{"id":321843,"date":"2021-08-11T16:49:58","date_gmt":"2021-08-11T13:49:58","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/the-suicide-squad-composer-interview-john-murphy-film\/"},"modified":"2021-08-11T16:49:58","modified_gmt":"2021-08-11T13:49:58","slug":"the-suicide-squad-composer-interview-john-murphy-film","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/the-suicide-squad-composer-interview-john-murphy-film\/","title":{"rendered":"#The Suicide Squad Composer Interview: John Murphy \u2013 \/Film"},"content":{"rendered":"

“#The Suicide Squad Composer Interview: John Murphy \u2013 \/Film<\/strong>”<\/p>\n

\n

\"The<\/p>\n

John Murphy\u00a0<\/strong>brought rock to\u00a0<\/strong>The Suicide Squad<\/strong>.<\/em> The composer, known for\u00a028 Days Later<\/em>,\u00a0Sunshine<\/em>, and\u00a0Lock, Stock and Two Smoking Barrels<\/em>, picked up his custom-made, one and only guitar, and let it rip for James Gunn<\/strong>\u2018s film. Murphy wanted to mix things up with his guitar and a huge orchestra, which as he told us, on paper, doesn\u2019t necessarily read as the brightest idea.<\/p>\n

The self-taught musician was encouraged by Gunn to experiment, and experiment he did. From his control room in Los Angeles, Murphy told us all about scoring\u00a0The Suicide Squad<\/em>, why he\u2019s glad he didn\u2019t attend music school, and writing music for King Shark, Ratcatcher II, and Polka-Dot Man.<\/p>\n

How are the acoustics in that studio of yours?\u00a0<\/strong>
\nReally good, yeah. It used to be a stable, so we had to kind of gut it and really start from the ground up so that just meant we should get it right acoustically with all the soundproofing and frequencies and stuff. It sounds great. We\u2019ve been here three years now. This is actually the first film I\u2019ve done here. I did something for the BBC just when it was built, Les Mis.<\/p>\n

Since it was the first movie you scored there, how did how you designed that space influence the sound of the score?<\/strong><\/p>\n

I really wanted it to sound hard, so I had a lot of arguments with the acoustic designers because I wanted to have a very reverberant, hard sound in there. In the old studio, I would record in bathrooms or record in the toilet, or anywhere that had a really nasty, hard sound.<\/p>\n

So I thought, \u201cWell if I\u2019m going to build another studio, I should probably remember that when I\u2019m setting up the recording area.\u201d I always remembered when I grew up in Liverpool, the first recording sessions I did was in a studio called Amazon Studios, this legendary Liverpool studio where Echo & the Bunnymen, The Teardrop Explodes, Orchestral Manoeuvres, China Crisis, all these cool bands recorded at this same studio.<\/p>\n

I remember they had this round room where they used to record drums, and it was all this really uneven stone and the sound in there was so amazing because it was all this natural, really edgy stone. If you went in there drinking at night and you leaned against the wall, you\u2019d be bleeding. It was crazy. I always thought if I ever get the chance I\u2019m going to build a room in this same stone.
\nSo when we got to build this new studio a couple of years back, I thought, \u201cI\u2019m just going to go for it.\u201d So the actual recording area\u2019s got this natural Venetian stone, so we recorded all of The Suicide Squad<\/em> in there, but the hardness and the edginess and the brightness from the room were amazing. It made a big difference to the sound. It\u2019s the perfect movie for it. It\u2019s like hard, edgy, in-your-face, so it all worked out.<\/p>\n

A lot of guitar in this score, so did you still start with playing the music on Ned Flanders? [Note: that\u2019s one of his acoustic guitars that happ<\/a>ens to feature a character on it that looks like Ned Flanders]<\/strong><\/p>\n

F**k, Ned Flanders [Laughs]. I did for some stuff, but because of the way I approached this right from the get-go, I had to spend a few days with James in Atlanta when they were shooting, and we kept seeing the same weird attitude. So I thought, \u201cWell, maybe I write this in a different way and I just have my guitar with me, amp turned on, and foot pedals out. You write in a way very much dependent on what you\u2019ve got in your hands.<\/p>\n

