{"id":175543,"date":"2025-12-09T08:51:16","date_gmt":"2025-12-09T08:51:16","guid":{"rendered":"https:\/\/www.newsbeep.com\/il\/175543\/"},"modified":"2025-12-09T08:51:16","modified_gmt":"2025-12-09T08:51:16","slug":"kate-winslet-directorial-debut-goodbye-june-interview","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/il\/175543\/","title":{"rendered":"Kate Winslet Directorial Debut \u2018Goodbye June\u2019 Interview"},"content":{"rendered":"

\n\tEXCLUSIVE: Kate Winslet<\/a> has made it. Her directorial debut feature, the heart-warming, and heart-breaking,\u00a0Goodbye June<\/a>, which the Oscar-, Emmy- and BAFTA Award-winning star shot from a screenplay by her son, Joe Anders, is to be released in select theaters for a limited run Friday and streams on Netflix beginning December 24. Getting the film finished has been like \u201cclimbing a mountain, but my God, it feels really good when you do claw your way to the top,\u201d she says, exhaling.<\/p>\n

\n\tIt arrives almost on top of James Cameron\u2019s\u00a0Avatar: Fire and Ash,\u00a0in which Winslet returns as Ronal.<\/p>\n

\n\tAvatar\u00a0could swallow\u00a0Goodbye June\u00a0in one gulp. If Cameron\u2019s picture is the huge industrial-franchise side of Hollywood, then Winslet\u2019s\u00a0Goodbye June\u00a0is its intimate, tightly budgeted little British sibling full of warmth.\u00a0<\/p>\n

\n\tThe film\u2019s a family drama starring Helen Mirren as the titular character, a stoic matriarch who finds herself surrounded by close family: husband played by Timothy Spall; an adult\u00a0brood played by Winslet, Andrea Riseborough, Toni Collette and Johnny Flynn; plus assorted grandchildren \u2014 all of whom are ordered around by June from her hospital bed.<\/p>\n

\n\tJune\u2019s the type of woman one could describe as the backbone of Britain: nothing fases them, and you certainly don\u2019t bloody well mess with them. I know them well: see \u2018em on the bus; they refuse the offer of a seat on the underground tube network. They\u2019d rather stand, thanks very much, and they\u2019re the first ones to tell transgressors that none of the other passengers want to listen to their flipping conversations on their loud phones.<\/p>\n

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\t\t\t\t\tHelen Mirren, left, with Kate Winslet<\/p>\n

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\n\tJune will tell one of her daughters (Collette) that yellow doesn\u2019t suit her, and she\u2019ll not shy away from telling Winslet and Riseborough\u2019s characters that they\u2019re\u00a0behaving like \u201clittle shits.\u201d<\/p>\n

\n\tWinslet has a film project that\u2019ll she\u2019ll star in next year; details are under wraps for now. I wonder if having made\u00a0Goodbye June\u00a0will affect how she takes direction because she now knows what a juggle it is to do so.<\/p>\n

\n\tShe laughs and says that she\u2019ll be just fine, but notes: \u201cI\u2019m always very supportive of directors I work with, and that relationship has always meant a great deal to me. And I\u2019m very respectful of it as well. But I think it will just make me, probably, just much more supportive really\u2026\u201d<\/p>\n

\n\tI ask whether filmmakers she\u2019s worked with in the past have seen it, such as Stephen Daldry (who directed her Best Actress Oscar-winning performance in\u00a0The Reader)\u00a0or\u00a0Sam Mendes (Joe\u2019s father and her second husband, who directed her and Leonardo DiCaprio in\u00a0Revolutionary Road), for instance?<\/p>\n

\n\t\u201cStephen has not. Sam has, yes,\u201d she answers.<\/p>\n

\n\tWinslet also reveals that Francis Lee, who directed her in\u00a0Ammonite, in which she gives a mind-blowing performance, has seen it as well.\u00a0\u201cA couple of other directors, and Todd Field saw it actually, which really meant a lot to me,\u201d she adds of the director who filmed her in\u00a0Little Children\u00a0two decades ago. \u201cAnd those people, they\u2019re just very, very supportive, great people who I always had strong collaborations with, but that feeling of being \u2026 part of a gang or something, that feeling of approval from people I care about who have done this job before me many, many times, and brilliantly \u2014 it just really means a great deal. It does make me think, \u2018Oh, maybe I can do it then.\u2019\u201d<\/p>\n

