
How real is Brad Pitt's 'F1 The Movie' compared to actual Formula 1 racing?
Saying Formula 1 racing is the top expression of motorsport is sure to get an argument from fans of NASCAR and Indy Car, especially since F1 has made major inroads in U.S. popularity over the past few years.
The glamour-meets-high-tech nature of this European-bred sport is precisely what the director and producers of 'F1 The Movie' are banking on as the Brad Pitt-driven film hits theater and IMAX screens June 27.
'Lewis Hamilton (legendary F1 racer and 'F1 The Movie' producer) said to me he'd never seen a movie that captures what it's like to be in the car, so that was the challenge,' says director Joseph Kosinski, who also steered Tom Cruise through his aerial paces in 'Top Gun: Maverick.'
For those new to F1 the sport and curious about 'F1 The Movie,' we offer this primer.
What is Formula 1?
The various formulas for engine displacement and other technical aspects of single-seater (versus sports cars) European motor racing were determined long ago, with Formula 1 deemed the pinnacle of speed and technology. The very first race was held 75 years ago at Silverstone in England. Many top F1 racers start as kids in karting races, then graduate to Formula 3, then Formula 2, and finally, if they're talented and lucky enough, Formula 1.
Where are Formula 1 races held?
Currently, there are 24 races that unfold around the world, starting with Australia in March and wrapping in Abu Dhabi in December. Other host countries include Japan, Brazil, Italy, Belgium, the U.K. and the U.S., which now has races in Miami, Austin and Las Vegas.
Why is Formula 1 being talked about so much in the U.S. right now?
Formula 1 has a checkered past in the U.S., which at times held just one race and for a spell had none. But the current boom in interest is down to a range of reasons, including the popularity of Netflix's series 'Formula 1: Drive to Survive,' the ability of drivers to connect directly with fans through social media, and finally the sport being owned by an American company, Liberty Media.
Do Brad Pitt and Damson Idris really drive F1 cars in 'F1 The Movie'?
Yes, Pitt and Idris spent four months learning to drive real Formula 1 cars. 'If you see Brad's face, then it's him driving, and often at speeds up to around 180 mph,' says Kosinski. 'When they went into those turns at high speed, the G-forces on their bodies were insane.'
How did the 'F1' movie get Brad Pitt's high-speed laps on camera?
Instead of building a bulky camera car, Kosinski was advised by Mercedes F1 team leader and 'F1' producer Toto Wolff to have Mercedes build his crew real F1 cars that could have four small IMAX-quality cameras attached to the body. 'We took what we used on 'Top Gun,' and miniaturized them,' says Kosinski.
Did 'F1 The Movie' really shoot during actual F1 races?
Yes, F1 granted Kosinski permission to have his cast and crew set up during real F1 races, often giving them short windows between real practice laps to get their scenes shot. 'Sometimes that would become 5 minutes, and sometimes the window would vanish, so we had to be very light on our feet which made it exciting,' he says.
Did all that racing fun make 'F1' director Joseph Kosinski want to race for real?
Kosinski, who is a Porsche aficionado, says he loves spending time on a track, although he has only done so in sports cars and not open-wheel machines such as F1 cars. 'But I did get to hit the track with Lewis (Hamilton) giving me some instructions, and then I let him drive me around in a (Porsche) 911 GT3,' he says. 'To have the most winning F1 driver of all time show you what the real limit is is quite something.'
Who's faster, Brad Pitt or speed junkie Tom Cruise?
Kosinski has had the rare privilege of directing speed-demon movies with arguably the two biggest male stars on the planet, Tom Cruise and Brad Pitt. 'There are more similarities between them than you might think, and both are phenomenally talented,' he says. 'There are also stories about when they both did 'Interview with a Vampire' (in 1994) and there were famous go-kart battles between the two of them. I think people would pay to see that showdown for sure.'
