{"id":616,"date":"2009-09-16T16:13:46","date_gmt":"2009-09-17T00:13:46","guid":{"rendered":"http:\/\/www.icgmagazine.com\/wordpress\/?p=616"},"modified":"2014-06-04T22:12:23","modified_gmt":"2014-06-04T22:12:23","slug":"a-family-thing","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/a-family-thing\/","title":{"rendered":"A Family Thing"},"content":{"rendered":"

\"\"<\/a><\/p>\n

\"\"<\/p>\n

Brothers & Sisters<\/em> executive producer\/star Ken Olin gets to the heart of the matter with David Heuring for our September Web \u201cExposure\u201d<\/strong><\/p>\n

Ken Olin is a Chicago native who initially made a splash as an actor during the early 1980s with roles on Hill Street Blues<\/em> and Falcon Crest<\/em>. He later earned a Golden Globe nomination for his role as Michael Steadman on the groundbreaking series thirtysomething<\/em>. Olin occasionally directed thirtysomething<\/em>, and that eventually led to directing such shows as Judging Am<\/em>y, Felicity<\/em> and The West Wing<\/em>. Olin went on to executive produce and direct over 20 episodes of Alias<\/em>, earning a 2004 PGA nomination. Olin is now executive producing, directing and portraying a recurring character on the ABC drama Brothers & Sisters<\/em>, and he sat down to talk with ICG about series television, his collaborations with his DPs, and the aesthetic film brings to the show.<\/p>\n

I<\/strong>CG: Brothers & Sisters<\/em> DP Cynthia Pusheck described your approach as more restrained and classic, in order to keep the focus on the performances.<\/strong> Ken Olin: Yes. One thing that is really important to me is that the pace of the show is created editorially, as opposed to the camera whipping around. The kinds of camera moves I prefer are more emotional. It was different with Alias<\/em>. With this show we tend to do more classical kinds of masters or coverage, and we do a lot of long lens work. When you\u2019re trying to create a more elegant and emotional feel, I think film is probably more conducive to that. There\u2019s warmth to it.<\/p>\n

In some scenes, you seem to forgo classic establishing or master shots. What\u2019s the thinking there?<\/strong> I think sometimes that is just a matter of storytelling. I don\u2019t find that those kinds of lenses are necessarily suited that well to a dining room, for example. That just feels artificial to me. At other times, if we are in a circumstance that warrants it, we will do them, but I like to use staging more to give you a sense of where people are.<\/p>\n

What caught your eye about Cynthia\u2019s work when you brought her onto the show?<\/strong> She is extraordinary! Tom Yatsko had worked with her and loved her. The thing I love about Cynthia is that she is very, very invested in the storytelling. As much as that comes from performance, it also comes from composition and staging. She is always trying to achieve a balance between the scheduling pressures that you feel on network television and creating an elegant and beautiful world. Cynthia is uncompromising as long as she can afford to be uncompromising. And it\u2019s quite amazing, over the course of 9 or 10 months, to have somebody like that to collaborate with, because she maintains a very high standard. As you know, it\u2019s rare to work with a woman cinematographer. She is extremely commanding while maintaining her femininity. The crew loves her. They are an experienced crew, with no small percentage of men, who deeply respect her. Cynthia brings a feminine touch to her work that is appropriate for the show, but she\u2019s also very commanding and authoritative. She enjoys dynamic shooting and storytelling. I love working with her.<\/p>\n

I understand that the pilot for Brothers & Sisters<\/em> was originally shot using a high-end digital camera, and then reshot on film.<\/strong> What\u2019s the back story? This was four years ago, and digital was a relatively new format, especially for what we were trying to do. The cinematographer was Tom Yatsko, who went on to shoot the first season of the show on 35 mm film. I think we weren\u2019t prepared for the amount of support that was necessary in order to get images rendered the way we wanted them to look. It was also an extremely cumbersome endeavor compared to what we had been used to on Alias<\/em>. I was used to being able to move relatively quickly. But when you\u2019ve got to pick up all the different monitors and the systems, and get them to a different place in order to be able to move forward \u2013 that was challenging, and not something I particularly liked.<\/p>\n

