{"id":10162,"date":"2018-09-16T19:39:57","date_gmt":"2018-09-16T19:39:57","guid":{"rendered":"http:\/\/www.sbcine.be\/?p=10162"},"modified":"2018-09-21T16:07:35","modified_gmt":"2018-09-21T16:07:35","slug":"hichame-alaouie-on-filming-olivier-masset-depasses-duelles","status":"publish","type":"post","link":"https:\/\/www.sbcine.be\/?p=10162","title":{"rendered":"Hichame Alaoui\u00e9 on filming Olivier Masset-Depasse’s Duelles"},"content":{"rendered":"

As\u00a0<\/span><\/span>Duelles\u00a0<\/span><\/span><\/em>by\u00a0Olivier Masset-Depasse is presented for is Wold Premiere at the Toronto International Film Festival in the Special Presentations category, Hichame Alaoui\u00e9, SBC member and DOP of this beautiful film, was kind enough to answer our questions.<\/span><\/span><\/span><\/span><\/span><\/p>\n

\"\"<\/span><\/p>\n

Synopsis:<\/em> Brussels, at the beginning of the sixties, Alice and C<\/span>\u00e9<\/span>line\u00a0<\/span>are neighbours in <\/span>twin town houses. They are the best friends in the world, just like their eight-year-old sons. This almost perfect harmony <\/span>is shattered <\/span>the day Alice helplessly attends the accidental death of Maxime, Celine’s son. Blinded by <\/span>grief<\/span>, C\u00e9<\/span>line blames Alice for not having done everything to save her son. <\/span>As a result t<\/span>he two friends\u00a0<\/span>relationship then starts to deteriorate ..<\/span><\/span><\/span><\/span><\/p>\n

Cast<\/span><\/em>:<\/em> Veerle Baetens, Anne Coesens, Mehdi Nebbou, Arieh Worthalter, Jules Lefebvre and Luan Adam<\/span><\/span><\/span><\/span><\/p>\n

Production:<\/em> Versus Production, Haut et Court<\/span><\/span><\/span><\/span><\/p>\n

\"\"<\/span><\/p>\n

How did you <\/span>land\u00a0<\/span>this project<\/span>?<\/span><\/span><\/em><\/span><\/p>\n

HA:<\/strong> This is my first job with Olivier Masset-Depasse. <\/span>Until\u00a0<\/span>now, <\/span>he regularly worked with cinematographer\u00a0<\/span>Tommaso Fiorilli, SBC,\u00a0<\/span>who was not available <\/span>to do this <\/span>project. I think that Versus, with whom I had already worked, recommended me. Our <\/span>first\u00a0<\/span>meeting was\u00a0<\/span>very <\/span>classic\u00a0<\/span>by having\u00a0<\/span>a discussion\u00a0<\/span>on <\/span>the s<\/span>cript<\/span>. And it went very well.<\/span><\/span><\/span><\/span><\/p>\n

What attracted you to this project?<\/span><\/span><\/span><\/em><\/span><\/p>\n

HA:<\/strong> The fact that this is a <\/span>period\u00a0<\/span>film tha<\/span>t takes place <\/span>in the 60s and at the same time <\/span>it is <\/span>a genre film; what I had never done before. Or rather a film that goes from genre to genre. It starts quite <\/span>ordinary<\/span>, the life of two families who live side by side, then very quickly and unexpectedly, the death of one of the children, will, of course, rock the film into\u00a0<\/span>a <\/span>drama. We then\u00a0<\/span>follow\u00a0<\/span>the paranoi<\/span>a\u00a0<\/span>of the mother who witnessed the accident, and finally the film ends in a sort of <\/span>a\u00a0<\/span>thriller. I found\u00a0<\/span>t<\/span>he sc<\/span>ript\u00a0<\/span>having<\/span>, in my opinion, a very interesting and surprising trajectory. Finally, I felt the director <\/span>had some ideas about the visuals that would please <\/span>the\u00a0<\/span>sort of\u00a0<\/span>director of the photo<\/span>graphy\u00a0<\/span>I am.<\/span><\/span><\/span><\/span><\/p>\n

\"\"<\/span><\/p>\n

Exactly what were your\u00a0<\/span>visual intentions <\/span>?<\/span><\/span><\/em><\/span><\/p>\n