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Business of Fashion
7 minutes ago
- Business of Fashion
Jonathan Anderson's Grunge Aristocracy at Dior
PARIS — The enormous tent constructed in the Place Vauban for Jonathan Anderson's debut at Dior was printed with a silvery evocation of the past, a monochrome image of Christian Dior's decorous couture salon. Fast forward to the present, 75 years later. That tent had been exhaustively climate-controlled to allow for the hanging of two paintings by Jean Siméon Chardin, the 18th century artist who is regarded as the master of the still life. He was a favourite of Dior's, Anderson's too. The Chardins were his idea. So was the inspiration for the showspace, clad in velvet like the Gemäldegalerie in Berlin, home to one of the finest collections of European art from the 13th to the 19th century. One Chardin came from the Louvre, the other from the National Gallery of Scotland. Reflect for a moment on the logistics involved in transporting monstrously valuable works of art to a tent packed with an unruly, heatstruck audience for one hour on a Friday afternoon in Paris and you'll maybe garner some notion of the political and financial power that a fashion conglomerate like LVMH, which owns Dior, now wields. Ah yes, the present. Dior Menswear Spring/Summer 2026. (Spotlight/ And the future? Well, for that single stretch of showtime, it rested in Anderson's hands. He's been cast as Dior's saviour in a challenging market — and is the first to oversee women's, men's and haute couture collections since Monsieur Dior himself first experimented with menswear. Unsurprisingly, Anderson has been soft-pedalling expectations. 'You have to, because no one gives anyone any time anymore,' he conceded at a preview earlier this week. In another exchange, he said, 'My idea is to be slightly optimistic, it's not going to happen overnight. We have to be realistic today.' But his attempt at lowering the temperature was clearly unsuccessful. His audience was littered with pop stars, movie stars and a full platoon of fashion peers, many of whom were on their feet at show's end. Dior Menswear Spring/Summer 2026. (Spotlight/ Anderson was insistent that Dior was something alien to him. 'It's not a character that I know.' But that's what seduced him. 'It's like buying a chateau in the South of France that you saw on a website, a very British thing to do. It's beautiful, but it needs so much renovation. You have to start somewhere, and as you go, you realise, 'Wow! It's amazing what they did in the 18th century with door handles,' and then you find the next thing and the next thing.' And those 'next things' were the years of input from all the designers who have worked for Dior over the decades. To isolate the most striking carryover from the past in Anderson's debut collection: Maria Grazia Chiuri's wildly successful book tote reappears rendered as the covers of specific titles, In Cold Blood, Bonjour Tristesse, and, luridly best of all, Dracula. ('Because it's Irish,' he said archly.) He compared the learning process to doing a PhD in Dior. What did he come away with? 'I feel the name is bigger than the individual designer. It was always like that. So that was the whole idea for me.' Dior Menswear Spring/Summer 2026. (Spotlight/ There will undoubtedly be plenty of people who look at what Anderson showed on Friday and question his concept of permanence. 'My idea was to decode it to recode it,' he explained, sort of. 'That's how the collection was built.' Take the first look, practically a manifesto in one outfit. 'How I feel I'm going to tackle men,' Anderson declared. 'Formality, history, the material, Irishness.' The cargo shorts were panniered with the extravagant folds of the Delft dress from 1948, originally carved from 15 metres of duchesse satin, duplicated for today in undyed denim. The jacket featured the classic Bar silhouette, cut here from Donegal tweed. The model sported a formal stock tie. 'An English stock,' Anderson explained, 'the French is looser. I like the idea of something that makes you lift your head up. There's an etherealness to the formality.' The shoes were based on the sandals he wore to school in the summer. In other words, a weird but winning fusion which spanned the decades between the Frenchman and the Irishman. Dior Menswear Spring/Summer 2026. (Spotlight/ 'For me, it's about a quiet radicalism,' Anderson said. 'For the customer, this is already going to be something that is pretty wild, but in my head, it's normal.' Why is it easy for me to imagine Christian Dior saying something similar 75 years ago? And if my proposed compatibility still seems like a bridge too far, there's their shared obsession with the 18th century. 'I got the guy who's been sourcing things for me for years to find me the best 18th century menswear, and then we meticulously recreated it. There was no point in changing the fit. When I saw it, I thought, 'That's Dior. Let's just put it up there as a thing.'' Like his own version of Martin Margiela's 'Replications' which he loved so much when he was starting out in fashion. Rebecca Mead's profile in the New Yorker earlier this year quoted Anderson saying this: 'Authenticity is invaluable. Originality is nonexistent. Steal, adapt, borrow. It doesn't matter where one takes things from. It's where one takes them to.' So Anderson showed his delicately toned, edibly alluring duplication of the jacket and waistcoat from an aristocrat's summer day look for the court of Louis XV with a dress shirt, black jeans and unlaced Dior trainers. Dior Menswear Spring/Summer 2026. (Spotlight/ Like that first look, it was a provocative encapsulation of the idea of personal style, or how you put things together to express yourself. A midnight blue velvet tail coat over chambray jeans, for instance. Or a delicately frogged white shirt over white jeans. Artistry and calculated artlessness, all of it set to a sensational Frederic Sanchez soundtrack that swung from Springsteen to Little Simz. Velvet, denim, sandals and a stock tie – 'I would love to be able to wear that,' Anderson said. 