\n\tI assure her that she\u2019s done well; however, she\u2019s not fully convinced.<\/p>\n

\n\t\u201cBut you never know,\u201d Winslet reasons. \u201cIt\u2019s the same thing with any acting. You can go to work and leave your blood on the floor as an actor and leave no stone unturned, but you still don\u2019t know whether the performance is going to work or not or fit with the finished film. There\u2019s always that element of the unknown, which is terrifying. But I think that\u2019s why we do it, because we\u2019d be absolutely nothing if we didn\u2019t feel fear, because fear makes you want to push yourself further and try new things.\u201d<\/p>\n

\n\tBut it\u2019s clear during our conversations \u2014 spread out over several days, where I trailed her around town as she screened the film for crew, friends and family out and about in London \u2014 Winslet\u2019s been a whirlwind of activity on this movie, promoting it as if her life depends on it. But it\u2019s a mother\u2019s love for her child that seems to propel her.\u00a0<\/p>\n

\n\tOne minute I\u2019m taking tea with her at the Soho Hotel. The next I\u2019m watching\u00a0her read personal observations about love and how it doesn\u2019t always arrive \u201cwrapped in ribbons,\u201d during the annual carol concert hosted by Catherine, the Princess of Wales, at Westminster Abbey. (The event, Royal Carols: Together at Christmas, will be shown on the UK\u2019s ITV Christmas Eve, with a repeat broadcast on Christmas morning, featuring traditional carols, music and poems.)<\/p>\n

\n\tAt the Abbey, Winslet suggests that love is \u201cin the laughter shared across a table, a hand held in comfort.\u201d<\/p>\n

\n\tIt\u2019s the same kind of feeling Winslet conjures in\u00a0Goodbye June, with little, almost unheralded, moments of affection.\u00a0<\/p>\n

\n\tKeeping order in\u00a0Goodbye June\u00a0is Fisayo Akinade (Foundation, Heartstopper) as Nurse Angel, the palliative carer on June\u2019s ward. Squabbles and disagreements are not important, he tells the family. Giving a good goodbye is all that matters.<\/p>\n

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\t\t\t\t\tAdults, from left: Johnny Flynn, Andrea Riseborough, Timothy Spall and Kate Winslet in \u2018Goodbye June\u2019<\/p>\n

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\n\tIn a sense, Nurse Angel is a stand-in for Anders the writer, a character who sees all and keeps calm.\u00a0<\/p>\n

\n\tWinslet reveals that Anders is \u201cin the early stages of trying to figure out a new idea for a second film but very much just sort of still dreaming. He can\u2019t believe any of this. He can\u2019t believe this film got made. He just can\u2019t believe it. It\u2019s so sweet.\u201d<\/p>\n

\n\tCould\u00a0Goodbye June\u00a0have been made without her involvement, I ask?<\/p>\n

\n\t\u201cYes, I do [think so]. Yes, I do,\u201d Winslet responds without hesitation.\u00a0\u201dBecause with a script that good, you\u2019re never going to not attract great actors. With dialogue that strong and that natural, I absolutely know it would\u2019ve been made without me.\u201d<\/p>\n

\n\tI saw an early cut that ran for around 2 hours and 18 minutes. The finished version without credits is a good 30 minutes shorter. \u201cSo I got a whole load more out and the grade and the mix and the music and all of that,\u201d Winslet\u00a0says of completing post-production. She\u2019s proud of it and keen to stress that \u201cI never wanted it to finish. I just never wanted it to end. I can\u2019t tell you how much I loved it.\u201d<\/p>\n

\n\tEverything Winslet has worked on has led to\u00a0Goodbye June.<\/p>\n

\n\t\u201cThe thing is, because of the number of times I have been fortunate enough to be No. 1 on that call sheet, I take that very seriously,\u201d Winslet tells me. \u201cSo pulling a cast together, keeping everyone afloat, bringing the energy, I\u2019m no stranger to that stuff. And actually that really kicks in when you do long television. So like,\u00a0Mare of Easttown,\u00a0for example,\u00a0The Regime \u2014 these huge long jobs, you have to keep everyone going because when the chips are down and you\u2019re like, \u2018We\u2019re going to run over and now it\u2019s raining outside.\u2019 You all have to just rally. So with something like this where I had all those brilliant adult actors and children, 35 days, Helen Mirren for only 16 of those 35 days, you\u2019ve got to be good humored and you\u2019ve got to be f*cking ready and you\u2019ve got to have nice people.\u201d<\/p>\n