If I write at a piano, I\u2019m very grown up and thinking about it, and it all becomes very academic. But when I write on a guitar, especially an electric guitar, you\u2019re more chilled out. You can have a beer. You can walk around the room. You can throw pedals in, and you write different stuff. And I thought, \u201cWell, maybe I just start The Suicide Squad<\/em> with the pedals, the guitar, the amp and see how far I get.\u201d<\/p>\n

But the interesting thing that happened was because at a certain point in the movie, the story begins to open out and the scale of the story begins to open out in a way that you don\u2019t expect, and then the characters become a bit more heroic and things start to change very much naturally through the movie, and I didn\u2019t want to have a point where there was a transition into the big orchestra and the big crowds.
\nEven though it\u2019s a James Gunn movie, and we expect it to be kind of brave and edgy and funny, there\u2019s still a lot of expectations with the genre of a superhero movie. So we knew at some point, to do the story justice and to do the images and the beautiful cinematography justice, I knew I would have to just explode it out into the huge, big orchestra.<\/p>\n

But I was trying to work out how to do that seamlessly and to keep this attitude, which I\u2019d gotten from writing the first half with the guitar. So what I decided to do was write the orchestra pieces, not on the piano like I would normally do, but still with the guitar and the foot pedals, which was f***ing wild. On paper, it\u2019s the worst idea in the world.<\/p>\n

If you have to write a big, complex, epic, gothic f***ing scene that you know is going to be a huge orchestra, and you know it\u2019s going to be huge, big choirs, you don\u2019t pick a guitar up and start jamming. But that\u2019s actually what I tried to do. And something interesting happened.<\/p>\n

What I found was playing on guitar and writing these themes and riffs, it was possible but it was done in a very different way. Because if I sit and write a staccato part for brass and strings, traditionally, you\u2019d sit there with your piano, you\u2019d write. But on guitar, if you\u2019re thinking that you have to write that kind of feel, you end up f***ing tw***ing the guitar. I ended up writing all these big orchestral pieces. The original, write nothing, with fuzzbox guitar, a Vox 8015. And then once I got something that had loads of attitude, I felt nice and rock and roll or a bit punk.<\/p>\n

Then I would translate that to the computer and then start mucking it out from that with the brass and with the strings and the choir. But what I missed was that original energy of the guitar, so it ended up being a mix of both. Once I\u2019d got the basic six or seven-minute big action scene dealing with the orchestra, and then it sounded like a superhero movie, I was then, \u201cWell, f**k this. Let\u2019s get a load of guitars into and track it up.\u201d And we ended up with this really big sound that when you first hear it, you go, \u201cOh, it\u2019s a big superhero orchestra thing.\u201d<\/p>\n

But if you listen to it closely, you hear that it\u2019s just got that different feel. You can tell that it was written on guitar, and then you can hear the other guitars tracked up, playing along with the brass and playing with the strings. So it was just an experiment, but it ended up giving the sound of the movie very much its own thing.
\n\"\"<\/p>\n

How\u2019d you make those transitions from guitar to orchestra so seamless?<\/strong><\/p>\n

I think there was work. I think part of that is because I didn\u2019t go to music school, I came into doing movies<\/a> from being in bands and that was my thing. I didn\u2019t do the typical sort of journey to Hollywood. I started off as a guitarist in a punk band and then I became a session player, and then I toured.<\/p>\n

I was and still am very much a self-taught musician, so none of my orchestral stuff is that complex anyway. Even when you get to the root of a lot of my orchestral stuff, even for Sunshine, the big \u201cAdagio D Minor\u201d thing, it\u2019s really from a pop past. There might be big strings, but really, you can tell it\u2019s not somebody who went to music school for seven years. So it\u2019s easier for me to mix the orchestral or the classical with the rock and roll or the punk or whatever because nothing\u2019s that complicated, to begin with. It\u2019s all coming from the same DNA.<\/p>\n

I mean, it\u2019s not as hard as you would think. For me, it\u2019s all the same. It\u2019s like whether you go to a string somewhere or you go to a telecaster through an amp playing the low note, it\u2019s all the same stuff to me. There\u2019s no difference between classical or The Clash. It\u2019s either f***ing great or it\u2019s s**t, to be honest. It either has an effect on you musically or emotionally as an audience or it doesn\u2019t. I think the more the movies have scores that do embrace such an eclectic feel, the easier it is for audiences to take. It\u2019s not such a huge, big deal to have orchestral stuff with a bit of punk or a bit of whatever, you know?<\/p>\n