'Every time I've done a menswear show, I've always wanted to be able to do something I would love to be able to pull off. For me this is a fantasy, because it has to be. I find each person in the show equally attractive because I think they embody the 'thing.' I believe it, and if I believe it, then I want to dress like it.' Fashion as an act of faith: Anderson mastered that challenge at Loewe, and, if early reactions are any indication, he'll be able to translate that mastery to Dior. Dior Menswear Spring/Summer 2026. (Spotlight/ Finding the future in the past is not a particularly novel concept, but if I think for a moment that everything Anderson has done is almost like a movie, it clarifies how he was able to draw such an extraordinary cast of characters to Loewe and his own brand. One of them, director and frequent collaborator Luca Guadagnino, has been tracking him all week with a film crew. The designer talked about the looks in the show that were pure youthful street as his acknowledgement of Jean-Luc Godard and the nouvelle vague that transformed French cinema and French style, from New Look to New Wave. Anderson said it's also about him getting used to living in Paris, trying to work out what he loves about the city. 'I'm on Île Saint-Louis and there's something about this idea of tight grey corridors that have light at the end. No matter when you see people, they're always backlit. And everything looks great backlit. I find it fascinating because it feels like cinema somehow, and really that is how we approached the challenge.' Dior Menswear Spring/Summer 2026. (Spotlight/ The city is currently plastered with posters of artist Jean-Michel Basquiat and footballer Kylian Mbappé, the faces of the new Dior man (or, as Anderson says of Mbappé, 'a new vision of France'). 'I have to find a new language,' Anderson said. 'It's going to take time, and I don't want to be rushed. Anything is possible. At the end of the day, it's a job. And you always have to remind yourself that you love the work and you're gonna get the job done.' Consider this debut a great appetiser for the much more complicated meal to come. Dior Menswear Spring/Summer 2026 Dior Menswear Spring/Summer 2026 look 1. 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Yahoo
20 minutes ago
- Yahoo
Brad Pitt's Los Angeles home 'ransacked', police say
Actor Brad Pitt's home in Los Angeles has been ransacked by a trio of thieves. Three suspects broke into the home in Los Feliz late on Wednesday through a front window and "ransacked the location," according to the Los Angeles Police Department. Police did not confirm the home belonged to the Oscar-winning actor, but the address matched that of a home Mr Pitt purchased in 2023. Authorities said the suspects fled with stolen items, though it's unclear what was taken. The actor was not home at the time of the burglary, US media reported. Mr Pitt was in the UK earlier this week for the London premiere of his new film F1, which is released on Friday. He was accompanied by fellow Hollywood star Tom Cruise and Lewis Hamilton, who has seven Formula One World Drivers' Championship titles. Authorities said the burglary happened around 22:30 local time on Wednesday. LA police would not confirm the value of items stolen. The BBC also contacted representatives for the actor. The large three-bedroom home sits just outside Griffith Park - which is home to the famous Hollywood Sign. It is surrounded by a large fence and greenery that shields the home from public view. The burglary follows others reported in the city targeting other celebrities, including Nicole Kidman and Keith Urban. Last month, a man was also arrested on stalking and vandalism charges after he allegedly rammed his vehicle into the gate of the home of Pitt's ex-wife, Jennifer Aniston. Get our flagship newsletter with all the headlines you need to start the day. Sign up here. Brad Pitt hails Silverstone as F1 hits cinemas From selling ice-creams to working alongside Brad Pitt Angelina Jolie and Brad Pitt reach divorce deal Why has the Pitt and Jolie divorce taken eight years?


Time Business News
32 minutes ago
- Time Business News
Born in Boone, Adapting to Asheboro, Ty Bru's MTTS celebrated
Boasting 20 years, over 100 albums released, 80 plus films produced, nearly 200 fashion designs, well past 1000 events planned and 2000+ participated in, iced over with hundreds of various awards in dozens of countries, Mightier Than The Sword Records was founded in 2005 at Macado's in Boone, North Carolina by Tyler 'Ty Bru' Brueilly and has evolved into a powerhouse of art and entertainment. Brueilly reflects, 'There's absolutely no way you could have told us that night of MTTS' inception that it would grow to be this. From simply needing a name attached to my European tour, to a legitimate internationally recognized entity, it's been a wild ride and here we are wrapping up day 3 of our 20 YEARS OF MTTS festival with our very last SWORD SATURDAY, what a fucking rush this is.' We caught up with Ty for a few moments as he was juggling many responsibilities backstage at the historic Sunset Theatre in his hometown of Asheboro, N.C. The scene was a hip hop potpourri, back stage, on stage, in the lobby and in the crowd, as Brueilly hosted and organized the venue's very first hip hop show in it's near 100 year history.'I've seen this stage since I was a kid and always wanted to bring hip hop here, I'm known for breaking ground in Asheboro with doing lots of things FIRST here. I assembled the avengers of SWORD SATURDAYS of the past, lots of great acts. We had to pivot hard with a lot of changes in the month prior to this segment, but the main component was celebrating 20 years with people that had major impacts and contributions to MTTS. It was a beautiful thing.' Brueilly said of Saturday's for the rest of the four day festival, May 22-25, 2025, Thursday began with the formal introduction, as Brueilly and the Sunset Theatre teamed up with Asheboro Randolph Chamber of Commerce for a special Business After Hours session, Friday's highlight was Mighty Comedy Night II which was a tribute to the life of Neil Hoover. Sunday was a full day of independent film screenings with guest of honor Carl J. Grasso, as a makeup date for a January date that was postponed due to winter weather. Brueilly finishes up, 'Bringing this to my hometown has been truly an honor and a dream come true. So many things in our 20 years of MTTS we had to do in other cities and areas, now I've been able to bring it all home to Asheboro in a very comprehensive art/entertainment festival showcasing everything we can do and provide our city and it won't stop there, I'm working with Adventures In Theatre and their summer camps, also at the Sunset Theatre and we have one more MTT focused event December 11, 2025 there as well. It would just be nice for our community to meet that demand they have for this with action. So I'm sending out a call of action to our city to do so, come out and support this artistic revolution, we need it and you need it too.' TIME BUSINESS NEWS