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Gout Gout to make international debut with sights set on Tokyo world titles

Gout Gout to make international debut with sights set on Tokyo world titles

The Guardian5 days ago

Gout Gout will take an important step on his athletics journey this week against a formidable field on his international senior debut in the Czech Republic, in race that only strengthens the parallels between him and sprint great Usain Bolt.
Returning to Ipswich Grammar after a historic Australian season, the 17-year-old has now travelled to Europe in the mid-year school break to compete in Ostrava and at the upcoming Diamond League meet in Monaco in a programme designed to prepare him for the Tokyo World Championships in September.
This week's meet – which takes place early Wednesday morning Australian time – provides a first glimpse of the teenager at the epicentre of global athletics, and presents the challenge of competing against senior sprinters on the professional European circuit for the first time.
'The main goal of the season is obviously world championships,' Gout said in the Czech Republic. 'Let's see what I can do on the world stage against professional athletes. Hopefully I can run fast and perform well.'
After his record-breaking performances over the past 12 months, including the Australian 200m record of 20.04s and sub-20s wind-assisted 200m times, athletics observers have identified as Gout as one of the world's brightest talents. The resemblance of his style to Bolt's, together with the Jamaican's acknowledgement of the similarities, has done little to temper expectations.
The links between the pair will only grow deeper with the Australian's appearance in Ostrava. When Gout was not yet six months old, a 21-year-old Bolt underscored his potential in the same meet with a blistering 19.83s 200m, then his fastest time overseas and still a meet record. Later that year, the Jamaican would win his first Olympic gold medal at the 2008 Games in Beijing.
But even before that, Bolt ran a 20.28s at the meet as a 19-year-old. He even travelled there in 2004 as a 17-year-old – the same age Gout is now – although withdrew at the last minute due to injury.
Gout again faced questions about his similarities with Bolt this week. 'It definitely feels great, I've heard that a lot of sprinters run here really good. I know Usain Bolt ran here nine times, so the event clearly has a great tradition,' he said.
'Who doesn't want to be Usain Bolt? Being compared to Usain Bolt feels great but I would like to put my personality in the upcoming story.'
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This year that narrative is focused on Gout's performance in Tokyo, and his upcoming races in Europe are designed to hone his preparation. The 200m field this week includes two athletes who have run legal sub-20s times.
Cuban Reynier Mena, 28, has already won Diamond League meets this year in Oslo and Stockholm, where he recorded his season's best of 20.05s. Britain's Nethaneel Mitchell-Blake, 31, was part of the British men's 100m relay that won bronze at last year's Olympics.
Gout said he has been working on his strength and his starts since the Australian season ended in April. 'I'm looking forward to going out on Tuesday, seeing how my training has been, how I have improved,' he said. 'I know there is going to be a good crowd so I hope to have some fun.'

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Less death, more social media: Formula One films decades apart reveal a changed world
Less death, more social media: Formula One films decades apart reveal a changed world

The Guardian

time2 hours ago

  • The Guardian

Less death, more social media: Formula One films decades apart reveal a changed world

