{"id":819204,"date":"2025-12-02T11:40:00","date_gmt":"2025-12-02T08:40:00","guid":{"rendered":"https:\/\/analyse.optim.biz\/?p=819204"},"modified":"2025-12-02T11:40:00","modified_gmt":"2025-12-02T08:40:00","slug":"richard-linklater-and-ethan-hawke-on-jealousy-creativity-and-blue-moon","status":"publish","type":"post","link":"https:\/\/analyse.optim.biz\/?p=819204","title":{"rendered":"Richard Linklater and Ethan Hawke on jealousy, creativity and Blue Moon"},"content":{"rendered":"<div class=\"article-body wrapper\">\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p>As artistic partnerships go, it\u2019s hard to beat <a href=\"https:\/\/www.dazeddigital.com\/tag\/richard-linklater\">Richard Linklater<\/a> and <a href=\"https:\/\/www.dazeddigital.com\/tag\/ethan-hawke\">Ethan Hawke<\/a>. In nine films across three decades, the pair have collaborated on all-time classics like the<span>\u00a0<\/span><em>Before<span>\u00a0<\/span><\/em>trilogy,<span>\u00a0<\/span><em>Boyhood<\/em>, and, in Hawke\u2019s animated cameo,<span>\u00a0<\/span><em>Waking Life<\/em>. Their latest,<span>\u00a0<\/span><em>Blue Moon<\/em>, once again with Linklater directing and Hawke as the star, is about the dissolution of a creative duo\u2019s partnership. Being in the room with them as they make each other giggle, I could tell the film wasn\u2019t autobiographical.<\/p>\n<p>In fact, chatting to Linklater and Hawke can feel like being in a Richard Linklater movie itself. Philosophical theories and personal anecdotes are exchanged; tangents pop out of nowhere. Linklater, a 65-year-old director, has rarely acted on screen, yet is as garrulous as Hawke, a 54-year-old movie star (and occasional director) whose daughter in<span>\u00a0<\/span><em>Boyhood<\/em><span>\u00a0<\/span>was played by Linklater\u2019s real-life daughter. The synergy between them is infectious.<\/p>\n<p>In<span>\u00a0<\/span><em>Blue Moon<\/em>, a tragicomedy written by Robert Kaplow, Hawke plays Lorenz Hart, the lyricist from Rodgers and Hart, a duo whose songs include \u201cBlue Moon\u201d, \u201cManhattan\u201d, and \u201cMy Funny Valentine\u201d. Unfolding in real time, the story is set in New York\u2019s iconic Sardi\u2019s restaurant on March 31st, 1943, the night<span>\u00a0<\/span><em>Oklahoma!<\/em><span>\u00a0<\/span>made its premiere on Broadway. For Hart, it\u2019s like crashing an ex\u2019s wedding: the musical is a hit for Richard Rodgers (Andrew Scott) and Oscar Hammerstein II (Simon Delaney), the latter replacing Hart in the creative partnership.<\/p>\n<p>As expected from a Linklater\/Hawke collaboration,<em><span>\u00a0<\/span>Blue Moon<\/em><span>\u00a0<\/span>is fuelled by rapid, witty dialogue that\u2019s spat out by Hawke with elegance and fury. Hart, a man with unspoken anguish across his face, delivers one-liner upon one-liner, only pausing to consume more whiskey. Yet, beneath the humour, Hart is bitter at the world, at Rodgers, and himself. A closeted, five-foot-tall homosexual whose advances are turned down by Elizabeth Weiland (Margaret Qualley), Hart was once described by Mabel Mercer as \u201cthe saddest man I ever knew\u201d. In real life, Hart died of alcoholism at the age of 48, seven months after the events of<span>\u00a0<\/span><em>Blue Moon<\/em>.<\/p>\n<p>In October, I sat down with Linklater and Hawke to discuss the musicality of<span>\u00a0<\/span><em>Blue Moon<\/em>, the gender-neutral gaze of the<em><span>\u00a0<\/span>Before<\/em><span>\u00a0<\/span>trilogy, and what their version of a horror movie would be.