{"id":9892,"date":"2021-03-16T18:17:02","date_gmt":"2021-03-16T18:17:02","guid":{"rendered":"https:\/\/www.horrifiedmagazine.co.uk\/?p=9892"},"modified":"2023-02-05T14:28:54","modified_gmt":"2023-02-05T14:28:54","slug":"an-interview-with-norman-j-warren","status":"publish","type":"post","link":"https:\/\/www.horrifiedmagazine.co.uk\/film\/an-interview-with-norman-j-warren\/","title":{"rendered":"An interview with Norman J. Warren"},"content":{"rendered":"\t\t
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'Everything exploits us...'<\/h4>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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An interview with<\/h4>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Norman J. Warren<\/h1>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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In a previously unpublished interview from 2018, Martin Parsons spoke with legendary director Norman J. Warren about the 70s horror industry, dog-faced aliens and women in peril…<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Horror fans are united in their mourning of Norman J Warren, who had a long career in cinema, from  60s comedies via softcore sex films and more recently producing Yixi Sun\u2019s Susu<\/em>, but he remains best known for his horror films of the 1970s and ’80s. Martin Parsons spoke to Norman about the 70s horror industry, dog-faced aliens and women in peril…<\/b><\/p>\n

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Martin: You and Pete Walker get placed as the \u2018new wave\u2019 of British horror. Did you have any strong feelings about British horror as it was at the time?<\/i><\/p>\n

Norman J. Warren: <\/b>Obviously, I was a big fan of horror. Not so much Amicus, I really enjoyed some but not every one. I started enjoying the support movies. I remember going to see an Amicus one \u2013 and to this day I can\u2019t remember the title \u2013 but the film with it was Death Line<\/b> <\/em>(Gary Sherman, 1972). That was the B-Movie! Of course, I fell in love with that! With Amicus, I was losing interest because a lot of their films were very similar, and that was also the problem with Hammer after a while. It was all middle-class people, and it was all period as well, which used to get annoying. They all seemed to have endless money, but nobody seemed to do any work!<\/p>\n

The big thing that changed things for people like myself and Pete Walker was in 1969, the Americans pulled out of England big time, and took all the financing. The industry collapsed in this country. The studios closed, everybody was out of work.<\/p>\n

M: On to Satan\u2019s Slave (1976)…<\/i><\/p>\n

NJW:<\/b> We actually did it out of frustration at not being able to get a film off the ground. We tried to get finance for it. We spent about a year or so going round and it was the old classic story \u2013 we\u2019d get 50% of the money from somewhere, but by the time you got the second 50%, for one reason or another, the first one had dropped out. There was also the problem of people giving us money \u2013 people not connected with the industry \u2013 and wanting changes to the script, and coming up with stupid ideas where you had to be very diplomatic and talk them out of it without saying \u2018that is absolutely ridiculous\u2019.<\/p>\n

In the end, Les Young, who had worked, again, on Her Private Hell<\/em> <\/b>(1968), and we\u2019d become friends, said \u2018why don\u2019t we just try and do it ourselves? Go for broke and do it?\u2019 We just put in everything we had, and obviously worked on it completely free.<\/p>\n

Everybody being out of work, you could, at that time, put a crew together and people were happy to work for a lesser rate because it was better than nothing! So we were able to say to the guys \u2018we will pay you a set amount per week\u2019, which everybody got, and it was enough to pay your rent and all the rest of it and defer the balance of the money on the understanding that if we sold the film, you could do very well. Everybody was happy to go along with that, so we were able to make it for very little actual money and a lot of favours.<\/p>\n

We definitely wanted Michael Gough if we could get him because we really liked Michael Gough! We worked out that we could afford \u00a3300 for Michael Gough. We needed him for the three weeks. I rang his agent who was very grand, very of the old school, smoking jacket and a very grand office, and he fell about laughing when I said about the money. He said the classic line of \u2018I wouldn\u2019t even get out of bed for \u00a3300!\u2019. But he said, which they did in those days, \u2018I\u2019ll give the script to Michael and it\u2019s down to him, not me\u2019. So he passed it on, and Michael asked if I could go and see him. I can\u2019t remember what we said, I was probably quite nervous. Anyway, presumably I said the right things because the next day his agent rang and said Michael had said he would do it, as long as we could fit it into the period he had free. We said \u2018fine, we\u2019ll go with whatever dates he wants!\u2019.<\/p>\n