\n\tHaving also produced the biopic\u00a0Lee, she knows what producing involves too.\u00a0<\/p>\n

\n\t\u201cActually, when an actor has a producing credit, they can\u2019t just have that credit. There\u2019s a whole load of \u2026they\u2019re going to meet certain criteria. They really do. And it\u2019s a proper different job. I mean, I\u2019ve seen more cost reports than I ever care to admit that I have. When you learn how to do each line of a budget and you know how to hand-pick a really lovely crew on something like this, that had to feel small and had to have the understanding of an empathetic team who knew that when I would say to them, \u2018I think if we can block off the cameras and just walk away,\u2019 and then they\u2019re like, \u2018Yep.\u2019 And they\u2019d set positions literally press record and would leave the room.\u201d<\/p>\n

\n\tWinslet explains that she \u201cdid that because when you\u2019ve got veterans like Helen and Tim,there\u2019s nothing I can say to them that I haven\u2019t heard before \u2026And when directors try stuff, you sniff it out and you think, \u2018Ah, OK.\u2019 And it makes you not trust. So I knew that I wasn\u2019t going to try any clever, tricks-y shit. But I did also feel, intuitively, what the dream working\u00a0and environment is and that\u2019s with as few crew as possible, all working together to establish a way of working that affords that, we weren\u2019t able to do it all the time, but where we could, we did.\u201d<\/p>\n

\n\tWinslet cites a\u00a0\u00a0moment that exemplifies her point. There\u2019s a scene with Mirren and Collette sitting on the side of a tub in a bathroom. That was shot in 20 minutes because Winslet had the cameras set and ready remotely. \u201cI was like, \u2018We\u2019re totally alone in a closed bathroom with the cameras on.\u2019 And it\u2019s brilliant because they just do it and feel it out and then they can really be quiet and small and with each other.\u201d<\/p>\n

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\t\t\t\t\tAndrea Riseborough, Johnny Flynn, Kate Winslet and Timothy Spall in Goodbye June.
\nPhoto Credit: Netflix<\/p>\n

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\n\tOver the years Winslet has watched and learned enough to know she had to be ready on Day 1.<\/p>\n

\n\t\u201cI think I\u2019d seen enough. I learned enough, but also considering how many small films \u2026 with the exception of\u00a0Titanic\u00a0in the early period of my life, everything else I did was of the kind where you run at it, be ready for any eventuality.\u201d<\/p>\n

\n\tRELATED: The Movies That Have Made More Than $1 Billion At The Global Box Office<\/a><\/p>\n

\n\tFor example, Winslet cites Michel Gondry and Charlie Kaufman\u2019s\u00a0Eternal Sunshine of the Spotless Mind, released in 2004.<\/p>\n

\n\t\u201cMassive long shoot, actually 16 weeks, very long for a film of that size,\u201d says the star. \u201cBut everything changed all the time. It changed all the time because of the weather, because of locations, because it was just an ever-evolving thing. So knowing to be ready and knowing how to support other people who are having meltdowns because the schedules just changed. I just grew up doing that. But I\u2019ll tell you where I\u2019m very lucky, I\u2019ve worked with some incredible directors, but I\u2019ve also worked with some directors who are less comfortable with the language of directors. So they might be brilliant visual directors \u2026 but sometimes you do have to really buddy up with your actors and lean on each other much more. So I\u2019ve done a fair share of that. Not to say I haven\u2019t had incredible time because I really, really have. But you learn quite quickly what simply isn\u2019t helpful,\u201d Winslet states.<\/p>\n

\n\t\u201cFor sure I just learned by osmosis what not to say. And also the other thing too, I really have learned there is nothing more frustrating to a group of actors than when a director doesn\u2019t really know what they want because then they just go, \u2018Oh, just try something else. Just go again.\u2019 You think \u2026 \u2018Well what do you want?\u2019 And you can tell very quickly when a director really isn\u2019t quite sure of what a scene is supposed to be or what it actually means, sometimes they aren\u2019t even sure where they\u2019re going to put that scene into a film. And I\u2019ve worked with many directors when working with children who have just said to me, \u2018You can do the kids, can\u2019t you?\u2019\u201d<\/p>\n