<\/p>\n<\/div>\n<div class=\"src-youtube video-container embed-content\" data-embed-type=\"media-youtube\" data-id=\"k6j6qNO_M-M\"><span class=\"preserve-aspect-ratio\"><iframe loading=\"lazy\" allowfullscreen frameborder height=\"900\" scrolling=\"no\" src=\"https:\/\/www.youtube.com\/embed\/k6j6qNO_M-M\" webkitallowfullscreen width=\"1600\"><\/iframe><\/span><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><strong>You waited a decade to do<span>\u00a0<\/span><em>Blue Moon<\/em>\u00a0because Ethan needed to age into the character. Is there a filmmaking version of that, where you need to be the right age to write and direct a story? If you did<span>\u00a0<\/span><em>Slacker<\/em><span>\u00a0<\/span>now, it\u2019d be very different \u2013 that feels like a young person\u2019s film.<\/strong><\/p>\n<p><strong>Richard Linklater<\/strong>: I\u2019ve made some films recently that I thought, \u2018Oh, that\u2019s a young person\u2019s film,\u2019 but I felt like I could pull them off.<span>\u00a0<\/span><em>Nouvelle Vague<\/em><span>\u00a0<\/span>and<span>\u00a0<\/span><em>Hit Man<\/em><span>\u00a0<\/span>felt like they were decades younger for me, in my spirit. But this film felt age-appropriate for me. I couldn\u2019t have done this film 30 years ago. It\u2019s a weird concept. No one wants to feel like you\u2019re pigeonholed by your age. Actors hear that from the world. The world tells them, \u2018You\u2019re too young for this part. You\u2019re too old for this part.\u2019<\/p>\n<p><strong>Ethan Hawke<\/strong>: I went to a benefit a few years ago, and Meryl Streep and Kevin Kline did a reading of<span>\u00a0<\/span><em>Romeo and Juliet<\/em>. They played Romeo and Juliet. It was so beautiful. They were definitely too old for the parts, but intellectually, they were staggering, because they really understood the characters in a way a young person might not have done.<\/p>\n<p><strong>Richard Linklater<\/strong>: There\u2019s an innate depth to having lived those extra few decades, and knowing what that means. It\u2019s one thing to know something, but it\u2019s another to have lived it and really felt it for so many years. Hart is an old 47 [<em>laughs<\/em>]. He dies at 48. There have been a few lives that were lived there already.<\/p>\n<p><strong>Would you say you play and direct Hart as \u2018the saddest man alive\u2019, to quote the description at the start?<\/strong><\/p>\n<p><strong>Richard Linklater<\/strong>: But there are two descriptions. Oscar Hammerstein said he was dynamic, fun to be around, and witty.<\/p>\n<p><strong>Ethan Hawke<\/strong>: He was a great party guest.<\/p>\n<p><strong>Richard Linklater<\/strong>: People loved Larry Hart. You don\u2019t hear bad things about him. The Mabel Mercer quote is getting one aspect of him: \u2018He was the saddest man I ever knew.\u2019 I\u2019m sure she saw the exuberant side, too. He was sitting on this bedrock of forlorn sadness. His sexuality was against the law. He was such an unusual physical specimen. We came to the conclusion that he never had the adult relationship that he dreamed of. It was never his to have \u2013 a loving, supportive relationship. He didn\u2019t have that, and yet he wrote about it. It\u2019s tragic. But he\u2019s so witty, so smart, so biting. That\u2019s what gives those songs their heft forever. Even if you\u2019ve had the best life, you remember the ones that got away. You remember the rejections and the sadness. Those stay with you emotionally.<\/p>\n<p><strong>The dialogue in the film is so fun, punchy and full of one-liners, yet it\u2019s not like a sitcom. The rhythm is like this special alchemy you\u2019ve created.<\/strong><\/p>\n<p><strong>Ethan Hawke<\/strong>: The movie really needed to have a musicality to it, like a Rodgers and Hart song.