HA:<\/strong> We used Hitchcock’s films as a reference. Visually Olivier wanted something close to the <\/span>period sections\u00a0<\/span>of Tree of life<\/em> by Terrence Malick. He wanted\u00a0<\/span>very glamorous image<\/span>s<\/span>, beautiful with <\/span>softness\u00a0<\/span>and character,\u00a0<\/span>and a bourgeois look of the <\/span>60s<\/span>. In terms of light<\/span>ing<\/span>, Olivier wanted something s<\/span>oft\u00a0<\/span>and beautiful that <\/span>would\u00a0<\/span>counteract<\/span>\u00a0t<\/span><\/span>he story<\/span>\u2019s\u00a0<\/span>darkness.\u00a0As for\u00a0<\/span>the framing <\/span>and staging, at first I think it was not very clear to him, Olivier is someone instinctive, and on<\/span>ce\u00a0<\/span>we started <\/span>filming this instinct finally pushed him to do a lot of <\/span>camera\u00a0<\/span>movement :\u00a0<\/span>using\u00a0<\/span>stead<\/span>icam<\/span>, stab one, dolly, <\/span>handheld<\/span>, a bit of everything, but very few <\/span>locked off<\/span>shots. Despite the difficulty of the <\/span>shots<\/span>, we did something <\/span>with a lof of coverage<\/span>. There\u00a0<\/span>were\u00a0<\/span>no <\/span>single\u00a0<\/span>sequence shots, but\u00a0<\/span>rather\u00a0<\/span>three\u00a0<\/span>or <\/span>four sequence <\/span>shots per\u00a0<\/span>scene.\u00a0<\/span>It was quite\u00a0<\/span>complex<\/span>\u00a0in\u00a0<\/span><\/span>the end, especially since we were <\/span>on location <\/span>in\u00a0the\u00a0<\/span>two houses,\u00a0<\/span>some<\/span>\u00a0were\u00a0<\/span><\/span>often lacking space. And then there\u00a0<\/span>were\u00a0<\/span>lot<\/span>s of links between the interiors and its exterior surroundings<\/span>,\u00a0what <\/span>was complicated to do, but all the more exciting\u00a0<\/span>I would <\/span>say.<\/span><\/p>\n

Did you have to solve particular problems?<\/span><\/span><\/span><\/em><\/span><\/p>\n

HA:<\/strong> Basically, you might think it’s a simple film: there<\/span>\u2019<\/span>s\u00a0the\u00a0<\/span>main set of two houses side by side and their gardens. There <\/span>are\u00a0<\/span>no <\/span>stunts\u00a0<\/span>or vfx involved<\/span>, or very complicated sequence shot<\/span>s<\/span>. But because Olivier\u00a0<\/span>sets a high standard<\/span>, and his desire to <\/span>create\u00a0<\/span>camera <\/span>movement, no day was easy, especially since, for budgetary reasons, we had a week less <\/span>to shoot it\u00a0<\/span>compared to\u00a0<\/span>what one should have had<\/span>. So we <\/span>ended up\u00a0<\/span>doing\u00a0<\/span>one <\/span>week\u00a0<\/span>with <\/span>overtime, which <\/span>resulted in <\/span>often very long days. Despite this, Olivier managed to pu<\/span>sh\u00a0<\/span>his team <\/span>to a higher level<\/span>, thanks to his <\/span>being so demanding <\/span>and his ability not to\u00a0<\/span>give up\u00a0<\/span>while being instinctive. So I would say in the end that it went pretty well.<\/span><\/span><\/span><\/span><\/p>\n

\"\"<\/span><\/p>\n

Did<\/span>\u00a0you had enough prep time\u00a0<\/span><\/span>then<\/span><\/span>?<\/span><\/em><\/span><\/p>\n

HA:<\/strong> We never have enough prep time! <\/span>One could spent <\/span>months\u00a0<\/span>in prep! <\/span>As we\u00a0<\/span>shot listed\u00a0<\/span>everything, it took <\/span>a while<\/span>. But we had only two weeks of preparation and <\/span>so\u00a0<\/span>we did not have time to <\/span>go through <\/span>everything. I <\/span>learned that\u00a0<\/span>on a <\/span>period\u00a0<\/span>film, you have to be very precise, if you see the windows, you have to check if the <\/span>view outside is <\/span>not too modern, how many <\/span>period\u00a0<\/span>cars and extras are necessary, because <\/span>that has implications on\u00a0<\/span>locations<\/span>, but also\u00a0<\/span>for wardrobe\u00a0<\/span>etc. So in fact it’s the same as a\u00a0<\/span>contemporary\u00a0<\/span>film,\u00a0<\/span>except that you have to be a bit more <\/span>spot on<\/span>. There is little room for improvisation. Even if Olivier wanted to keep a certain\u00a0<\/span>form of\u00a0<\/span>freedom, which is normal.<\/span><\/span><\/span><\/span><\/p>\n