It was my inexperience with the medium as well. There were certain issues in terms of the camera operators\u2019 ability to actually see well. That was troubling, because I am very dependent on the camera operator as well as the cinematographer. In the end, there was warmth and texture missing. That was unsettling. People can talk about grain or whatever, but I think it\u2019s just a kind of richness that people are used to that isn\u2019t there the same way. I\u2019m sure more progress has been made since then, but I do think it\u2019s tough when you\u2019re photographing actresses that are not in their 20s. There is a kind of crispness or sharpness that\u2019s harsh compared to film. It was important to me that we protect the actresses. Even when the camera pans, there is a slight, almost imperceptible blurriness that makes it feel more real on film. It\u2019s probably only more real in the sense that it\u2019s more like the way we are used to experiencing watching film.<\/p>\n

Are there cinematographers you have worked with in the past who have impacted the way you think about cinematography as a producer and a director?<\/strong> It was wonderful working with Ken Zunder (ASC), who was an operator on thirtysomething<\/em> and then moved up to cinematographer. I also loved working with Michael Bonvillain (ASC). He is a terrific cameraman and very dynamic. Working with him on Alias was very different from a lot of the work I had done before. I worked with Hiro Narita (ASC) a long time ago. Hiro was fabulous for me to work with because I come from television, and he\u2019s a classical cinematographer who has a very Japanese sense of composition. When I wanted to move or swing the camera around, he would constantly ask me, \u2018Why?\u2019 He was always trying to find the best style to suit the material, as opposed to imposing something. I think it\u2019s probably lightened up a bit, but at one time there was so much pressure in television to be visually interesting and to compete with movies. Hiro said, \u2018Yeah, we can do all that stuff, but it doesn\u2019t really help tell the story.\u2019 So he was very significant to me. Tom Yatsko was also fabulous. He was so much fun to work with and I was learning how to work in a loose fashion, in a very fast way, while maintaining an uncompromising seriousness about the storytelling.<\/p>\n

What\u2019s your take on the state of television cinematography today?<\/strong> The standard for cinematography \u2014 the bar \u2014 is so high in television. I\u2019ve done this for so long now. I see cinematographers in television who always attain a certain standard visually, and yet, they are doing it so quickly. It\u2019s a testament to how much skill they have. It\u2019s an extraordinary laboratory for young cinematographers as well. Take Cynthia, who has come up pretty quickly. You look at all the different things that are on her plate \u2013 having to make three women look beautiful at the same time, while achieving a different kind of scope and beauty on the canvas, and yet we are filming five pages a day. Someone like that, who can balance her high standards with the economic exigencies, is pretty fantastic.<\/p>\n","protected":false},"excerpt":{"rendered":"