<\/p>\n<p><strong>Richard Linklater<\/strong>: It\u2019s tough for Ethan. You\u2019re playing a genius. You\u2019re playing a wordsmith of the highest, wittiest order. You have to match his quickness. Rodgers wrote melodies really fast, and Hart wrote lyrics really fast.<\/p>\n<\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<blockquote>\n<p>Even if you\u2019ve had the best life, you remember the ones that got away. You remember the rejections and the sadness. Those stay with you emotionally<\/p>\n<\/blockquote>\n<\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><strong>In order to deliver the words, do you need to feel like you\u2019re someone who can come up with the words in your brain? As opposed to someone who\u2019s just learned a tricky script phonetically?<\/strong><\/p>\n<p><strong>Richard Linklater<\/strong>: Ethan\u2019s blessed because \u2013 I knew he could do it \u2013 he\u2019s got a quick neural firing. He has that verbal ability. Not every actor has that. You don\u2019t believe them as someone who\u2019s a witty, brilliant human.<\/p>\n<p><strong>Ethan Hawke<\/strong>: It\u2019s easy for Larry Hart to talk for 10 minutes straight. 10 minutes go by like that to him [<em>clicks fingers<\/em>]. That\u2019s how fast his mind is working. That was the challenge for me.<\/p>\n<p><strong>Richard Linklater<\/strong>: We had to erase Ethan and get to Larry. Larry \u2013 he\u2019s not a physical specimen. All he is, is his wit, intelligence, mouth. He is words and personality. That\u2019s all he\u2019s really offering the world.<\/p>\n<p><strong>Do you agree with Hart that artists have to be omnisexual?<\/strong><\/p>\n<p><strong>Richard Linklater<\/strong>: You have to be omni-voracious about everything. You have to be curious about everything. I do like what Larry says: to know the world, you have to have experienced it.<\/p>\n<p><strong>Ethan Hawke<\/strong>: Rick\u2019s very good at that. He can get into his scientist brain about seeing a scene from multiple points of view. One of the things I really like about the<span>\u00a0<\/span><em>Before<\/em><span>\u00a0<\/span>trilogy, for example, is that it doesn\u2019t seem to have a male gaze or a female gaze. It doesn\u2019t have one point of view. That\u2019s what Larry is talking about there: to see where everyone is coming from.<\/p>\n<p><strong><em>Before Midnight<span>\u00a0<\/span><\/em>has a 30-minute argument in a hotel room. Did that help with setting<span>\u00a0<\/span><em>Blue Moon<\/em><span>\u00a0<\/span>entirely in Sardi\u2019s restaurant?<\/strong><\/p>\n<p><strong>Richard Linklater<\/strong>: I think a lot of things we\u2019ve done in the past have built up to this. We did a film almost 25 years ago called<span>\u00a0<\/span><em>Tape<\/em>. It all takes place in a motel room smaller than this [<em>points to our hotel room<\/em>].<\/p>\n<p><strong>Ethan Hawke<\/strong>: That scene in<span>\u00a0<\/span><em>Before Midnight<\/em>, people think of it as a fight scene, but we always tried to see it as a love scene. They don\u2019t want to fight. The same is true in<span>\u00a0<\/span><em>Blue Moon<\/em>. Larry wants to heal with Richard Rodgers. Rodgers wants Larry to get better. The movie\u2019s about all these hearts breaking, but nobody wants them to break. Nobody\u2019s there to be mean. They\u2019re there to make things better. The inertia of their own energy, creates this friction.<\/p>\n<p><strong>Richard Linklater<\/strong>: Like all breakups, it\u2019s probably been slow. They say it sometimes takes 10 years to get divorced [<em>laughs<\/em>]. This has probably been 10 years in the making. Rodgers has been like, \u2018Larry, you\u2019re late. We didn\u2019t get anything done today.\u2019 How long can you push that?