I\u2019d always liked the idea of getting Candice Glendenning because I\u2019d seen her in Tower of Evil<\/em> <\/b>(Jim O’Connelly, 1972) and The Flesh and Blood Show <\/i><\/b>(Pete Walker, 1972), and I thought not only is she an incredibly beautiful girl, but I could see that she had the ability to do a good performance. I\u2019m pleased to say that Candice actually regards it as her most enjoyable film, the one she\u2019s most proud of. She was very competent, very convincing, very natural. One of the nicest people you could ever meet.<\/p>\n

M: You edited the film as well. Was this purely a financial thing?<\/i><\/p>\n

NJW:<\/b> Yes. I mean, I\u2019m quite happy to do it. I was cutting it in my bedroom. You just had to hire the equipment, so we hired it and set it up in my bedroom. I wouldn\u2019t want to do it again, because the great danger of it is \u2013 once again I was young and had the energy, but I must confess I almost killed myself on it, really, because when you\u2019ve got it right there, especially in your bedroom, you tend to not stop. I was getting up in the mornings and sometimes I wouldn\u2019t get dressed, I\u2019d be working. I\u2019d forget to eat. Boy, oh boy, it\u2019s not good for you.<\/p>\n

M: Prey (1977) came next and crosses over into science fiction. Do you have a preference for specific genres, is there something you are most comfortable in?<\/i><\/p>\n

NJW:<\/b> No, I like both horror and science fiction. What attracted me to horror and science fiction is the fact you are very free in terms of what you do, the dramatic content, because it\u2019s not reality, you\u2019re working with an invented world. In straight drama, you are tied by reality.<\/p>\n

I never wanted to get into a habit of making a revamp of the film you\u2019ve done before. I know people fall into that trap because they feel comfortable with what they\u2019ve done, but I\u2019ve always preferred to have a new challenge and try a different way of doing film, and different sorts of story.<\/p>\n

M: Where did the design for the alien come from, the sort of dog?<\/i><\/p>\n

NJW: <\/b>That may not have been the perfect make-up, but it was done by a top make-up man, Harry Frampton. He didn\u2019t really have a chance to experiment because everything was done so fast. It was really, do that first make-up, then more or less go with it. It was a bit sort of werewolf-ish for me. I don\u2019t find it that worrying when I see it now. Of course, you don\u2019t see it too often, and you don\u2019t really see it for long periods apart from at the end.<\/p>\n

There are some interesting gender dynamics in Prey<\/b>,<\/em> particularly when they dress the alien up. Were you looking to interrogate any kind of stereotype here?<\/p>\n

No, not really. I mean, the character of Josephine, which is the Sally Faulkner character, is constantly trying to challenge him, to find out really what he\u2019s all about. I think she comes up with the idea of putting him in a dress for that reason. What I liked about it is that neither of them realises that he\u2019s an alien, so the whole thing about wearing a woman\u2019s outfit has no meaning to him! It doesn\u2019t bother him one bit, he\u2019s just a bit confused by it all, why they\u2019re doing all this. To be honest, when the film was made, and the script was done, there wasn\u2019t a lot of time to really analyse all this.<\/p>\n

A young writer, Max Cuff, did the script, and I think he did a brilliant job. It\u2019s actually a very clever little script, it really is.<\/p>\n

M: The narrative has been compared to DH Lawrence\u2019s The Fox (1922). Was this a conscious decision?<\/i><\/p>\n

NJW:<\/b> It\u2019s very flattering, but I don\u2019t know how. No! When you\u2019re directing a film, they\u2019re the last thoughts you have, in a way. You might do it without realising, but I don\u2019t think you make a conscious effort to say, \u2018it\u2019s going to be like this.\u2019 In most filmmaking, you end up doing things because you\u2019re running out of time, and that\u2019s all there is available. You can\u2019t have what you thought you were going to have. It\u2019s endless compromises, all day long.<\/p>\n

M: The next film you made was Terror. You have said that it wasn\u2019t so much direct homage to Dario Argento, rather that Argento made it acceptable to do things differently.<\/i><\/p>\n

NJW:<\/b> Oh yes. He threw all the rules out the window! You had complete freedom. Terror<\/em> <\/b>(1978) never tried to be a copy of Suspiria<\/b><\/em> (Dario Argento, 1977), it was the style, and I will admit that it was 100% influenced by that. There was a lot of independent horror; a hell of a lot. At the cinema then you could go and see three or four new horror films every month. I was always going to see new films and I was fascinated by the title of Suspiria<\/b><\/em> because it didn\u2019t mean anything! I thought I\u2019d give it a whirl and go and see it, and of course\u2026wow. I couldn\u2019t believe it. As I said, all the rules had gone. The story didn\u2019t make a heck of a lot of sense, but the colour and the sound, they were the two things. Colour was everywhere, without explaining where it was coming from, but it works. The sound effects made no sense whatsoever, but they were very effective. That gave us the confidence to more or less do anything. That made it acceptable.<\/p>\n