How long and where did you shoot?<\/span><\/span><\/span><\/em><\/span><\/p>\n

HA:<\/strong> We shot thirty days near Li<\/span>\u00e8<\/span>ge, at Cointe. We were very lucky when we found <\/span>our main location<\/span>, the two houses. They are\u00a0<\/span>located in a neighbourhood where the neighboring <\/span>houses\u00a0<\/span>were <\/span>of t<\/span>he\u00a0<\/span>same periode as well<\/span>,\u00a0so\u00a0<\/span>the authenticity of the place ha<\/span>d\u00a0<\/span>been preserved, there is no real modern signage, paved sidewalk etc. It stayed a little in a 60s <\/span>bubble<\/span>. It is very quiet and green, so it corresponded very well to the style of <\/span>setting\u00a0<\/span>we were looking for<\/span>\u00a0<\/span>to set up the <\/span>social class. One of the two houses was empty and for sale, the second was occupied by a family, but the production managed to rent it. It was\u00a0<\/span>important <\/span>for the film <\/span>to get that right <\/span>because the houses and gardens are a bit of a character.<\/span><\/span><\/span><\/span><\/p>\n

\"\"<\/span><\/p>\n

What\u00a0<\/span>kind of camera\u00a0<\/span>equipment did you use ?<\/span><\/span><\/span><\/em><\/span><\/p>\n

HA:<\/strong> The main camera <\/span>package\u00a0<\/span>was an Alexa Mini. I wanted <\/span>to use <\/span>anamorphic\u00a0<\/span>lenses to give a feel of that time period and to create the\u00a0<\/span>glamorous aesthetic that Olivier wanted. TSF (the equipment rental company), we<\/span>re able\u00a0<\/span>to provide us with\u00a0<\/span>Scorpio\u00a0<\/span>optics\u00a0<\/span>at a reasonable rate<\/span>. They\u00a0<\/span>produce\u00a0<\/span>no major\u00a0<\/span>artefacts\u00a0<\/span>and give a certain character, aesthetic to the image. We also used a lot of filters in front of the camera: Soft FX or Classic Soft by day and Glimmer at night.<\/span><\/span><\/span><\/span><\/p>\n

And for the light<\/span>ing equipment <\/span>?<\/span><\/span><\/em><\/span><\/p>\n

HA:<\/strong> The film\u00a0<\/span>features\u00a0<\/span>a lot\u00a0<\/span>interaction between what is indoors <\/span>and\u00a0what can be seen\u00a0<\/span>outside\u00a0<\/span>the windows.\u00a0<\/span>We shot in May and June 2017 and the weather was pretty beautiful. As the ceiling of the houses w<\/span>ere\u00a0<\/span>quite low, we\u00a0<\/span>decided\u00a0<\/span>to\u00a0push light in <\/span>from the outside <\/span>using\u00a0<\/span>big sources, 18KW or 9KW, to give us a certain freedom of movement in the\u00a0<\/span>set<\/span>.<\/span><\/span><\/span><\/p>\n

So most of the time\u00a0<\/span>you ha<\/span>d <\/span>a\u00a0genie boom ?<\/span><\/span><\/span><\/em><\/span><\/p>\n

HA:<\/strong> Not permanently, but especially for all these <\/span>shots\u00a0<\/span>where we went from inside <\/span>the house <\/span>to outside and vice versa, the sources were <\/span>then rigged\u00a0<\/span>on its\u00a0<\/span>platform\u00a0<\/span>in order <\/span>not\u00a0<\/span>to <\/span>have them in <\/span>shot<\/span>.<\/span><\/span><\/span><\/p>\n

And for the nights?<\/span><\/span><\/span><\/em><\/span><\/p>\n

HA:<\/strong> We used a lot of LEDs, which really look good on faces\u00a0<\/span>in terns<\/span>\u00a0of\u00a0<\/span><\/span>colors\u00a0<\/span>and do not take\u00a0<\/span>up to\u00a0<\/span>much space in a\u00a0<\/span>set with a\u00a0<\/span>low ceiling<\/span>.<\/span><\/span><\/p>\n