Do you think not going to music school made you more open to exploring music rather than following rules?<\/strong><\/p>\n

Yeah. I mean, now I do. I\u2019d get a lot of kids coming out of Juilliard and they\u2019re sending this incredibly complicated stuff to say, \u201cCan I come and work for you for a bit.\u201d It\u2019s really impressive, complex stuff and some of these kids are like 18 and 19. God bless them, a lot of it sounds the same and it\u2019s like there is that arpeggio or there\u2019s that twill that they must have all learned on that day. For me, because I was never a great orchestrator, and I taught myself to orchestrate. I didn\u2019t have a wonderful education.<\/p>\n

But because I didn\u2019t have those things when I first came to Los Angeles, it forced me to make up for it in other ways. So I became very obsessed with writing memorable themes, and I became obsessed with making sure the sound of things was emotional. I went down my own path and never came back for better or worse.<\/p>\n

But now, I appreciate it and now, yeah, I do think it helped me. But the first few years being in L.A. and not even being able to read music was a f***ing nightmare. I\u2019d have orchestra sessions. \u00a0I remember one time, this big session, and I\u2019d only been in L.A. for about six months. I knew one of the brass things was playing the wrong note, and there are like 80 amazing players in this.<\/p>\n

There are directors behind me and the producers are there, and I\u2019m trying to tell the conductor that one of the brass guys is playing the wrong note. But I didn\u2019t even know what the f***ing instrument was called, you know? And he\u2019s like, \u201cIs it this?\u201d and I\u2019m going, \u201cNo, it\u2019s not the trombones. It\u2019s that one<\/em>.\u201d<\/p>\n

I\u2019m having to point like a kid, like, \u201cThat one, dad.\u201d And in the end, I\u2019m like, \u201cNo, the f***ing round one that looks like clamming,\u201d and the whole orchestra just cracked up, you know? And then I was like, \u201cOh, s**t. I\u2019m really getting found out here,\u201d you know what I mean? And you could see all these amazing musicians, guys who played on Star Wars<\/em>, and all kinds of classic stuff just looking through the glass going, \u201cWho the f**k is this guy?\u201d<\/p>\n

So the first few years I wish I\u2019d gone to school, but now, I just do my own thing and if people want to hire me, they do. And so I feel that helps. For a long time, it felt like an obstacle, you know?<\/p>\n

Do you read and write music much?<\/strong><\/p>\n

I can read slowly, but I just don\u2019t go there. I never ever write things down. I mean, I learned how to orchestrate in my head a bit a long time ago. I know Mozart could play a whole entire orchestra in his head, but I can do about four or five sections and play things back in my head.<\/p>\n

I can\u2019t get past that, but I can write something in my head and then put it to one side of my head and then write the chord behind it, and then write the counterpoint. I can get that far. And then at that point, I usually just get out of bed and just sing it into my phone or something or play it into whatever. I don\u2019t even go there with writing stuff down in that way. I\u2019ll play it on a piano and I\u2019ll figure it out. Then I\u2019ll just work it out once it\u2019s on the computer.<\/p>\n

What guitar were you using for The Suicide Squad<\/em>?<\/strong><\/p>\n

This is my favorite guitar I had this custom-made. It\u2019s a handmade Pistolero. But it\u2019s a one-off because the guy who designed and built this is a friend of mine. He\u2019s actually the brother of my main engineer. I worked out all the different bits I liked from different guitars and made this Frankenstein wish list with different pickups and a different neck, and all these different stuff. This guitar doesn\u2019t exist anywhere else. It\u2019s a real kind of Frankenstein. And I said, \u201cCan you make me a guitar that has all the favorite bits of all my favorite guitars?\u201d<\/p>\n

And he went, \u201cIt\u2019s weird but I\u2019ll try.\u201d So he made this guitar and it\u2019s just perfect, everything about the feel of it. And this was the main guitar on Suicide Squad. In fact, the very opening riff of the score was written on this. It\u2019s the f***ing theme. It\u2019s hilarious. It\u2019s like one-note [Laughs]. I love this guitar.<\/p>\n

