{"id":90791,"date":"2020-10-16T18:00:15","date_gmt":"2020-10-16T15:00:15","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/creating-the-rebecca-remakes-score-film\/"},"modified":"2020-10-16T18:00:15","modified_gmt":"2020-10-16T15:00:15","slug":"creating-the-rebecca-remakes-score-film","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/creating-the-rebecca-remakes-score-film\/","title":{"rendered":"#Creating the Rebecca Remake&#8217;s Score \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-6a373b51a0809\" 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-6a373b51a0809\" 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\/creating-the-rebecca-remakes-score-film\/#%E2%80%9CThe_Wings_of_Mercury%E2%80%9D\" >\u201cThe Wings of Mercury\u201d<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/buradabiliyorum.com\/en\/creating-the-rebecca-remakes-score-film\/#Clint_Mansell_Interview\" >Clint Mansell Interview<\/a><\/li><\/ul><\/nav><\/div>\n<p>&#8220;<strong>#Creating the Rebecca Remake&#8217;s Score \u2013 \/Film<\/strong>&#8221;<\/p>\n<div>\n<p>                            <img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-641567 aligncenter\" src=\"https:\/\/d13ezvd6yrslxm.cloudfront.net\/wp\/wp-content\/images\/Clint-Mansell-interview-700x300.jpg\" alt=\"Clint Mansell interview\" width=\"700\" height=\"300\" srcset=\"https:\/\/d13ezvd6yrslxm.cloudfront.net\/wp\/wp-content\/images\/Clint-Mansell-interview.jpg 700w, https:\/\/d13ezvd6yrslxm.cloudfront.net\/wp\/wp-content\/images\/Clint-Mansell-interview-360x154.jpg 360w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><\/p>\n<p>For more than twenty years, <strong>Clint Mansell<\/strong> has created beautiful and artistically daring scores for a wide variety of films. His work on Darren Aronofsky\u2019s\u00a0<em>Requiem for a Dream<\/em> remains one of the most haunting scores of this millennium, and his other credits \u2013 from <em>Moon<\/em> to <em>Stoker<\/em> to <em>The Fountain<\/em> and <em>Black Swan<\/em> \u2013 represent a depth and sophistication that\u2019s rare in an era in which many scores are little more than background noise.<\/p>\n<p>Mansell previously collaborated with director Ben Wheatley on <em>High-Rise<\/em>, and now he\u2019s re-teamed with the filmmaker for <em><strong>Rebecca<\/strong><\/em>, a new adaptation of Daphne du Maurier\u2019s gothic romance novel. His score is one of the best parts of the entire film: it captures the unease of Lily James\u2019 main character and builds a moody, occasionally eerie foundation for the mysteries of the story. We spoke with Mansell about creating new music in the shadow of Alfred Hitchcock\u2019s Best Picture-winning 1940 adaptation, using \u201cthe devil\u2019s instrument\u201d as part of the score, how he infuses music with emotion, and more.<\/p>\n<p>We\u2019re also h<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\">app<\/a>y to premiere a full track from Mansell\u2019s <em>Rebecca<\/em> score, so immerse yourself in a spooky atmosphere while reading the interview by pressing play below.<span id=\"more-641411\"><\/span><\/p>\n<h2><span class=\"ez-toc-section\" id=\"%E2%80%9CThe_Wings_of_Mercury%E2%80%9D\"><\/span>\u201cThe Wings of Mercury\u201d<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p><!-- SlashFilm_300x250_In_Post --><iframe loading=\"lazy\" title=\"Clint Mansell - The Wings Of Mercury - Rebecca (Music From The Netflix Film)\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/gfepy2fXV-0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<h2><span class=\"ez-toc-section\" id=\"Clint_Mansell_Interview\"><\/span>Clint Mansell Interview<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p class=\"p1\"><i>Note: this conversation has been edited for clarity and brevity.<\/i><\/p>\n<p class=\"p1\"><b>I read that you studied English literature in college. Had you read Daphne du Maurier\u2019s book before you signed on to this project?<\/b><\/p>\n<p class=\"p1\">It wasn\u2019t part of my curriculum back then, but I had read it some years ago. I can\u2019t say that I totally re-read it this time, but I did [come close]. The shadow of Hitchcock\u2019s version probably hangs heavier than the book really, just because I guess that\u2019s how society \u2013\u00a0or at least my world \u2013\u00a0is these days. Literature, for a lot of people \u2013\u00a0myself included, and I do consider myself a reader \u2013\u00a0but in the modern world, it\u2019s been supplanted really, by not just <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> but by the pace of <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/technology\/\" data-internallinksmanager029f6b8e52c=\"4\" title=\"Technology\" target=\"_blank\" rel=\"noopener\">technology<\/a>. So going back and re-investing in it definitely gives you a different sense of time and pace, particularly.