<\/p>\n<\/div>\n<figure class=\"inline-img expandable dev-view-hide\" data-img=\"0d4c94f9-6db4-4ca6-ac27-b3a700bda0de\" data-src=\"https:\/\/images-prod.dazeddigital.com\/2000\/azure\/dazed-prod\/1430\/2\/1432189.jpg\" data-img-aspect-ratio-type=\"landscape\" data-img-aspect-ratio=\"1.5\"><span class=\"has-css-custom-props image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img loading=\"lazy\" decoding=\"async\" alt=\"Blue Moon (Film Still) Ethan Hawke\" class=\"img\" height=\"1333\" src=\"https:\/\/analyse.optim.biz\/wp-content\/uploads\/2025\/12\/1432189.jpg\" width=\"2000\" title=\"1432189\"><\/span><\/span><figcaption class=\"img-caption\"><span class=\"caption\">Andrew Scott and <span class=\"nowrap\">Ethan Hawke<\/span><\/span><span class=\"credit\">Blue Moon <span class=\"nowrap\">(Film Still)<\/span><\/span><\/figcaption><\/figure>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><strong>Elizabeth is so sensitive when she romantically rejects Hart. I was wondering if Hart secretly wanted that to be the outcome.<\/strong><\/p>\n<p><strong>Ethan Hawke<\/strong>: That\u2019s where the writing gets really excellent. It\u2019s really complicated and messy, like real life. On a very simple level, yeah, this is a breakup film between Rodgers and Hart, but the pain of that breakup is so intense that he\u2019s distracting himself with a new pain. He\u2019s creating a pain that is lesser, so that it can be managed at all. There was something about it that just feels deeply human and strange to me.<\/p>\n<p><strong>Richard Linklater<\/strong>: We have this young co-ed, this Yale 20-year-old who has her own life. She has her own passions, her own dreams. It\u2019s the only time Larry shuts up. He gives her a lot of space. He\u2019s truly intrigued by this young woman. He\u2019s infatuated. It\u2019s fun to feel like what it must have felt like to be her in that moment.<\/p>\n<p><strong>Ethan Hawke<\/strong>: It\u2019s funny, structurally, as a film, that the biggest, most difficult scene I have in the movie is when he finally stops talking, and he\u2019s forced to listen. That\u2019s when he gets shattered.<\/p>\n<p><strong>Do either of you identify with the film\u2019s theme of professional jealousy? Ethan, do you ever watch Jack Black in<span>\u00a0<\/span><em>School of Rock<\/em><span>\u00a0<\/span>or<span>\u00a0<\/span><em>Bernie<\/em>, or Glen Powell in<span>\u00a0<\/span><em>Hit Man<\/em>, and think, \u2018I wish I could do that\u2019? And Richard, do you watch things like Ethan in<span>\u00a0<\/span><em>Training Day<\/em>, and think, \u2018Man, I wish I directed that\u2019?<\/strong><\/p>\n<p><strong>Richard Linklater<\/strong>: Never!<\/p>\n<p><strong>Ethan Hawke<\/strong>: Rick was the most supportive person at the<span>\u00a0<\/span><em>Training Day<\/em><span>\u00a0<\/span>premiere. He was the first person who really made me believe that the movie was special. When I watch Cate Blanchett or Jack Black or Glen Powell excel, I\u2019m excited for Rick.<\/p>\n<p><strong>Richard Linklater<\/strong>: Artists shouldn\u2019t be possessive. You don\u2019t own anything. I always say that until Ethan falls off the wagon, we have this going. But, no, artists work so hard. They\u2019ve all sacrificed a lot to get where they are. There\u2019s a mutual respect. It\u2019s like what Larry says \u2013 it\u2019s kind of in jest, because you know he might not feel it. He says, \u2018Your success is everybody\u2019s success.\u2019<\/p>\n<p><strong>Ethan Hawke<\/strong>: He means that, but it hurts.<\/p>\n<p><strong>Richard Linklater<\/strong>: It still hurts, but it\u2019s true. People are watching shows again. If five people make great films and everybody goes to them, that\u2019s good for everybody. You hope there\u2019s a trickle down for your art form. You want it to be flourishing.