What\u2019s unique about the sound to you?<\/strong><\/p>\n

Well, it\u2019s got this beautiful, chimey, British kind of chimey sound on this pickup here, which is very sparkly. It\u2019s almost like whatever amp you put it through, it sounds as if it\u2019s going through a Vox 8030. It\u2019s got that real lovely chime. I mean, it\u2019s hard to explain because it\u2019s not plugged into an amp right now, which is kind of a telecaster lipstick pickup.<\/p>\n

But I think it\u2019s a Lollar pickup. But it\u2019s got this really lovely chime to it. But then you\u2019ve got this pickup down here, which is pure punk. It\u2019s almost like that really old, safe sound but it\u2019s so gnarly and nasty. So you\u2019ve got this real mix of sounds within three inches of the guitar which is amazing, and it\u2019s incredibly loud.<\/p>\n

How much tracking did you do?<\/strong><\/p>\n

Yeah, f**k. We did loads of tracking. Because one of the challenges on this movie was obviously the whole situation with COVID, and when this was happening, there were loads of composers all ringing each other and emailing and saying, \u201cWhat the f**k do we do? We can\u2019t get orchestras here.\u201d<\/p>\n

Or when we could, the orchestra size was much smaller because there were only so many people allowed in a room. There\u2019s a whole batch of movies that were scored around this time where no one had a full orchestra. So instead of having this beautiful, big, 80-piece, 100-piece orchestra playing, we all had to record the sections separately. So the strings would be done one day.<\/p>\n

Then they\u2019d have to clean up and sanitize the place, and the brass would be done another day, and they were all cordoned off from each other with masks on. And then we did the woodwinds another day. You really had to think about what you were recording. But even with just doing the strings in one section, I think we were only allowed 40 strings or something or 44 strings, which is really small certainly for this type of movie.<\/p>\n

And then the same happened with brass. We couldn\u2019t get as big a brass section as I wanted. So everybody had to get creative around this time. What I did was instead of just using samples, which is what you would normally do to make something bigger, once we had the orchestra stuff back, I then tracked up a lot of the orchestra parts with guitar and FX pedals. So a lot of the brass stuff was tracked up with that guitar and about five other guitars going through foot pedals. Each guitar would have a different foot pedal and then that would play the brass lines.<\/p>\n

You mix that fuzzy sound in with the brass, the low brass and it was huge. It\u2019s something I\u2019ve never done before, and I only did it because the brass sections were small. But the sound was huge and it meant I could really widen it because you can put different foot pedals, really hard left and right stereo.<\/p>\n

So out of trying to deal with the problem, again, we ended up with a sound that it sounds like the craziest brass sound sometimes when it\u2019s playing really low. But it\u2019s not just brass. It\u2019s detuned guitars going through foot pedals, going through different amps and made hard left and right, and the sound was f***ing awesome.<\/p>\n

I\u2019ll definitely do it again. We did stuff like that even with the strings when I felt we didn\u2019t have enough soaring sound of the strings. Again, we\u2019d pull a guitar out, something that really creamy-sounding like a Les Paul, or I used this Yamaha Revstar quite a lot. It has these really thick, dark P90 pickups. They work beautifully with strings if you get the right kind of distortion with them and then you put them through delays. I\u2019ve got a pedal that really replicates the old delay pedals of the \u201950s and \u201960s.<\/p>\n

And so you put it through that and then you mix it in with these soaring violins, it just makes the violins sound huge. So it was a lot of tracking the orchestra up by necessity, but we ended up with a sound that was even bigger because it was just this thicker, echoey, amazing sound, so it all worked out.<\/p>\n

What did James Gunn think about that?<\/strong><\/p>\n

When you\u2019ve got someone who doesn\u2019t give a s**t about you doing stuff like that, you just do it. Some directors will be very purist and go, \u201cOh, I don\u2019t want you playing fuzzboxes over this beautiful orchestra.\u201d James will be like, \u201cF**k it. Just do whatever you think.\u201d We just met those challenges with guitar pedals basically and just made the sound bigger that way. But yeah, I mean, I\u2019ve recorded more guitars on The Suicide Squad<\/em> than probably all the other films I\u2019ve ever done put together.<\/p>\n

