-kong-soundtrack-700x321.jpg 700w, https:\/\/d13ezvd6yrslxm.cloudfront.net\/wp\/wp-content\/images\/godzilla-vs-kong-soundtrack-360x165.jpg 360w, https:\/\/d13ezvd6yrslxm.cloudfront.net\/wp\/wp-content\/images\/godzilla-vs-kong-soundtrack-768x352.jpg 768w, https:\/\/d13ezvd6yrslxm.cloudfront.net\/wp\/wp-content\/images\/godzilla-vs-kong-soundtrack.jpg 948w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><\/p>\n<p class=\"p1\"><span class=\"s1\"><b>Was there anything that surprised you when it came to the post-production process for this film, maybe any plot lines that you discovered you didn\u2019t actually need despite shooting scenes for them?<\/b><\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">It\u2019s interesting, because you always hear these stories of these Hollywood blockbuster movies that start without a finished script and they have like 15-20 writers, and you think, \u201cWhy is that?\u201d It\u2019s always for films like <i>Transformers<\/i> or something, and you\u2019re like, \u201cWell, how complicated could that be?\u201d [laughs] And it\u2019s only when you\u2019re doing these things that you start understanding the processes of that. Our film, because we were working on this sort of accelerated MonsterVerse timeline \u2013 we had <i>King of the Monsters<\/i> already going, we already had a release date planned before we started shooting \u2013 we\u2019re kind of backing into this release date. There\u2019s certain elements in the script that you just don\u2019t get 100% right when you\u2019re shooting, and you know it. You know that they\u2019re not done, there\u2019s something missing here. I remember when I got into post-production, the areas that we knew weren\u2019t totally fleshed out didn\u2019t feel fleshed out. So that was the biggest challenge, was figuring that out.<span class=\"Apple-converted-space\">\u00a0<\/span><\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">On top of that, we had to be very surgical. We only had five days of pickups on this film, which is the least amount that especially the MonsterVerse films have ever done, because usually they do about fourteen days. We had five. We had to figure out how to change a couple of these plot points, because once we had the full picture in front of us, we could say, \u201cYou know what? The vast majority of this works, but we need to figure out how to get a more efficient setup for the film.\u201d So we figured out a really smart plan and jumped in and did it. But yeah, I wouldn\u2019t say it was a surprise, because we kind of knew what did and didn\u2019t work all the way along, we just didn\u2019t have a script that totally nailed it yet. But once we got in post, it was pretty clear how to approach that from there.<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\"><b>Was the five day thing because of COVID or because of the budget? Why were you limited on the number of pickup days?<\/b><\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">I don\u2019t remember. I think it was a budget thing. I think we were in a place where we just didn\u2019t want to overspend. There\u2019s so much waste on big Hollywood movies, and I think the studio was at a place where \u2013 and I think actually that\u2019s why I was hired to do this movie. Because I\u2019ve done tons of films over the years. Tons of different budgets. Never anything this big, but I think I have a great reputation for always coming in on time and on budget, and I know how to think outside the box. So I really brought that indie mindset to it, like, \u201cI don\u2019t need you to give me everything. I just need to know what I need to fix, and I\u2019m going to figure out the best, most efficient way to do it.\u201d I think initially we said, \u201cIf we wanted to fix everything in the film, what would it take? Maybe nine days.\u201d Then we had to say, \u201cHow do we whittle that down to five?\u201d It just takes some thinking. I think it actually gives you a better experience because you\u2019re not like, \u201cWe\u2019ll figure it out later, we\u2019ll just shoot a bunch of stuff and throw it in.\u201d We had to really make real decisions, and sometimes I don\u2019t think that happens on big Hollywood movies. But we\u2019re in an era where I think blockbusters are changing. People are realizing that that kind of waste is not working. I think movie budgets were getting bloated and kind of out of control over the last decade, and I think there\u2019s a reckoning now where, even though these are still hugely expensive films, you can\u2019t just take a bucket of money and toss it at something anymore. You have to actually have an idea of what you\u2019re going to do.<span class=\"Apple-converted-space\">\u00a0<\/span><\/span><\/p>\n<p class=\"p1\"><span class=\"s1\"><b>I know you can\u2019t talk much about your <i>Face\/Off<\/i> sequel, but maybe you can clarify one thing for me: is it essential that both Cage and Travolta sign on for the movie to work?