\n\tBut she adds that \u201cthe number of times I\u2019ve worked alongside children, and the director has said to me, \u2018I\u2019ll just let you do that.\u2019 I\u2019m like, \u2018Great, no problem.\u2019 I love working with children. Easy peasy. I know how to get them to be kids because you can\u2019t teach children unless they\u2019re exceptionally gifted. You can\u2019t really teach children, very little ones, how to act. But you can give them every opportunity to just be. So there was a lot that went into making them feel like they were on a 35-day playdate. They were just delighted to be there. \u2026 And they just sort of fell into this make-believe world that we were creating for them all the time and establishing situations for them to just go in and be kids.\u201d<\/p>\n

\n\tWorking with editor Lucia Zucchetti\u00a0\u00a0(The Queen, One Life) on\u00a0Goodbye June\u00a0was fascinating to Winslet because she felt that the \u201cfilm really started to reveal itself and push back against things that I might have been trying to do.\u201d<\/p>\n

\n\tOne thing, she says, \u201cthat was really clear to me as you just described is that June, she is the backbone of England, that wonderful frankness that women have throughout their lives but that they only feel brave enough to truly express once they get into their sort of last or later chapters of their life and the strength with which she had to somehow from her hospital bed carry her family through and continue to love them individually based on what each sibling needed from her.\u201d<\/p>\n

\n\tAs their mother, June knows her children, especially the girls, inside and out.<\/p>\n

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\t\t\t\t\tToni Collette in \u2018Goodbye June\u2019<\/p>\n

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\n\t\u201cYeah, she knows them, \u201c Winslet agrees.\u00a0\u00a0\u201cAnd also they\u2019re still her little girls. At whatever age I think you grow to be you\u2019re still someone\u2019s child. And I think the other thing that\u2019s lovely as well, that feels very apparent to me in the story is that when the chips are down, the one thing that binds them all together, in particular those two sisters was their shared childhood. And that\u2019s something that you always have as a benchmark no matter what happens to you in life or which direction you end up going in and where you end up living.<\/p>\n

\n\t\u201cThat childhood, whether it was a good childhood or not, those memories are always something that binds you and bonds you. And that feels to me very palpable and important about this story too,\u201d she pronounces.<\/p>\n

\n\tAs this column noted back in August<\/a>, watching an early print of\u00a0Goodbye June, there\u2019s a sense of watching life unfolding.<\/p>\n

\n\tWinslet nods and says: \u201cAnd that was something that mattered to me enormously because I think it\u2019s not a film about cancer, that\u2019s not the central narrative and neither is it even a film about a woman dying. It\u2019s a film about a family. \u2026 And I think if we are making that choice and able to sit in a movie theater and watch something, I want to be able to offer people an experience where they see a version of themselves in a story that\u2019s unfolding. And whether it\u2019s just that they can relate to one of the characters or the situation. And I think given the theme of the story that it is about loss and it is about how difficult those conversations are to have.<\/p>\n

\n\t\u201cBut with this film, I do hope that it offers people an opportunity to be brave enough to have those challenging conversations with the people that they love because we do only have one life and we do have to live for today. We don\u2019t know what\u2019s coming tomorrow. And somehow I feel it was important to put that into the story too and to keep it feeling really British,\u201d she says.<\/p>\n

\n\tSomehow the film sort of gives us permission to linger and consider our own personal circumstances.<\/p>\n

\n\t\u201cIt\u2019s true,\u201d Winslet agrees. \u201cI sometimes think if someone\u2019s seen a film that I have been a part of and all it makes them do is want to walk home and think as opposed to jump in a cab or get on the tube or makes them want to just go to the pub and decompress with a pint with a friend, that\u2019s enough. Even being able to offer that opportunity to people where they feel a little bit more seen and heard. I know it maybe sounds a little bit glib to say it, but actually when you\u2019re making a film like this, there is a responsibility to make it feel really real and not to be making the film version of a story about loss.\u201d<\/p>\n

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\t\t\t\t\tKate Winslet and Timothy Spall on set of \u2018Goodbye June\u2019<\/p>\n