M: Your next film was Spaced Out (1979). Again, this is something of a meeting of worlds, science fiction meets softcore meets comedy. What brought this film about?<\/i><\/p>\n

NJW: <\/b>They approached me near the end of Terror<\/b><\/em>. I went to see them and they gave me the script. It was called S.E.C.K. \u2013 Sexual Encounters of the Close Kind<\/i>, which you can see what they were aiming at! It was basically another softcore, going back to Her Private Hell<\/b><\/em> and Loving Feeling<\/b> <\/em>(1968). I thought \u2018I don\u2019t really want to do this, it\u2019s going backwards for me\u2019, so I actually turned it down. Peter Schlesinger, who was the main financial producer, said \u2018I really want you to do it, you can do what you like with the script, change it as much as you like.\u2019 So I said \u2018okay, I\u2019ll meet with the writer, Andrew Payne, and talk to him.\u2019 We decided to go more on the comedy side, and not bother about the sex. There are a couple of sex bits in it, but it was more on the comedy thing. It was quite a fun little film to do. It\u2019s totally silly!<\/p>\n

M: Two years after this was Inseminoid (1981).<\/i><\/p>\n

NJW:<\/b> Nick Maley, the make-up guy – who became a top special effects guy \u2013 on Satan\u2019s Slave<\/b><\/em> (1976), and Gloria Lorca, one of the actresses on it, fell in love and got married sometimes afterwards. They invited me to their first wedding anniversary party, and during the party I mentioned what I was doing and said I was looking for a script. They didn\u2019t say anything but two weeks later I got a script from them, which was called Doomseed<\/i> and which was to become Inseminoid<\/b><\/i>. It needed a lot of work but I liked the idea.<\/p>\n

M: Filming locations for Inseminoid – you went to Gozo for some of the shots?<\/i><\/p>\n

NJW: <\/b>Yes, that was purely for the fact that in England, you can\u2019t guarantee the weather. It had to be an alien planet, so we wanted to make sure that we had a cloudless sky, and we wanted to use filters to give the planet another look. To be able to do that, you need guaranteed light \u2013 it needs to be even \u2013 and a clear sky. The production office \u2013 nothing to do with me \u2013 they did their sums and worked out that it was economic to send a small crew, just a few of us, to Gozo, to do that scene. We were only shooting one day there, then back again.<\/p>\n

It was shot in an old quarry, and the people in spacesuits are just Maltese extras. They were cast on whoever could fit in the spacesuits because all the spacesuits were custom-made for the actors. They were beautifully made, and each actor had their own because they had to fit you perfectly. You can\u2019t have a loose spacesuit, that\u2019d look ridiculous.<\/p>\n

When you\u2019re shooting science fiction planets, you need to go into a studio, and unfortunately to build caves, that sort of set, is the most expensive, simply because it goes over the head, and all that plaster has to have very very strong supports so it doesn\u2019t collapse on you. Therefore it costs a lot of money to build, unlike a flat roof or a room. It was the production manager, Ray Corbett, who suggested Chislehurst Caves because he\u2019d visited them. We went and looked and they were perfect! Not great to work in\u2026horrible.<\/p>\n

It\u2019s cold and damp, that was the problem, it\u2019s cold and damp all the time. And you\u2019re constantly standing on uneven ground, so every one of us started suffering from night cramps, because of the damp and the fact you were never standing on a flat surface. But it looked good! Haydn was actually able to build sets down there, he found areas where he could fit in what we needed. Apart from a few things that we did at the studio later, all the sets you see are down in the caves.<\/p>\n

Visually, we couldn\u2019t have done better. We couldn\u2019t have afforded to build all that. As I said, there were miles of it, which was tremendous. We could even build a little train. Haydn built that and found that nice little tunnel it could go through. Obviously, it\u2019s not mechanical, it\u2019s pushed and pulled, but it looks good.<\/p>\n

M: I\u2019ve said Alien (Ridley Scott, 1979) homage. Were you careful about\u2026?<\/i><\/p>\n