<\/p>\n<p><strong>Ethan Hawke<\/strong>: It\u2019s funny, when I was younger, there was a sense that there\u2019s only one pie, and if someone gets a piece, it\u2019s a piece that you\u2019re not getting. Like, Sam Rockwell, Billy Crudup, myself, a whole gang of us in New York \u2013 it\u2019s fun to see each other now, because we do remember when we\u2019d be competitive with each other.<\/p>\n<p><strong>Richard Linklater<\/strong>: You were all up for the same parts?<\/p>\n<p><strong>Ethan Hawke<\/strong>: The last time I hung out with Matthew [McConaughey], we had a huge laugh about it. Now we have a depth of understanding, that you\u2019re like, \u2018I\u2019m so happy to see them do excellent work. Because if you\u2019re still here, then I can still be here.\u2019 [<em>laughs<\/em>]<\/p>\n<p><strong>Richard Linklater<\/strong>: If you ever felt that slight competitiveness\u2026<\/p>\n<p><strong>Ethan Hawke<\/strong>: Age beats it out of you.<\/p>\n<p><strong>Richard Linklater<\/strong>: I know. Even studio execs who I didn\u2019t necessarily like \u2013 30 years later, you\u2019re like, \u2018I admire that you\u2019re still here.\u2019<\/p>\n<\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<blockquote>\n<p>Like all breakups, it\u2019s probably been slow. They say it sometimes takes 10 years to get divorced. This has probably been 10 years in the making<\/p>\n<\/blockquote>\n<\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><strong>Did you get your 19th century film financed? I read that might be your next collaboration. [It\u2019s since been revealed that it\u2019s about the \u201chippies of the 1830s\u201d, and would potentially star Hawke, Oscar Isaac, and Natalie Portman.]<\/strong><\/p>\n<p><strong>Richard Linklater<\/strong>: It\u2019s in process. We hope that it\u2019s a 2026 film.<\/p>\n<p><strong>It\u2019s like a prequel to your<span>\u00a0<\/span><em>Before<\/em><span>\u00a0<\/span>films. The ancestors.<\/strong><\/p>\n<p><strong>Richard Linklater<\/strong>: Very much the ancestors. The ancestors to a lot, actually.<\/p>\n<p><strong>Richard, you directed<span>\u00a0<\/span><em>Nouvelle Vague<\/em>, which is about the making of<span>\u00a0<\/span><em>Breathless<\/em>. If you had to do a<span>\u00a0<\/span><em>Nouvelle Vague<\/em><span>\u00a0<\/span>about one of the nine films you\u2019ve done together, which would it be?<\/strong><\/p>\n<p><strong>Ethan Hawke<\/strong>:<span>\u00a0<\/span><em>Before Midnight<\/em><span>\u00a0<\/span>would be the most interesting.<\/p>\n<p><strong>Richard Linklater<\/strong>: [<em>laughs<\/em>] Ooh, you went dark.<\/p>\n<p><strong>Ethan Hawke<\/strong>: [<em>laughs<\/em>] I went dark.<\/p>\n<p><strong>Richard Linklater<\/strong>: That was a tough film to make on so many levels! How about the moment I cracked my ankle playing basketball? That set the tone. Before production, I\u2019m doing the whole film on crutches.<\/p>\n<p><strong>Ethan Hawke<\/strong>: We played basketball, a couple of days before shooting. Rick had to go up for a rebound against this huge dude&#8230;<\/p>\n<p><strong>Richard Linklater<\/strong>: &#8230;I didn\u2019t<span>\u00a0<\/span><em>have<span>\u00a0<\/span><\/em>to go up for a rebound. The world wasn\u2019t in balance right that moment.<\/p>\n<p><strong>Why don\u2019t the three of you make a film about the making of<span>\u00a0<\/span><em>Before Midnight<\/em>?<\/strong><\/p>\n<p><strong>Richard Linklater<\/strong>: Ooh. Go totally meta.<\/p>\n<p><strong>Ethan Hawke<\/strong>: That would be wild. We play ourselves? That would be such a weird movie!<\/p>\n<p><strong>Richard Linklater<\/strong>: That\u2019s a good idea, actually.