\"\"<\/span><\/p>\n

You had a lot of night\u00a0<\/span>work <\/span>?<\/span><\/span><\/em><\/span><\/p>\n

HA:<\/strong> I would say a third of the film. Since we had a lot of <\/span>scenes\u00a0<\/span>with the kids (well mostly one), we did a lot of <\/span>day\u00a0<\/span>for night<\/span>\u00a0<\/span><\/span>work<\/span>. This has the advantage of\u00a0<\/span>not exhausting the crew<\/span>, but at the same time has the disadvantage of requiring a lot of resources\u00a0<\/span>to do it the correct way<\/span>. T<\/span>o avoid <\/span>not\u00a0<\/span>having just a\u00a0<\/span>flat\u00a0<\/span>black behind a window that suddenly becomes a mirror, I planned <\/span>for setting up blacked out tents<\/span>. We even built\u00a0<\/span>a tent\u00a0<\/span>ten meters high by seven meters deep and ten meters wide because Olivier wanted a light effect <\/span>of\u00a0<\/span>shadows of trees projected on the wall\u00a0<\/span>in the room of one of the <\/span>children<\/span>. Since the room was on the first floor, you had to <\/span>give yourself distance <\/span>to create these shadows.<\/span><\/span><\/p>\n

Earlier on <\/span>you talked about the fact that you\u00a0<\/span>used\u00a0<\/span>steadicam\u00a0<\/span>a lot<\/span>, did you\u00a0<\/span>operate\u00a0<\/span>those shots yourself?<\/span><\/span><\/span><\/em><\/span><\/p>\n

HA:<\/strong> No\u00a0<\/span>we had <\/span>Jo Vermaerke <\/span>on board <\/span>as\u00a0<\/span>steadicam operator<\/span>. He is very nice, very good, and above all he really <\/span>invests\u00a0<\/span>in the film, which is not always obvious when you come only <\/span>for\u00a0<\/span>a few days scattered\u00a0<\/span>throughout <\/span>a shoot. On the other hand, I <\/span>operated\u00a0<\/span>the <\/span>shots using the\u00a0<\/span>Stab One. The <\/span>shots\u00a0<\/span>done\u00a0<\/span>on\u00a0<\/span>stead<\/span>icam\u00a0<\/span>are more beautiful in my opinion but, for financial reasons, we could only have it for\u00a0<\/span>a number of\u00a0<\/span>certain sequences, <\/span>a total of <\/span>about eight days. Jo also <\/span>operated\u00a0<\/span>the second camera when he was there, and Nicolas Boucart, my <\/span>key grip<\/span>, operated\u00a0<\/span>the rest of the time.<\/span><\/span><\/span><\/span><\/p>\n

The rest of the time you were rather on <\/span>a\u00a0<\/span>dolly?<\/span><\/span><\/span><\/em><\/span><\/p>\n

HA:<\/strong>\u00a0<\/span>Oh yes. As Nicolas (Boucart) pointed out to me, we used a lot of curved <\/span>tracks<\/span>. I think it comes from the three seasons that I did as <\/span>DOP\u00a0<\/span>on the Bureau des l<\/em><\/span>\u00e9<\/span><\/em>gendes<\/em>, where I tested a lot of things in <\/span>terms of <\/span>movement\u00a0<\/span>by\u00a0<\/span>adding\u00a0<\/span>curve<\/span>d tracks to\u00a0<\/span>the beginning, middle or end of <\/span>a straight <\/span>track\u00a0<\/span>which\u00a0<\/span>I find very interesting to create <\/span>a certain form of <\/span>dynamic. On the other hand, we were lucky because we were able to <\/span>dolly on the floor in the <\/span>house,\u00a0<\/span>as it was quite even. It <\/span>allowed us to do a lot of very\u00a0<\/span>fluid <\/span>shots impossible <\/span>to do on tracks<\/span>. For example, to\u00a0<\/span>dolly\u00a0<\/span>from the kitchen to the dining room via an S-shaped corridor, without having to resort to <\/span>going handheld<\/span>.<\/span><\/span><\/span><\/p>\n

\"\"<\/span><\/p>\n

How was <\/span>is to\u00a0<\/span>work with the actors?<\/span><\/span><\/span><\/em><\/span><\/p>\n