There are just so many guitar tracks. I think towards the end in that final third of the movie, some of the action stuff had something like seven or eight fuzz basses recorded just to get the sound thicker because I love using fuzz bass anyway. But again, that was something that we did to make the brass bigger.<\/p>\n

It was funny when we came to mixing the music, I always mix with Gustavo Borner<\/strong>, and he was looking at me laughing and he said, \u201cRemember on Sunshine<\/em>, you had six different basses. I\u2019m looking at this track sheet now and there was something like 11 fuzz basses just on one track.\u201d We thought that was hilarious.<\/p>\n

\"\"<\/p>\n

For Lock, Stock & Two Smoking Barrels<\/em>, you knew what the soundtrack was before scoring it, which helped you. Did James Gunn\u2019s song choices influence you at all, too?<\/strong><\/p>\n

Absolutely. I knew right from the beginning because James has made these decisions from the script. They were actually in the script. So it\u2019s not something he thought of later. I mean, to him, he\u2019s a music nut more than anyone I\u2019ve worked with, and he gets it. Seeing that from the script, I mean, it wasn\u2019t anyone song influenced the score.<\/p>\n

It was just good to have those signposts of sensibility, so you know that there\u2019s something that\u2019s going to be a little bit punky, and you know this is going to get a bit ironic, and this is going to get a little bit metal here. So those things helped out. Those signposts helped especially when you\u2019re scoring up to a track because you don\u2019t want to be in a certain key that when the song hits in, it\u2019s a downer, you know?<\/p>\n

I was riding up to these tracks. Whenever a song would finish and the score would come straight after it, I would always write in a good key that worked well coming out of it. So it had that feeling of being seamless, same with Lock, Stock<\/em>. I knew all the songs before, so I could write into them and write out of them.<\/p>\n

And that really makes a difference to an audience because it feels like they\u2019re experiencing one musical journey then instead of like, \u201cThere\u2019s the score. Oh, and now\u2019s the song. Oh, there\u2019s the score again.\u201d I knew what all the songs were going to be, so I worked with them.<\/p>\n

How was it leading into and following \u201cHey\u201d by the Pixies? And when you hear a song that fantastic, what goes through your mind as a musician?\u00a0<\/strong><\/p>\n

When I heard that song by the Pixies, the first thing that came into my head was being at a party at a friend of mine\u2019s house, Jeff Cardoni, the composer, and getting smashed out of my head with Joey from the Pixies [Laughs]. The last thing we were saying was, \u201cWe got to do a movie together one day.\u201d I haven\u2019t seen him since. This was a few years back. Joey is stellar, so soon as I heard that track, I was like, \u201cOh, s**t. I got to see Joey again.\u201d That was the first thing that came into my head. My head was just how we were like the drunkest people at the party, the two of us.<\/p>\n

[Laughs] Sounds like a good time.<\/strong><\/p>\n

Well, we were having a good time. Joey is just the best. With that track, what I loved was how it was all filtered to start with and then it just opened out, and then that sound, when it goes to full frequency and it opens out, it was just perfect. I love it when you have that kind of laconic vibe. That slow, draggy, laconic drums and the way the vocal was pitching and aching, I mean, I love s**t like that. It is one of my favorite needle drops in the movie. It inspires you. You don\u2019t go, \u201cOh, how do I deal with this?\u201d You go, \u201cF**k! It\u2019s like Mars. I\u2019m after it.\u201d It just inspires you.<\/p>\n

Obviously, we covered the rock and punk sound, but for Ratcatcher and King Shark, you get to communicate a gentler side of the film, right?\u00a0<\/strong><\/p>\n

Well, it\u2019s funny because you do some movies and you know what\u2019s expected or what\u2019s best for the film is to have a very organized, tight score with a correct thematic structure, and there\u2019s a whole mass to this stuff, or by the rules. You figure this out and you wake up the shape.<\/p>\n