<\/b><\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">You know, I\u2019m scared to say yes or no to that because we haven\u2019t gotten into that phase of it yet, that I don\u2019t want to scare anybody off. But again, I will kind of reiterate that this is a definitive sequel to <i>Face\/Off<\/i>, and I wouldn\u2019t do the movie if, at any point, it felt like the film wasn\u2019t going to be a real, definitive sequel. I know that\u2019s not a cool answer, but read between the lines there, you know? (laughs)<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\"><b>For you, what aspect of the work you did on <i>Godzilla vs. Kong<\/i> are you the most proud of?<\/b><\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">I think that it\u2019s really being able to bring out the emotions in the monster. They\u2019re fully fleshed out, realized characters that have all these non-verbal communication moments. I think that\u2019s the thing I\u2019m most proud of. Because anybody can make a big CGI thing look cool, but to really bring it to life in a way? That\u2019s the thing I\u2019m most proud of. That\u2019s the thing that makes me emotional when I watch the film. I\u2019ve never felt emotional, necessarily, when I\u2019ve watched my own work. Maybe here and there. But with this movie, I get teary-eyed at weird points, and it\u2019s not what you would expect. Sometimes I get teary-eyed in the scene in the rain with Jia and Kong because it\u2019s actually an emotional scene. So the first few times I saw that fully done with the music and the special effects in, it was like, \u201cOh, wow, this is really getting there,\u201d and I\u2019ve seen a lot of people cry at that scene. But the one that I get teary-eyed every time I watch it is the sequence where \u2013 it\u2019s in some of the TV spots now \u2013 there\u2019s a shot where Godzilla and King Kong are roaring right in each other\u2019s faces. It\u2019s a very long moment in the film because they roar for a while. Every time I watch it, I\u2019m like, \u201cThis is what it\u2019s all about. All the work, the three years that I put into this thing. All the heartache and the worry, it\u2019s all worth it for this one moment right here, because this is what everybody\u2019s paying to see.\u201d It\u2019s so cool.<\/span><\/p>\n<p style=\"text-align: center;\">***<\/p>\n<p><!-- SlashFilm_300x250_In_Post --><em>Godzilla vs. Kong<\/em> will be streaming on HBO Max and arriving in U.S. theaters on <strong>March 31<\/strong>, <strong>2021<\/strong>.<\/p>\n<p>                            <strong>Cool Posts From Around the Web:<\/strong><\/p>\n<p>                            <!-- \/post -->\n                        <\/div>\n<blockquote><p><strong><span style=\"color: #ff6600;\">If you liked the article, do not forget to share it with your friends. Follow us on\u00a0<span style=\"color: #ff0000;\"><a style=\"color: #ff0000;\" href=\"https:\/\/news.google.com\/publications\/CAAqBwgKMLG0nwswvr63Aw\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Google News<\/a><\/span>\u00a0too, click on the star and choose us from your favorites.<\/span><\/strong><\/p><\/blockquote>\n<blockquote>\n<p style=\"text-align: center;\">For forums sites go to <span style=\"color: #ff9900;\"><a style=\"color: #ff9900;\" href=\"https:\/\/forum.buradabiliyorum.com\/\" target=\"_blank\" rel=\"noopener\">Forum.BuradaBiliyorum.Com<\/a><\/span><\/strong><\/p>\n<\/blockquote>\n<blockquote>\n<p style=\"text-align: center;\"><strong>If you want to read more Like this articles, you can visit our <span style=\"color: #ff9900;\"><a style=\"color: #ff9900;\" href=\"https:\/\/en.buradabiliyorum.com\/social-media\/\" target=\"_blank\" rel=\"noopener\">Social Media category.<\/a><\/span><\/strong><\/p>\n<\/blockquote>\n<p><span style=\"color: black;\"><a style=\"color: #ff9900;\" href=\"https:\/\/www.slashfilm.com\/adam-wingard-interview-godzilla-vs-kong\/\" target=\"_blank\" rel=\"noopener\">Source<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>&#8220;#Godzilla vs. Kong Director Tells All \u2013 \/Film&#8221; While beating each other to a pulp, Godzilla and King Kong \u2013 two titans who find themselves at odds with each other in the new Legendary\/Warner Bros. MonsterVerse movie Godzilla vs. Kong \u2013 roar directly in each other\u2019s faces. It\u2019s a moment that makes director Adam Wingard&#8230;<\/p>\n","protected":false},"author":1,"featured_media":213840,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/d13ezvd6yrslxm.cloudfront.net\/wp\/wp-content\/images\/Adam-Wingard-interview.jpg","fifu_image_alt":"","footnotes":""},"categories":[17],"tags":[14988,1568,1513,89810,1570,10294,20806,1499,1500],"class_list":["post-213839","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-social-mediaa","tag-godzilla-vs-kong","tag-featured-stories-sidebar","tag-action-adventure","tag-adam-wingard","tag-features","tag-interviews","tag-legendary-pictures","tag-sci-fi","tag-sequels"],"_links":{"self":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/213839","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=213839"}],"version-history":[{"count":0,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/213839\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media\/213840"}],"wp:attachment":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media?parent=213839"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/categories?post=213839"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/tags?post=213839"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}