After the director Joseph Kosinski, the director of “Top Gun: Maverick”, spent so much time in the danger zone, it should be able to deal with his new film the change of wings “F1”, what “Top Gun: Maverick” looked like, but in a car. The upcoming film sees Brad Pitt as a racing driver who has teamed up with the hot shot driver of “Snowfall” star Damson Idris to win a race against the Titans of the Sport, which demanded that the actors spent a large part of the film on the wayside. In this case, this meant a live racing track with real racing drivers and a roaring audience that developed.
/Film took part in a trailer preview for the new film at the beginning of this week, in which the director revealed how every second counted his stars on and off the track, while he was filming the fast-moving sequences shown in the new film material. “We couldn’t just shoot on the track without the race took place. It would have been the wrong dynamics. So we were actually there on the race weekend, and hundreds of thousands of people watched us and found this time slitting between training and qualifying that Formula 1 granted us merciful,” explained Kosinski.
The race was switched on from there. “So we would get these 10 or 15-minute slots, in which we had to prepare Brad and Damson in the cars, warmed up with hot tires, and as soon as they ended the training, they fell on the track.” Walking on the street was one thing, but then the high-speed races came to a whole new way-and it to do with 180 km / h.
Joseph Kosinski took lessons from Top Gun: Maverick in F1
Even after up to 27 cameras were shot “Top Gun: Maverick” That gathered 800 hours of footageJoseph Kosinski still stood restrictions that he wanted to exceed with “F1”. “I mean, we had to develop a brand new camera system that we learned everything we learned on ‘Top Gun: Maverick’,” he said. “You cannot put 60 pounds on a racing car and expect it to work the same way.”
Fortunately, the cameras used in “Maverick” shrunk to a quarter of their original size to do justice to the new journey on which they were. From there, the crew was able to operate and move the cameras when shooting with motorized brackets (something that was not possible on “Top Gun: Maverick”), so that Kosinski could grasp greater freedom of movement while the cars shook around the route. “I sit with Claudio (Miranda), our cameraman, at the base station and look at 16 screens. I have cameratorder on the controls for the cameras and (I) call camera movements such as a live television broadcast while you take pictures.”
With these progress, they not only broke new territory, but burned rubber on them. “In addition to training for the actors and the logistics of shooting, so much research and technology and development have only been able to roll a film material in a real race,” said Kosinski. “So it was a lot of preparation to take off this.” In view of the tiny windows of the shooting time they were available, the intensive pressure to get what they needed at in these moments have actors who actually ride ridiculously high speeds on real tracks, and do everything for a lot of over 100,000 spectators, it does not seem to be hyperbolic that this could have been one of the hardest film work of all time. See how you did it as “F1” on June 27, 2025.