From those first few days with James, it\u2019s clear that we were just going to go out for entertainment. We wanted just every scene to be as entertaining as it could be. If it was going to be scary, it\u2019d scare the s**t out of them. If it was going to be sad, make them cry. We didn\u2019t talk about rules. Let\u2019s look at every tectonic movement in the film and figure out what\u2019s going to kick ass. When we got to scenes that were very much standalone scenes like the King Shark thing, like the Ratcatcher flashback, I didn\u2019t have to worry about blending the sound in too much with the rest of the score.<\/p>\n

So I just wrote stuff that worked for the scene. In those instances, it\u2019s a sound that doesn\u2019t really come back again. But it didn\u2019t matter. All that mattered was that that moment felt emotional. So I tried stuff that I knew wasn\u2019t going to come again in the movie, and James didn\u2019t even question it.<\/p>\n

The King Shark moment, it has bit of a horror movie sound.<\/strong><\/p>\n

It was very much King Shark\u2019s moment where he\u2019s being introspective and you\u2019re getting into his head a little bit. I thought, \u201cWell, it\u2019s a standalone thing, so what would fit for this?\u201d Then I thought, \u201cWouldn\u2019t it be funny because he\u2019s so innocent? And we\u2019ll try something with a little la, la, la, \u201960s kind of retro, low-fi, French film?\u201d because I love all that s**t too. \u00a0It had so much humor and so much heart to it that James loved it. He said, \u201cIt\u2019s all the nuance it needs and let\u2019s just go with it.\u201d So I could jump in and out of the score whenever we felt that it was worth it, basically is what I\u2019m saying. There were no rules.<\/p>\n

Even with Polka-Dot Man too, when he has his moment to explain his backstory and, in a way, he\u2019s separate from the other members of the squad because he has very unique sort of powers and he doesn\u2019t want to be there. He wishes he was dead.\u00a0\u00a0I thought, \u201cWell, his sound would be very different to these other people.\u201d And then I thought, \u201cWell, I\u2019ve got this big Moog [synthesizer].\u201d\u00a0I wrote this really retro-ey, mid-\u201970s Moog piece for him. And again, it\u2019s like it\u2019s got nothing to do with the rest of the score whatsoever.<\/p>\n

Over the years, several pieces of music of yours have been reused in movies. When I hear your music in other movies, it takes me out of the experience, but how do you feel about it?<\/strong><\/p>\n

It\u2019s kind of annoying, to be honest. I mean, it\u2019s annoying sometimes. Sometimes it\u2019s used really, really well. But I wish it was used in just the good stuff, you know? The only thing I didn\u2019t mind doing was on Kick-Ass<\/em> because we were being a bit ironic, kind of a bit like tongue-in-cheek with it. But even now, I mean, I got slated a bit to doing that because I\u2019ve worked on Kick-Ass 2<\/em> and people are like, \u201cHow the hell could you destroy this 28 Days Later<\/em> tune?\u201d<\/p>\n

But I just wasn\u2019t taking it that seriously. For me, Matthew was adamant that he\u2019d had it in the test screenings and everybody loved it. So the compromise we made was okay, if you\u2019re going to use that, then at least let me do a version that\u2019s specific for Kick-Ass<\/em>, so that was where we met in the middle. It was fun but I still got slaughtered for it.<\/p>\n

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“#The Suicide Squad Composer Interview: John Murphy \u2013 \/Film” John Murphy\u00a0brought rock to\u00a0The Suicide Squad. The composer, known for\u00a028 Days Later,\u00a0Sunshine, and\u00a0Lock, Stock and Two Smoking Barrels, picked up his custom-made, one and only guitar, and let it rip for James Gunn\u2018s film. Murphy wanted to mix things up with his guitar and a huge…<\/p>\n","protected":false},"author":1,"featured_media":321844,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/d13ezvd6yrslxm.cloudfront.net\/wp\/wp-content\/images\/thesuicidesquad-kingshark-reading.jpg","fifu_image_alt":"","footnotes":""},"categories":[17],"tags":[1570,1361],"class_list":["post-321843","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-social-mediaa","tag-features","tag-movies"],"_links":{"self":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/321843","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=321843"}],"version-history":[{"count":0,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/321843\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media\/321844"}],"wp:attachment":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media?parent=321843"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/categories?post=321843"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/tags?post=321843"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}