Brothers & Sisters executive producer\/star Ken Olin gets to the heart of the matter with David Heuring for our September Web \u201cExposure\u201d<\/p>\n","protected":false},"author":1,"featured_media":4033,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[10],"tags":[],"class_list":["post-616","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-web-exclusive"],"acf":[],"yoast_head":"\nA Family Thing - ICG Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icgmagazine.com\/web\/a-family-thing\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"A Family Thing - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"Brothers & Sisters executive producer\/star Ken Olin gets to the heart of the matter with David Heuring for our September Web \u201cExposure\u201d\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.icgmagazine.com\/web\/a-family-thing\/\" \/>\n<meta property=\"og:site_name\" content=\"ICG Magazine\" \/>\n<meta property=\"article:publisher\" content=\"http:\/\/www.facebook.com\/theicgmag\" \/>\n<meta property=\"article:published_time\" content=\"2009-09-17T00:13:46+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2014-06-04T22:12:23+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2009\/09\/familything.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"590\" \/>\n\t<meta property=\"og:image:height\" content=\"393\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"EDITOR\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@theicgmag\" \/>\n<meta name=\"twitter:site\" content=\"@theicgmag\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"EDITOR\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"6 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/a-family-thing\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/a-family-thing\/\"},\"author\":{\"name\":\"EDITOR\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#\/schema\/person\/3da442a689e09c8352acb17db68abf9a\"},\"headline\":\"A Family Thing\",\"datePublished\":\"2009-09-17T00:13:46+00:00\",\"dateModified\":\"2014-06-04T22:12:23+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/a-family-thing\/\"},\"wordCount\":1258,\"commentCount\":1,\"publisher\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/a-family-thing\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2009\/09\/familything.jpg\",\"articleSection\":[\"Web Exclusives\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/www.icgmagazine.com\/web\/a-family-thing\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/a-family-thing\/\",\"url\":\"https:\/\/www.icgmagazine.com\/web\/a-family-thing\/\",\"name\":\"A Family Thing - ICG Magazine\",\"isPartOf\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/a-family-thing\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/a-family-thing\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2009\/09\/familything.jpg\",\"datePublished\":\"2009-09-17T00:13:46+00:00\",\"dateModified\":\"2014-06-04T22:12:23+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/a-family-thing\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.icgmagazine.com\/web\/a-family-thing\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/a-family-thing\/#primaryimage\",\"url\":\"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2009\/09\/familything.jpg\",\"contentUrl\":\"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2009\/09\/familything.jpg\",\"width\":590,\"height\":393},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/a-family-thing\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.icgmagazine.com\/web\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"A Family Thing\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#website\",\"url\":\"https:\/\/www.icgmagazine.com\/web\/\",\"name\":\"ICG Magazine\",\"description\":\"Showcasing the members of the International Cinematographers Guild\",\"publisher\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/www.icgmagazine.com\/web\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#organization\",\"name\":\"ICG Magazine\",\"url\":\"https:\/\/www.icgmagazine.com\/web\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2014\/04\/ICG_logo_blkbox.jpg\",\"contentUrl\":\"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2014\/04\/ICG_logo_blkbox.jpg\",\"width\":1294,\"height\":1080,\"caption\":\"ICG Magazine\"},\"image\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"http:\/\/www.facebook.com\/theicgmag\",\"https:\/\/x.com\/theicgmag\",\"http:\/\/www.instagram.com\/theicgmag\"]},{\"@type\":\"Person\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#\/schema\/person\/3da442a689e09c8352acb17db68abf9a\",\"name\":\"EDITOR\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/83145934764009a60ec02fe64432db422c7a5243fc99eab84bc68416977970fd?