NJW: <\/b><\/span>Do you know, we genuinely weren\u2019t aware of <\/span>Alien<\/b><\/em>! I know we get accused of that, but we genuinely weren\u2019t copying <\/span>Alien<\/b><\/em>. It was close, we just hadn\u2019t actually got to see it. We were too busy with the film. The script was written before <\/span>Alien<\/em> was seen. I didn\u2019t see <\/span>Alien<\/em> until I\u2019d finished <\/span>Inseminoid<\/b><\/em>, and I was amazed by the similarities at times, but I still never thought it was a copy. It was only other people who said that. They\u2019re totally different, but it got quite serious. Twentieth Century Fox actually got quite nasty about it, because they had the power to block our film. So we agreed with Fox that they could see the film. When it was finished, we sent them a print and they sent a very nice letter back saying they enjoyed it and they wished us well with it. We weren\u2019t trying to copy <\/span>Alien<\/b><\/em>.<\/em> What nobody admitted at the time is that <\/span>Alien<\/b><\/em> is itself a rip-off of a 1950s film science fiction film, <\/span>It! The Terror from Beyond Space<\/b><\/em> (Edward L. Cahn, 1958) \u2013 it is the same thing.<\/span><\/span><\/p>\n

M: It\u2019s a great cast.<\/i><\/p>\n

NJW: <\/b>Wonderful cast! Fortunately, Richard Gordon knew a lady called Rose Tobias Shore, who at that time was the queen of casting. She got that wonderful cast together, but we hadn\u2019t actually found anybody for Sandy. Rose said, \u2018how about Judy Geeson?\u2019 I\u2019d seen her a lot, but somehow it didn\u2019t click straight away that she would be right for that part. She came and we met at the office and chatted for an hour or so, and she was saying really what the character was. I started forgetting what I\u2019d seen her in before and started seeing her in a different light.<\/p>\n

I didn\u2019t realise until we started filming just how much she would throw herself into the part. Going back to Michael Gough and people, James Aubrey on Terror<\/em>, Judy was another one of those who just goes for it. She doesn\u2019t worry about how she looks, or whether it\u2019s going to be comfortable, she just does it and gives you 100%. She\u2019s quite amazing. I couldn\u2019t say enough about Judy, she\u2019s one of the nicest actresses I\u2019ve ever worked with, and hard-working.<\/p>\n

When it came to doing the birth bit, and she does all that screaming, that was amazing. It was quite harrowing at the time. Where she\u2019s lying really was a vile corner \u2013 it was cold, it was damp, the water was dripping, but she was game to do it. We just did the one take \u2013 I think she was exhausted afterwards!<\/p>\n

M: Bloody New Year, in 1987, was your last horror film.<\/i><\/p>\n

NJW:<\/b> I agreed to do it, but it was a nightmare. It started with the casting. We\u2019d found wonderful locations, everything that I wanted. We got a fairground, the ballroom we needed, a wonderful house on an island which we could turn into a hotel. The weather was perfect. Then [producer Maxine Julius] did the casting, and the kids were very nice but they just couldn\u2019t act! Two of them were acceptable, but she got me in a Catch-22. She took Hayden and me to dinner and she said to me \u2018you\u2019ve got to say yes to this cast; if you say no we\u2019re not doing the film.\u2019 I had people building sets and working, so I couldn\u2019t stop them earning their money, so I had no choice but to say yes. It was like that all the time.<\/p>\n

It was an enormous disappointment to me. Part of the reason I didn\u2019t do another horror film was that I thought \u2018I can\u2019t go through this again.\u2019 It\u2019s such hard work. It\u2019s just not worth it, really, the stress, if you\u2019re not allowed to get something decent in the end. Everybody working on it put in so much effort. We got some nice little effects, there are some good shots. Everybody was putting their heart and soul into it. We had a working fairground we were so lucky to get \u2013 they just gave us the keys to the place! We could do what we liked. You don\u2019t get those opportunities very often.<\/p>\n

M: Did you consciously then stay away from horror?<\/i><\/p>\n

NJW:<\/b> We wanted to do more. Richard Gordon contacted me and said he liked the idea of doing a remake of his Fifties film Fiend Without A Face<\/b> <\/em>(Arthur Crabtree, 1958). I was a big fan of that, so I said I\u2019d like to do that. I eventually managed to get a script together. It wasn\u2019t easy, because when I looked at the film again, I found that there isn\u2019t really anything in the film apart from the end bit where the brains are attacking! Otherwise, there\u2019s really no story! I had to come up with a new concept for it and to bring it up to date. Sadly, Richard wasn\u2019t too keen, because he still wanted it as it was. I had to convince him that you couldn\u2019t have professors with bubbling test tubes any more \u2013 the kids won\u2019t buy it. I set it all in a pharmaceutical company in South America, where they can do things and people don\u2019t ask questions.<\/p>\n