HA:<\/strong>\u00a0<\/span>It went very well with all of them: <\/span>Veerle Baetens, Anne Coesens, Mehdi Nebbou and Arieh Worthalter. It’s very nice to shoot with actors who stay <\/span>on set <\/span>during lighting\u00a0<\/span>setups\u00a0<\/span>because\u00a0<\/span>lighting\u00a0<\/span>a different face f<\/span>or another is not\u00a0<\/span>ideal<\/span>. The child was <\/span>incredible<\/span>. He\u00a0possessed\u00a0<\/span>great acting skills<\/span>, to\u00a0express<\/span>, to\u00a0pose<\/span>, I was fascinated.<\/span><\/span><\/span><\/span><\/p>\n

How was the collaboration with the other departments?<\/span><\/span><\/span><\/em><\/span><\/p>\n

HA:<\/strong> We worked <\/span>closely\u00a0<\/span>with <\/span>art director<\/span>, Anna Falgui<\/span>\u00e8<\/span>re. For our tests filmed <\/span>at the location<\/span>, she painted a choice of <\/span>colours on large flats<\/span>, which allowed us to choose them accordingly. In addition, I wanted to test <\/span>the\u00a0<\/span>Scorpio\u00a0<\/span>lenses<\/span>, because I had a doubt about the <\/span>available\u00a0<\/span>focal lengths. The widest <\/span>one w<\/span>as\u00a0<\/span>32mm on which one could put a <\/span>wide angle adapter<\/span>. I wanted to check that we could <\/span>do a full figure of our <\/span>characters without having too much deformation, which was the case.<\/span><\/span><\/span><\/span><\/p>\n

Having chosen our colors\u00a0<\/span>for the\u00a0<\/span>set<\/span>, we also did tests for costumes, hair styles, and makeup\u00a0<\/span>on a stage<\/span>. It was an important part of the artistic collaboration. <\/span>With Rachel Beeckmans, the makeup artist, we worked on textures, lipsticks, beauty, glamor and so on. It <\/span>was a great way to prepare and the result shows.<\/span><\/span><\/span><\/span><\/p>\n

\"\"<\/span><\/p>\n

Do you know what was the budget of the film ?<\/span><\/span><\/span><\/em><\/span><\/p>\n

HA:<\/strong> Around 3 million. And if I understood <\/span>it\u00a0<\/span>correctly, it would have taken 4. <\/span>On a period\u00a0<\/span>film, everything becomes quite\u00a0<\/span>expensive<\/span>: a period <\/span>car requires that it is <\/span>being transported to set <\/span>by truck for example, so\u00a0<\/span>costs rise\u00a0<\/span>very quickly.<\/span><\/span><\/span><\/span><\/p>\n

So could you afford any\u00a0<\/span>expensive <\/span>installations?<\/span><\/span><\/span><\/em><\/span><\/p>\n

HA:<\/strong> Yes, the <\/span>blacked out tent\u00a0<\/span>I\u00a0<\/span>mentioned<\/span>. It was an important <\/span>visual element <\/span>for the director and the production did not want to shoot at night…\u00a0<\/span>The building of the tent <\/span>required\u00a0<\/span>bringing in additional crew\u00a0<\/span>for its construction, disassembly, rental of equipment etc, so it necessarily cost<\/span>s\u00a0<\/span>a little money. Other than that, there was no big expense, except the anamorphic\u00a0<\/span>lenses<\/span>, the days <\/span>using a <\/span>stead<\/span>i<\/span>cam and <\/span>genie booms<\/span>. Nothing disproportionate.<\/span><\/span><\/span><\/span><\/p>\n

How did the post process go <\/span>?<\/span><\/span><\/em><\/span><\/p>\n

HA:<\/strong> The postprod<\/span>uction\u00a0<\/span>was <\/span>handled\u00a0<\/span>by Mikros in Li<\/span>\u00e8<\/span>ge.\u00a0Color<\/span>\u00a0grading\u00a0<\/span><\/span>was done in Paris, <\/span>also\u00a0<\/span>at Mikros. We had eleven days of <\/span>grading<\/span>, which was not too much for this\u00a0<\/span>kind of\u00a0<\/span>film. Often, about ten days are enough, but for this film, there were many\u00a0<\/span>cuts\u00a0<\/span>and we <\/span>also\u00a0<\/span>took care of some of the <\/span>visual\u00a0<\/span>effects to limit the costs.<\/span><\/span><\/p>\n