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/83145934764009a60ec02fe64432db422c7a5243fc99eab84bc68416977970fd?s=96&d=mm&r=g\",\"caption\":\"EDITOR\"},\"url\":\"https:\/\/www.icgmagazine.com\/web\/author\/adminwes\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"A Family Thing - ICG Magazine","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.icgmagazine.com\/web\/a-family-thing\/","og_locale":"en_US","og_type":"article","og_title":"A Family Thing - ICG Magazine","og_description":"Brothers & Sisters executive producer\/star Ken Olin gets to the heart of the matter with David Heuring for our September Web \u201cExposure\u201d","og_url":"https:\/\/www.icgmagazine.com\/web\/a-family-thing\/","og_site_name":"ICG Magazine","article_publisher":"http:\/\/www.facebook.com\/theicgmag","article_published_time":"2009-09-17T00:13:46+00:00","article_modified_time":"2014-06-04T22:12:23+00:00","og_image":[{"width":590,"height":393,"url":"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2009\/09\/familything.jpg","type":"image\/jpeg"}],"author":"EDITOR","twitter_card":"summary_large_image","twitter_creator":"@theicgmag","twitter_site":"@theicgmag","twitter_misc":{"Written by":"EDITOR","Est. reading time":"6 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.icgmagazine.com\/web\/a-family-thing\/#article","isPartOf":{"@id":"https:\/\/www.icgmagazine.com\/web\/a-family-thing\/"},"author":{"name":"EDITOR","@id":"https:\/\/www.icgmagazine.com\/web\/#\/schema\/person\/3da442a689e09c8352acb17db68abf9a"},"headline":"A Family Thing","datePublished":"2009-09-17T00:13:46+00:00","dateModified":"2014-06-04T22:12:23+00:00","mainEntityOfPage":{"@id":"https:\/\/www.icgmagazine.com\/web\/a-family-thing\/"},"wordCount":1258,"commentCount":1,"publisher":{"@id":"https:\/\/www.icgmagazine.com\/web\/#organization"},"image":{"@id":"https:\/\/www.icgmagazine.com\/web\/a-family-thing\/#primaryimage"},"thumbnailUrl":"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2009\/09\/familything.jpg","articleSection":["Web Exclusives"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/www.icgmagazine.com\/web\/a-family-thing\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/www.icgmagazine.com\/web\/a-family-thing\/","url":"https:\/\/www.icgmagazine.com\/web\/a-family-thing\/","name":"A Family Thing - ICG Magazine","isPartOf":{"@id":"https:\/\/www.icgmagazine.com\/web\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.icgmagazine.com\/web\/a-family-thing\/#primaryimage"},"image":{"@id":"https:\/\/www.icgmagazine.com\/web\/a-family-thing\/#primaryimage"},"thumbnailUrl":"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2009\/09\/familything.jpg","datePublished":"2009-09-17T00:13:46+00:00","dateModified":"2014-06-04T22:12:23+00:00","breadcrumb":{"@id":"https:\/\/www.icgmagazine.com\/web\/a-family-thing\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.icgmagazine.com\/web\/a-family-thing\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.icgmagazine.com\/web\/a-family-thing\/#primaryimage","url":"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2009\/09\/familything.jpg","contentUrl":"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2009\/09\/familything.jpg","width":590,"height":393},{"@type":"BreadcrumbList","@id":"https:\/\/www.icgmagazine.com\/web\/a-family-thing\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.icgmagazine.com\/web\/"},{"@type":"ListItem","position":2,"name":"A Family Thing"}]},{"@type":"WebSite","@id":"https:\/\/www.icgmagazine.com\/web\/#website","url":"https:\/\/www.icgmagazine.com\/web\/","name":"ICG Magazine","description":"Showcasing the members of the International Cinematographers Guild","publisher":{"@id":"https:\/\/www.icgmagazine.com\/web\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.icgmagazine.com\/web\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/www.icgmagazine.com\/web\/#organization","name":"ICG Magazine","url":"https:\/\/www.icgmagazine.com\/web\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.icgmagazine.com\/web\/#\/schema\/logo\/image\/","url":"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2014\/04\/ICG_logo_blkbox.jpg","contentUrl":"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2014\/04\/ICG_logo_blkbox.jpg","width":1294,"height":1080,"caption":"ICG Magazine"},"image":{"@id":"https:\/\/www.icgmagazine.com\/web\/#\/schema\/logo\/image\/"},"sameAs":["http:\/\/www.facebook.com\/theicgmag","https:\/\/x.com\/theicgmag","http:\/\/www.instagram.com\/theicgmag"]},{"@type":"Person","@id":"https:\/\/www.icgmagazine.com\/web\/#\/schema\/person\/3da442a689e09c8352acb17db68abf9a","name":"EDITOR","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.icgmagazine.com\/web\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/83145934764009a60ec02fe64432db422c7a5243fc99eab84bc68416977970fd?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/83145934764009a60ec02fe64432db422c7a5243fc99eab84bc68416977970fd?s=96&d=mm&r=g","caption":"EDITOR"},"url":"https:\/\/www.icgmagazine.com\/web\/author\/adminwes\/"}]}},"_links":{"self":[{"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/posts\/616","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/comments?post=616"}],"version-history":[{"count":2,"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/posts\/616\/revisions"}],"predecessor-version":[{"id":4225,"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/posts\/616\/revisions\/4225"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/media\/4033"}],"wp:attachment":[{"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/media?parent=616"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/categories?post=616"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/tags?post=616"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}