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\n\tShe adds: \u201cAnd so all of the things that were part of the finished film from the sound mix to every single word that the children says to the timing of the music, each cue, every single thing had to land in a way that was never pushing a narrative or slipping into false sentiment because that is just something that I myself really don\u2019t like. \u2026 And I don\u2019t want to be tricking or forcing an audience. I want them to be able experience it in their own way as tenderly and sensitively as possible. And always making sure that there was that punctuation of humor here and there. If something ever felt in the edit. \u2026 \u2019Now we\u2019ve been feeling too sad for too long here, OK, we just have to go to Toni\u00a0Collette or we have to look at what Tim [Spall] is doing over there in the corner. They\u2019d always be doing something that provided that little bit of brevity.\u201d<\/p>\n

\n\tCreating the right kind of environment was also a vital element, and Winslet asserts that she made damn sure \u201cI was giving the actors a space in which they could discover things and unravel and hold back. \u2026 My focus was entirely them and creating an environment specifically for them.\u201c<\/p>\n

\n\tFor Winslet, that required putting up a strong front. \u201cAnd that meant for me as the director, I had to often hide quite a lot of, not so much stress \u2026 but I had to hide a lot of the pressure I felt to complete our days. I had all the seven children every day. I had to make sure that my energy was consistently good. And when I\u2019ve got the first AD saying to me, \u2018We really have only got an hour and a half to get this scene and you might have to compromise your shots.\u2019 And me saying to her, \u2018It\u2019s OK. It\u2019s OK,\u2019 trying to get those conversations to remain private so that the actors never felt any pressure from me to get on with it or produce something. They had to always feel as though there was all the time in the world and there never ever was. And yet somehow, somehow I made all of my days and even got extra things\u2026\u201d\u00a0<\/p>\n

\n\tRecently, I\u2019ve rewatched several of Winslet\u2019s past movies, including Nancy Meyers\u2019 merry romance movie\u00a0The Holiday. The segment she shot with Eli Wallach where they chatted about classic movies got me wondering about when Winslet first understood the power of cinema and storytelling.<\/p>\n

\n\t\u201cI\u2019ve always been captivated by films,\u201d she responds. \u201cBut I also grew up in a household that there was certainly never any money to go to the cinema. Although I do remember the first film I ever saw on a big screen was\u00a0E.T.,\u00a0and strangely, I was taken alone with my dad, and I don\u2019t know why \u2014 whether it was just they decided that that was going to be my treat as opposed to all the others or whether my dad wanted to just have that experience with me. \u2026 But I\u2019ve never ever forgotten it,\u201d she adds wistfully.<\/p>\n

\n\t\u201cAnd the memory of being utterly transported by a filmic experience has really stayed with me.\u201c<\/p>\n

\n\tContinuing the theme, Winslet remembers getting \u201cthe shock of my life being at the 1994 Venice Film Festival\u00a0[with Peter Jackson\u2019s\u00a0Heavenly Creatures] never imagining that the cinema would be full, never imagining that people would clap or stand up. And they did both. And it wasn\u2019t about being or feeling celebrated or acknowledged. It was about knowing what it meant to be in one room with a group of strangers who were all sharing a similar emotional response to what they had just seen. And the power of that is something that I think is \u2026 very unusual and is incredibly unique to cinema.\u201d<\/p>\n

\n\tOutside of major sport, Winslet was hard-pressed to think of any other pastime \u201cyou could perhaps compare \u2026 that sense of a shared moment in time.\u201d<\/p>\n

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\t\t\t\t\tKate Winslet on the \u2018Goodbye June\u2019 set<\/p>\n

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\n\tSubconsciously, Winslet reckons that experience in Venice is\u00a0part of how she ended up behind the camera directing a film. \u201cNot because I was trying to please an audience or pull an audience together, but in how I wanted to make the film. Pulling our tribe together, our crew and our cast, and making that a shared experience. It does all translate to what ends up on camera. It all comes through. It really does. I think sometimes film shoots can be really very difficult. And God knows I\u2019ve experienced a number of them that have gone over and have been challenging for variety of different reasons. And that becomes a burdensome experience at times for everybody involved. And I knew that I was in a position to just not allow for that to happen. And that does mean that leadership and leading with integrity and grace and joy and kindness matter to me probably more than anything because that energy impacts the day more than I can possibly explain. It really does. If you\u2019ve got a lead actor or a director who\u2019s in a mood or they\u2019ve had a row with somebody at home, or they\u2019re worried about how the week\u2019s going to go, you just can\u2019t carry that into a creative space because it means that you are giving off a vibe that is not conducive to anyone doing good work at all. And certainly with all those children, I mean, I just had to keep them excited and feeling like they were on a 35-day playdate, which they did. They never wanted it to finish,\u201d Winslet says.<\/p>\n