<\/p>\n<p class=\"p1\">Also, peripherals, if that\u2019s the right word. In a book, you get to know a lot more things that don\u2019t make it into the movie: background, atmosphere, feelings are discussed more. From a composer\u2019s point of view, that\u2019s really helpful. I felt the same way when I did <i>High-Rise<\/i> with Ben. So much of the composer\u2019s work, for me anyway, isn\u2019t just what\u2019s on the screen. You\u2019re trying to bring in a whole atmosphere, a whole universe, if you like. That may hide in the words of the pages a bit more than the film\u2026from a composer\u2019s point of view, there\u2019s almost another world that you can dig under the surface that may or may not be helpful to you when you\u2019re creating the music for the film.<\/p>\n<p class=\"p1\"><b>Can you talk about your approach for crafting the score for this movie, in addition to re-investing in the book?<\/b><\/p>\n<p class=\"p1\">It felt like a very different film for both Ben and I, really. We discussed those realities: biggish studio films with lots of people having opinions and involvement, and what an aim of a movie like this is. I\u2019ve composed work on a lot of stuff at the same time half the time, but I didn\u2019t feel like I could do that: I just focused entirely on <i>Rebecca<\/i> whilst I was doing this and ended up being on it for over a year, part of that being because of being shut down by the pandemic. But that gave me a lot of time to research and to absorb the film.<\/p>\n<p class=\"p1\">I went back to something that I kind of stopped doing over the years. I did a 20 year <i>Requiem of a Dream<\/i> anniversary for the Toronto International Film Festival recently, and talking about that reminded me that I used to write on the script a lot, back in the early days of my formative years [as a composer]. It was something that I\u2019d kind of moved away from over time, but I went back to that with <i>Rebecca<\/i>. I got the script pretty early, and he asked me to do the film before we shot it, so I had a lot of time to think about it and invest in it, you know? It\u2019s a period piece, but it\u2019s gotta be a modern film because people are watching it now. So you sort of have a foot in the past and a foot in the future. We sort of played around with, how far can we go toward the classic, melodramatic approach to old-fashioned filmmaking? And where would the line be where we go, \u201cOh, that\u2019s too much. That starts to suck.\u201d So I got into a lot of stuff from the script and just jamming on ideas that we could just play with and think about: \u201cMore of this, less of that.\u201d Time is always one of my favorite things to have on a film. A good film to work on is another big part, but having time to absorb and think and invest in what you\u2019re doing is always wonderful <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/news\/\" data-internallinksmanager029f6b8e52c=\"2\" title=\"News\" target=\"_blank\" rel=\"noopener\">news<\/a>.<\/p>\n<p class=\"p1\">The other thing I did was, on the Criterion version of [Hitchcock\u2019s] <i>Rebecca<\/i>, <strong>Franz Waxman<\/strong>\u2019s score is an isolated track, so you can just listen to the score and watch the film. That was a fantastic education. Not in the \u201cOh, I should do what he did\u201d way, but the way that it works. I had written something like 40 to 50 pieces of just rough ideas \u2013 a minute long, three minutes long, ten seconds long \u2013\u00a0I had all these different material I\u2019d written from reading the script and the book and thinking about things. I thought, \u201cOK, if I was scoring this in 1939, I\u2019d probably be following some form of template that went on in movies at that time,\u201d and Waxman nailed that incredibly in that film. You start off with the opening title sequence and you\u2019ve got the fanfare for Selznick and stuff like that, and I\u2019ve used up about twelve ideas in the first 45 seconds! There\u2019s just so much going on, all these themes that you\u2019d be revisiting later in the film, you\u2019re setting up in the opening suites. Oh my God. I knew this, to some degree, but when you\u2019re trying to mimic it with your material, to some degree, it\u2019s like, \u201cMy God, this score is doing such a lot of work and we haven\u2019t even got into the film yet!\u201d It\u2019s also incredibly seamless: it didn\u2019t feel like you were being bombarded. It was seamless the way it would flow from one melodic idea to another.<\/p>\n<p class=\"p1\">I come from a rock-and-roll background, pretty punk rock, like, \u201cFuck you, this is the way I\u2019m doing it.\u201d But obviously that doesn\u2019t work all the time. That\u2019s a nice attitude to have, that your stuff is edgy, that you can break barriers. But that sort of falls down when you\u2019re actually telling stories. You still have to adhere to the rules \u2013 you\u2019re there to support the picture and the storytelling, so you are following orders, to some degree. Yes, you can move it around and try [other things], but essentially, you\u2019re there to support what\u2019s going on on screen. I really did enjoy that old-fashioned, classical storytelling with the music, which I\u2019ve kind of always tried to do and I hope I do that, but literary works for the screen bring an extra challenge. I really enjoyed it. I loved the book and the original film, so for me, to be able to write for Danvers, particularly, and the void that is Rebecca, was brilliant.