The Making of Brad Pitt's F1 Film: A Behind-the-Scenes Look

Brad Pitt's upcoming F1 movie, "F1: The Movie, " took a unique path to authenticity, starting with a big "no" at Daytona International Speedway. The film's creators wanted to shoot Pitt's character, Sonny Hayes, winning the Rolex 24 Hours at Daytona. But IMSA, the sports car series that oversees the race, had other ideas. The filmmakers initially wanted to win the race outright, but IMSA said no to that idea. Instead, they suggested a compromise: partnering with a real team to capture the race footage. Wright Motorsports, which fields a Porsche in IMSA's GTD class, was chosen to carry multiple cameras and film the race action. The team's car even had special livery that mirrored what Hayes raced in the film. The production team spent several weeks at the track, filming during practice sessions and the race itself. They even filmed a pit stop sequence featuring Pitt driving out of his pit stall. The track made some accommodations to the competition schedule, notably extending an evening practice by 30 minutes to allow for the pit stop sequence. The filmmakers stressed the importance of "authenticity" in every aspect of filming. They wanted to offer a real encapsulation of what motorsports is like, as best they could, while still making a compelling Hollywood film. Kelleher, the president of Daytona International Speedway, understood this key tenet. So he pushed back when the production crew insisted on filming a particular shot inside Daytona's victory lane. The filmmakers wanted to shoot a victory lane scene on the morning of the Sunday of the Rolex 24, while the race was still happening. But Kelleher said no, citing operational reasons. He reminded them that the GTD class, which Hayes races in, is the last of the four classes to head into victory lane. By the time that car arrives, victory lane is already covered in champagne and confetti. Kelleher suggested celebrating the authentic overall race-winning car first, and then rolling in Pitt's car to shoot the scene. The filmmakers acknowledged that Kelleher was correct and that his preferred way of shooting the scene was the most real way to do it. It offered the very authenticity they sought. In the end, the close collaboration between DIS, IMSA, and the production crew resulted in a successful shoot. Pitt even thanked Kelleher for his suggestion, underscoring the importance of authenticity in the film.