<\/p>\n<p><strong>Ethan Hawke<\/strong>: We should do the making of the fourth \u2013 a fictional movie, the one that doesn\u2019t exist.<\/p>\n<p><strong>Richard Linklater<\/strong>: There are times when it hangs in the balance. That\u2019s why I thought<span>\u00a0<\/span><em>Nouvelle Vague<\/em><span>\u00a0<\/span>was funny. It\u2019s just funny to make a movie. Like, what are you doing? It\u2019s such a weird thing to do.<\/p>\n<p><strong>How many times a day do people ask you when, or if, you\u2019re making a fourth<em><span>\u00a0<\/span>Before<span>\u00a0<\/span><\/em>movie?<\/strong><\/p>\n<p><strong>Richard Linklater<\/strong>: It\u2019s often the last question. Like, after the interview. \u2018Oh, one more question\u2026\u201d\u2019But it\u2019s in half the interviews.<\/p>\n<p><strong>Ethan Hawke<\/strong>: I would say 50 per cent of my interviews end that way. And, on the street, twice a week.<\/p>\n<p><strong>Richard Linklater<\/strong>: In conversation with people, I get asked that a lot.<\/p>\n<p><strong>So I\u2019m ending this by asking: why don\u2019t you make a film about the making of the third movie?<\/strong><\/p>\n<p><strong>Ethan Hawke<\/strong>: That\u2019s more interesting to me.<\/p>\n<p><strong>Richard Linklater<\/strong>: That\u2019s what we\u2019re going to say. We are doing it, but it\u2019s about the making of.<\/p>\n<p><strong>Because Ethan\u2019s now the king of horror movies, would you ever do a horror movie together?<\/strong><\/p>\n<p><strong>Richard Linklater<\/strong>: [<em>laughs<\/em>] Well, that\u2019s the movie we\u2019re talking about. The making of<span>\u00a0<\/span><em>Before Midnight<\/em>! That is a horror film. Just no vampires.<\/p>\n<p>Blue Moon<em>\u00a0is out in UK cinemas on November 28<\/em><\/p>\n<\/div>\n<div class=\"article-series header article-series tags\"><span class=\"heading\">More on these topics:<\/span><a class=\"series\" href=\"https:\/\/www.dazeddigital.com\/film-tv\">Film &amp; TV<\/a><a class=\"series\" href=\"https:\/\/www.dazeddigital.com\/feature\">Feature<\/a><a class=\"series\" href=\"https:\/\/www.dazeddigital.com\/q-and-a\">Q+A<\/a><a class=\"series\" href=\"https:\/\/www.dazeddigital.com\/tag\/ethan-hawke\">Ethan Hawke<\/a><a class=\"series\" href=\"https:\/\/www.dazeddigital.com\/tag\/richard-linklater\">Richard Linklater<\/a><a class=\"series\" href=\"https:\/\/www.dazeddigital.com\/tag\/film\">Film<\/a><\/div>\n<\/div>\n<p> Source URL: https:\/\/www.dazeddigital.com\/film-tv\/article\/69192\/1\/richard-linklater-ethan-hawke-on-jealousy-creativity-blue-moon-interview-2025<\/p>\n","protected":false},"excerpt":{"rendered":"<p>As artistic partnerships go, it\u2019s hard to beat Richard Linklater and Ethan Hawke. In nine films across three decades, the pair have collaborated on all-time classics like the\u00a0Before\u00a0trilogy,\u00a0Boyhood, and, in Hawke\u2019s animated cameo,\u00a0Waking Life. Their latest,\u00a0Blue Moon, once again with Linklater directing and Hawke as the star, is about the dissolution of a creative duo\u2019s [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":819205,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[76],"class_list":["post-819204","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-politics","tag-dazeddigital-com"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/819204","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=819204"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/819204\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/media\/819205"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=819204"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=819204"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=819204"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}