<\/p>\n<p class=\"p1\"><b>There\u2019s a sadness, almost a melancholy that permeates songs like <a rel=\"nofollow noopener noreferrer\" target=\"_blank\" href=\"https:\/\/www.youtube.com\/watch?v=f5a1V6A7mPg\">\u201cRebecca Always Rebecca.\u201d<\/a> Can you talk about how you go about translating a specific emotion into a piece of music?<\/b><\/p>\n<p class=\"p1\">I think it\u2019s partly to do with, inherently, one\u2019s own personality. I don\u2019t know that I\u2019m a great actor in that respect. I think I can kind of channel things that speak to me, and I think that\u2019s probably borne out by the work that I\u2019ve done. It\u2019s not like I suddenly pop up doing a comedy romp. There are certain things that I feel like I\u2019m wired to do, and I probably look for those elements in the story. I\u2019m not going to give any points of the story away, but we feel Rebecca obviously all the way through the film, and the second Mrs. de Winter\u2019s view on her is \u2013\u00a0she\u2019s being gaslit to some degree \u2013\u00a0but she doesn\u2019t know the full story. So there\u2019s the way she interprets what those feelings are that are around her, and of course one of those would be melancholy at what she perceives as Maxim\u2019s loss and as Danvers\u2019 loss, and even Manderley\u2019s loss. The joyous spirit that she imagined was there in Rebecca\u2019s time is now absent. So finding that was probably the thing I was looking forward to the most. It\u2019s almost like a misdirection, but it\u2019s also a truth to the second Mrs. de Winter at that time.<\/p>\n<p class=\"p1\"><b>I\u2019ve heard about composers using unconventional items as instruments in some of their scores to help create sounds that are unique to that specific project. Was there anything like that for your work on <i>Rebecca<\/i>?<\/b><\/p>\n<p class=\"p1\">Not specifically, but with the demos, I did a lot of things on an instrument called a erhu, it\u2019s like a two-string violin. It has Eastern connotations, which obviously didn\u2019t really fit into the palette and gave it a vaguely mystical vibe in the demos, which wasn\u2019t really what I was wanting. What I was wanting was a haunting droning effect, and we achieved that in the end with electric cello. It really brought it to life. Demos are weird and wonderful things: they sort of say everything and give you an idea of almost nothing you\u2019re going to get when you record the [final score]. Maybe it\u2019s just my demo making, I don\u2019t know. But talking about the old days, Franz Waxman probably would have played his ideas to Hitchcock on the piano, he would never have done mocked up versions of stuff. It would have been, \u201cOh, this will be Manderley, this is Danvers, this is Maxim, this will be the court scene,\u201d and stuff like that.<\/p>\n<p class=\"p1\">I\u2019m very fortunate to record at Air Studios in London\u2026a wonderful place to record. I\u2019m an untrained musician. But I\u2019ve never been anything but welcomed by trained musicians and professionals who bring my music to life, because they\u2019re so excited by ideas and performance and playing. Those are the things you just can\u2019t get in a demo\u2026using things like the glass armonica, which is an amazing instrument that\u2019s made by glass bowls and you play by wetting your fingers and pedaling and they revolve. They sound like wine glasses. But it\u2019s an amazing instrument, and there are very few places in the world where you can go and get that sound.<\/p>\n<p class=\"p1\"><b>I\u2019ve never heard of that instrument before. I\u2019ll have to look that up.<\/b><\/p>\n<p class=\"p1\">Oh man, you\u2019ve gotta check it out. It was invented by Benjamin Franklin, and it was called \u201cthe devil\u2019s instrument\u201d for the longest time, because you learned to play it, and within two years you\u2019d be dead.<\/p>\n<p class=\"p1\"><b>What? (laughs incredulously)<\/b><\/p>\n<p class=\"p1\">It happened all the time. When you look at it, you\u2019ll realize why. These glass bowls ascend in size, and they\u2019re on a spindle, and you can pedal that and revolve, as if you were running your finger around a wine glass, but the wine glass itself was moving. It\u2019s set up symphonically a little bit like a piano, but the black keys nowadays have gold leaf on them so you know which ones are black keys. But back in the day when they first did it, they used lead paint. So basically you\u2019d be mainlining lead when you played it, and it\u2019d drive you crazy and you\u2019d die.<\/p>\n<p class=\"p1\"><b>Wow.<\/b><\/p>\n<p class=\"p1\">It was the most amazing thing. Yeah, it\u2019s an incredible instrument. If you email me, I\u2019ve got a little clip of <b>Alasdair Malloy<\/b>, who played it on <i>High-Rise<\/i>, that I can send you that maybe you can put on the website.<\/p>\n<p><iframe loading=\"lazy\" title=\"Alasdair Malloy Playing the Glass Armonica\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/JVqkY2cIz_w?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p class=\"p1\"><b>Were there any specific moments discussed beforehand where you knew a particular track would need to do a lot of heavy lifting, or do you have to create the entire score with the mentality that it all needs to sort of be able to keep the movie afloat during any moments without dialogue?