\n\tThinking back, Winslet announces that she\u2019s \u201cvery lucky to have worked with not just amazing actors but on the whole, really great people. And there are some actors who might be a tiny bit late sometimes, and there are some actors who aren\u2019t as emotionally available, but that\u2019s just who they are. But one thing I really learned early on is you can absolutely never know someone else\u2019s story. And you have to just all get along with each other and muck in because it\u2019s not worth judging people or trying to change whatever they bring into the room. And actually, often what they bring into the room is precisely the thing that makes them brilliant anyway. And so also how to adapt was something that I was exposed to very, very early on. And it was for sure something I felt with Emma Thompson [on\u00a0Sense and Sensibility.] I also felt that very significantly working on\u00a0Hamlet\u00a0at the age of 20 with all those extraordinary actors and Julie Christie and Derek Jacobi all behaving immaculately and really setting the bar high in terms of not just the work they were doing but how they would treat people. And it is just so important. \u2026 You can\u2019t have stuff and baggage. It\u2019s just a waste of time and it just doesn\u2019t help.\u201c<\/p>\n

\n\tOne thing\u00a0Winslet found difficult on the\u00a0Goodbye June\u00a0shoot\u00a0\u00a0\u201cwas not being able to physically be with the actors all the time between takes or when we\u2019re changing setups. They\u2019d all be sharing stories and having these great conversations. And sometimes I would just make sure that the camera team knew what they were doing, and then I\u2019d be like, \u2018What are we talking about? What have I missed out on?\u2019 While these sort of shrieks and giggles that would come from various corners that were always the actors chatting away. It is great having those conversations because we\u2019ve all got stories, and they\u2019re all really juicy.\u201c<\/p>\n

\n\tWinslet knew she wanted to direct\u00a0Goodbye June\u00a0after reading her son\u2019s screenplay. Had that been his intention all along, for her to direct it?<\/p>\n

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\t\t\t\t\tJoe Anders and Kate Winslet<\/p>\n

\t\t\t\t\t\t\t\t\tNetflix<\/p>\n

\n\t\u201cWell, he wanted me to like it, of course, because I\u2019m his mum and children want their parents\u2019 approval, don\u2019t they? Whatever it is that they\u2019re trying to do in life. But he really wasn\u2019t thinking about me directing it because I\u2019m not a director. So he knows me as he knows me as a producer, and he knows me as an actress, and he\u2019s been testing me on my line readings since he could read words off a page. And so it was a real moment for me to turn to my son and say, \u2018My God, we can\u2019t let this go. I really think I could direct it. I think I could do that now. I really think I\u2019m ready. And I just don\u2019t want to regret that we gave it to somebody else.\u2019 And also that I wanted him to learn and be part of it, and to see these characters come to life that he had created.<\/p>\n

\n\t\u201cBecause you know what it\u2019s like, writers aren\u2019t on set. They\u2019re off writing something else, or they\u2019re not included. But Joe, he\u2019s a very wise, observant young man, and I couldn\u2019t imagine anything better than having him there to run ideas by. And sometimes it was very helpful for me if I was directing the scene that I was also acting in. There was no time for me to go and check takes ever because I just had to keep going. So I had to rely on the brutal honesty of a family member who was right there, and I could go to him and say, \u2018Tell me anything. Did I do the thing that we talked about?\u2026\u2019 And he would be able to say, \u2018Try this, try that.\u2019 But that is filmmaking. That\u2019s what it should be like, being open to hearing what anyone frankly has to suggest. Because often people will give you an idea that you may not necessarily have had yourself.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"EXCLUSIVE: Kate Winslet has made it. Her directorial debut feature, the heart-warming, and heart-breaking,\u00a0Goodbye June, which the Oscar-,…\n","protected":false},"author":2,"featured_media":175544,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[8],"tags":[34392,146,103232,85,46,54067],"class_list":["post-175543","post","type-post","status-publish","format-standard","has-post-thumbnail","category-entertainment","tag-breaking-baz","tag-entertainment","tag-goodbye-june","tag-il","tag-israel","tag-kate-winslet"],"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/posts\/175543","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/comments?post=175543"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/posts\/175543\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/media\/175544"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/media?parent=175543"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/categories?post=175543"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/tags?post=175543"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}