\"\"<\/span><\/p>\n

Did you add <\/span>any\u00a0<\/span>grain to the\u00a0<\/span>DI <\/span>?<\/span><\/span><\/em><\/span><\/p>\n

HA:<\/strong>\u00a0<\/span>Oh yes. Despite <\/span>using the <\/span>Scorpio\u00a0<\/span>lenses <\/span>and the <\/span>filtration<\/span>, I found the image still too clean, so we added a thin layer of grain when necessary.<\/span><\/span><\/span><\/span><\/p>\n

Did you use <\/span>a <\/span>LUT?<\/span><\/span><\/em><\/span><\/p>\n

HA:<\/strong> Based upon the tests we <\/span>filmed with the actors, the make-up, the costumes and the sets, I <\/span>created some <\/span>LUTs, which allowed us to shoot with something that looked aesthetically\u00a0<\/span>what we wanted\u00a0<\/span>and to have almost the same <\/span>look\u00a0<\/span>on set<\/span>,\u00a0editing\u00a0<\/span>and\u00a0<\/span>grading<\/span>.\u00a0So <\/span>Olivier was not surprised when he saw <\/span>the final images in grading.<\/span><\/span><\/span><\/span><\/p>\n

What do you think of the final result of the film?<\/span><\/span><\/span><\/em><\/span><\/p>\n

HA:<\/strong> I find the film very<\/span>well made<\/span>. Its visuals resemble what I had envisioned upon <\/span>read<\/span>ing<\/span>in the script. The story <\/span>is well told<\/span>, the\u00a0<\/span>actors\u00a0<\/span>are excellent, we believe the universe and the time<\/span>period<\/span>. For me the film is <\/span>successful in its core story and its form. <\/span>It is a film that <\/span>delivers on <\/span>its ambitions, thanks to the tenacity of its <\/span>director Olivier Masset-Depasse.<\/span><\/span><\/span><\/span><\/p>\n

\"\"<\/span><\/p>\n

Equipment:<\/span><\/span><\/span><\/strong><\/span><\/p>\n

Camera:<\/em> Alexa Mini, Scorpio, TSF<\/span><\/span><\/span><\/span><\/p>\n

Light:<\/em> TSF<\/span><\/span><\/span><\/span><\/p>\n

Machinery:<\/em> KGS<\/span><\/span><\/span><\/span><\/p>\n

Crew<\/span>:<\/span><\/span><\/strong><\/span><\/p>\n

1st AC:<\/em> Olivier Servais<\/span><\/span><\/span><\/span><\/p>\n

Gaffer<\/span><\/em>:<\/em> J\u00e9<\/span>r\u00f4me Di Cola<\/span><\/span><\/span><\/span><\/p>\n

Key grip:<\/em> Nicolas Boucart<\/span><\/span><\/span><\/span><\/p>\n

Steadi<\/span><\/em>cam operator:<\/em> Jo Vermaerke<\/span><\/span><\/span><\/span><\/p>\n

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As\u00a0Duelles\u00a0by\u00a0Olivier Masset-Depasse is presented for is Wold Premiere at the Toronto International Film Festival in the Special Presentations category, Hichame Alaoui\u00e9, SBC member and DOP…<\/p>\n","protected":false},"author":89,"featured_media":10164,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rs_blank_template":"","rs_page_bg_color":"","slide_template_v7":"","footnotes":""},"categories":[42],"tags":[],"class_list":["post-10162","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-productions"],"_links":{"self":[{"href":"https:\/\/www.sbcine.be\/index.php?rest_route=\/wp\/v2\/posts\/10162","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.sbcine.be\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.sbcine.be\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.sbcine.be\/index.php?rest_route=\/wp\/v2\/users\/89"}],"replies":[{"embeddable":true,"href":"https:\/\/www.sbcine.be\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=10162"}],"version-history":[{"count":11,"href":"https:\/\/www.sbcine.be\/index.php?rest_route=\/wp\/v2\/posts\/10162\/revisions"}],"predecessor-version":[{"id":10196,"href":"https:\/\/www.sbcine.be\/index.php?rest_route=\/wp\/v2\/posts\/10162\/revisions\/10196"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.sbcine.be\/index.php?rest_route=\/wp\/v2\/media\/10164"}],"wp:attachment":[{"href":"https:\/\/www.sbcine.be\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=10162"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.sbcine.be\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=10162"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.sbcine.be\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=10162"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}