M: How quickly did you get involved with conventions?<\/i><\/p>\n

NJW: <\/b>It was about the beginning of the 90s and it was at the Hampstead Everyman, it was called EuroFest or something. They rang me and asked if I wanted to be a guest, and they were going to show Satan\u2019s Slave<\/b><\/em>, Prey<\/b><\/em> and Terror<\/b><\/em>. I was actually taken aback by the whole thing. I didn\u2019t know about this fandom world. It was absolutely packed solid! They caught me out because I hadn\u2019t actually thought about Satan\u2019s Slave<\/b><\/em> for years, and they started talking about certain scenes in the film and I had to fluff a bit. After that, I actually watched the films again and started memorising them. You can\u2019t really catch me out now!<\/p>\n

M: With Blu-ray releases, your films are available to a new generation. Will the sexploitation aspect of your films pose problems for people nowadays?<\/i><\/p>\n

NJW:<\/b> It might for some. There\u2019s no answer to it, really. You can\u2019t change things. Last year at an event I went to they screened Satan\u2019s Slave<\/b><\/em>, and there was one guy in the audience afterwards at the Q&A who said the film was just there to exploit girls. I personally don\u2019t agree with that, I don\u2019t think we are exploiting them. I really didn\u2019t know what to answer. I said \u2018sorry if you\u2019re upset by it, but there\u2019s nothing really that I can do!\u2019 I wasn\u2019t going to apologise for it. It didn\u2019t seem to bother anybody else. You have to remember things were different then, and I don\u2019t think it\u2019s that exploitatative. At a university, they did accuse not just me but all horror films of exploiting young girls, and I tried to explain to them that all the actresses that do it read the script, they know what they\u2019re doing, we don\u2019t actually grab a girl off the street and chase her with a knife. They do it quite willingly. They can say no. <\/p>\n

Also \u2018exploitation\u2019, that word, we misuse it because we\u2019re exploited in everything. Everything exploits us because it\u2019s making money, isn\u2019t it? Newspaper, television, everything exploits us. Commercials exploit us. Somebody did say to me \u2018the exploitation of young women in horror films, what are your thoughts about it?\u2019 and I said \u2018I\u2019m in full agreement, I think we need more!\u2019 I didn\u2019t know what else to say!<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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I love talking to people. Slackademic. Tutor. Freelance writer. Sheffield soul.<\/p>\n\t\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\"ghost<\/a><\/div>
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\n\t\t\t\t\t\t\t\n\t\t\t\t\tStephen Weeks\u2019 Ghost Story (1974)\t\t\t\t<\/a>\n\t\t\t\t\t\t\t<\/h2>\n\t\t\t\t\t\t\t
\n\n\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t28\/10\/2020\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t
\n\t\t\t\tPaul Lewis' absorbing essay on Ghost Story (1974), takes an in-depth look at Stephen Weeks' independent haunted house film and its profound sense of Englishness...\t\t\t<\/div>\n\t\t\t<\/div><\/article><\/div><\/div><\/div>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

In a previously unpublished interview from 2018, Martin Parsons spoke with legendary director Norman J. Warren about the 70s horror industry, dog-faced aliens and women in peril…<\/p>\n","protected":false},"author":1,"featured_media":9908,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"no-sidebar","site-content-layout":"page-builder","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"","_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[12],"tags":[1623,453],"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/i0.wp.com\/www.horrifiedmagazine.co.uk\/wp-content\/uploads\/2021\/03\/norman-j-warren-featured-image.jpg?fit=513%2C288&ssl=1","_links":{"self":[{"href":"https:\/\/www.horrifiedmagazine.co.uk\/wp-json\/wp\/v2\/posts\/9892"}],"collection":[{"href":"https:\/\/www.horrifiedmagazine.co.uk\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.horrifiedmagazine.co.uk\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.horrifiedmagazine.co.uk\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.horrifiedmagazine.co.uk\/wp-json\/wp\/v2\/comments?post=9892"}],"version-history":[{"count":13,"href":"https:\/\/www.horrifiedmagazine.co.uk\/wp-json\/wp\/v2\/posts\/9892\/revisions"}],"predecessor-version":[{"id":125367,"href":"https:\/\/www.horrifiedmagazine.co.uk\/wp-json\/wp\/v2\/posts\/9892\/revisions\/125367"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.horrifiedmagazine.co.uk\/wp-json\/wp\/v2\/media\/9908"}],"wp:attachment":[{"href":"https:\/\/www.horrifiedmagazine.co.uk\/wp-json\/wp\/v2\/media?parent=9892"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.horrifiedmagazine.co.uk\/wp-json\/wp\/v2\/categories?post=9892"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.horrifiedmagazine.co.uk\/wp-json\/wp\/v2\/tags?post=9892"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}