<\/b><\/p>\n<p class=\"p1\">Not really. Working with Ben, things sort of develop out of what we\u2019ve got in front of us. With scenes like the dream sequences, they\u2019re so sound-designed, too. I never felt like it was totally reliant on score, or that the score had to take the lead. It\u2019s sort of a real choreographed event, where things worked in tandem. I love working with Ben, but his work evolves through what he\u2019s presented with. Nothing is set in stone. It sort of naturally evolves to where it takes us, and I love that.<\/p>\n<p class=\"p1\"><b>What was the aspect of this score that you\u2019re the most proud of?<\/b><\/p>\n<p class=\"p1\">(laughs) Well, to be honest, it\u2019s probably the same as every score: that we got it done. Obviously I\u2019ve been doing this for twenty years or whatever it is now, but it still feels like every time you start with a blank page, you go, \u201cOh my God, what am I going to do? Why do I even start?\u201d It really does seem like such a mountain to climb. Yes, you\u2019ve got inspiration in front of you, the work of the book, the director, the actors, the atmosphere, the sound effects, the look, the cinematography \u2013\u00a0everything to feed off of and join in with something that will hopefully really work and excite people. But the first day on the job, it\u2019s just like, \u201cOh my God, what if this is the one that doesn\u2019t get done?\u201d<\/p>\n<p class=\"p1\">It\u2019s a bit like, not that I have any children, but I can only compare it to having children \u2013 which may be doing a great disservice to all the women who have had babies and the men who have lived through the experience. I really don\u2019t know. But for me, it is sort of like birthing something and you kind of go through a lot of turmoil, a lot of anxiety, a lot of joy, and in time, you remember nothing about it once it\u2019s actually done because you\u2019re sort of overwhelmed by the creation of it. So the real joy of actually having it be done and you\u2019re listening to the final mixes, you see the final film and go, \u201cThere it is.\u201d It\u2019s like memories: you remember good things, mostly. Yes, you can sort of dip into the occasional bad memory, but you spend to not spend too much time with them. So the result is always the thing that I\u2019m most proud of, that we actually did it.<\/p>\n<p class=\"p1\"><b>Well, this result was fantastic and everything came together really beautifully. I love the score. Thanks for taking the time.<\/b><\/p>\n<p class=\"p1\">Thank you very much, I appreciate that.<\/p>\n<p style=\"text-align: center;\">***<\/p>\n<p><em>Rebecca<\/em> arrives on Netflix on <strong>October 21<\/strong>, <strong>2020<\/strong>. You can read our review of the film here.<\/p>\n<p>                            <strong>Cool Posts From Around the Web:<\/strong><\/p>\n<p>                            <!-- \/post -->\n                        <\/div>\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 noreferrer\">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 noreferrer\">Social Media category.<\/a><\/span><\/strong><\/p>\n<\/blockquote>\n<p><span style=\"color: black;\"><a style=\"color: #ff9900;\" href=\"https:\/\/www.slashfilm.com\/clint-mansell-on-composing-the-rebecca-score-in-the-shadow-of-hitchcock-incorporating-the-devils-instrument-and-more-interview\/\" target=\"_blank\" rel=\"noopener noreferrer\">Source<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>&#8220;#Creating the Rebecca Remake&#8217;s Score \u2013 \/Film&#8221; For more than twenty years, Clint Mansell has created beautiful and artistically daring scores for a wide variety of films. His work on Darren Aronofsky\u2019s\u00a0Requiem for a Dream remains one of the most haunting scores of this millennium, and his other credits \u2013 from Moon to Stoker to&#8230;<\/p>\n","protected":false},"author":1,"featured_media":90792,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/d13ezvd6yrslxm.cloudfront.net\/wp\/wp-content\/images\/Clint-Mansell-interview.jpg","fifu_image_alt":"","footnotes":""},"categories":[17],"tags":[1568,1522,76074,1523,1570,10294,25138,1377,47073,139,29234],"class_list":["post-90791","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-social-mediaa","tag-featured-stories-sidebar","tag-adaptation","tag-clint-mansell","tag-drama","tag-features","tag-interviews","tag-mystery-suspense","tag-netflix","tag-rebecca","tag-romance","tag-soundtracks"],"_links":{"self":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/90791","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=90791"}],"version-history":[{"count":0,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/90791\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media\/90792"}],"wp:attachment":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media?parent=90791"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/categories?post=90791"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/tags?post=90791"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}