'Let's try to get the season off to a good start, shall we? Drive the car. Don't try to stand it on its bloody ear.' Have you watched the movie? It's about a rule-breaking American Formula One driver, the kind who blows past blue flags and crashes into his own teammate. You must have heard of it. They shot it in real race cars, across some of the most prestigious circuits in the world. It even had contemporary world championship drivers making notable cameos on the track. If you've never watched 1966's Grand Prix, now is the time to do it. This summer's blockbuster slot may belong to F1; and its director, Joseph Kosinski, may have gone to extraordinary lengths to capture the visceral speed of the fastest class in motor sport. But John Frankenheimer got there first. The close parallels between the two films have gone largely unremarked in the reviews. Six decades ago, when the glamour of the sport was peaking, Frankenheimer set out to capture its thrill, daring and inescapable danger. He fixed cameras to the chassis of Formula Two cars – the same substitute Kosinski has used – that hared round Brands Hatch, Spa, Monaco. Like Kosinski, he spliced real race footage into his own. His American lead, James Garner, did his own driving, just like Brad Pitt. There are even occasional shots in Kosinski's film that seem to pay tribute, intentional or not, to its predecessor – the moment that recalls Frankenheimer's stylistic use of split-screen, or when Pitt jogs around the old Monza banking. F1 the Movie, to be clear, is a billion-dollar industry giving itself a full valet – shampooed squeaky clean and buffed to an impossible sheen. But it's also the kind of sports-washing I'm prepared to indulge for the sake of the pure adrenaline thrill. After watching Top Gun: Maverick at the cinema, I walked straight back in for the next screening and sat in the front row so I could pretend to be in the cockpit. At the Imax this week I was practically climbing into the screen. I was definitely the only woman my age leaning into the turns, and wishing they would stop cutting back to Pitt's face so that I got more track time. For a bit of perspective, I had gone with my father, a man with a decades-long following of motor sport and a habit of nitpicking at movie details. Ten minutes into F1's opening track sequence he leaned over, and I braced for a critique of the pit crew's refuelling technique. 'We can go home now,' he whispered. 'It's good enough already.' A movie that can impress my father with its motor racing action deserves all the hype it gets. But neither he nor I had anticipated just how much it would remind us of Grand Prix – or how well that 59-year-old work would stand up in comparison. The Silverstone marching band, paraded past the clubhouse by a moustachioed sergeant-major, has given way to night-race fireworks in Las Vegas, and the ruinous cost of running an F1 team has jumped from a few hundred thousand to £100m. The stomach-buzz as the asphalt whizzes beneath you remains the same. Putting the two stories side by side does, however, show you interesting ways the sport has changed. Grand Prix's opening lingers, fetishistically, over images of working pistons and twisting wrenches. Such lowly mechanical details are almost entirely absent in F1, where the team headquarters looks like a space station and every element of the engineering process is rendered in gleaming sci-fi. There's also a lot less death. Frankenheimer's crashes are genuinely shocking – not because the stunts are realistic (and they are) but because of the bluntness of their outcome. Drivers are catapulted from their seats to fall on whatever part of the landscape they meet first. Spectators aren't safe either. The fact that horrifying incidents are a part of the public's fascination with Formula One is a recurring theme. F1 still plays on the life-or-death stakes, but does it in a very different way, as you'd expect from a film licensed by the governing body as a big-screen advert for the sport. It's also pretty keen that everyone you meet on screen shows motor racing in a good light. Team principals are loving family men! Drivers' managers are cuddly BFFs! People cycle eco-consciously to work! Everyone is so empathic and good at giving advice! It was the latter that had me balking at the chutzpah. There's a point where our hero tells the rookie to stop thinking about his social media. The hype, the fan engagement – 'it's all just noise,' he says. This in a movie that was produced, at phenomenal cost, as a method of growing hype and fan engagement. The film's only baddy, meanwhile, is a corporate investor, who we know must be a bad 'un because he spends his time schmoozing The Money in hospitality. Here's a game for you when you're watching F1: try to go two minutes without seeing or hearing the name of a brand that's paid to be there. I left the auditorium still blinking the name of accountancy software. By contrast, Frankenheimer's film seems bracingly honest. In Grand Prix, the drivers may have moments of self-reflection but they're also uncompromisingly selfish in their pursuit. The philosophical Frenchman Jean-Pierre Sarti suggests they live in denial: 'To do something very dangerous requires a certain absence of imagination.' 'Why do we do it? Why not tennis, or golf?' It's the question at the centre of every motor-racing film. In Le Mans, Steve McQueen answered by stripping out everything but the sound and feel of the track. F1's hero describes the feeling when he's 'flying' (not for nothing does he arrive walking down the tarmac, carrying a duffel like a certain fighter pilot). Perhaps that's what makes motor racing ripe for big-screen treatment – it's the most literally escapist form of sport there is. If F1 gives it the glossy treatment, Grand Prix sees beneath the sheen.

Revealed: Why Max Verstappen SNUBBED Lewis Hamilton's F1 film after he 'refused' to take part in nightclub scene with Brad Pitt
Revealed: Why Max Verstappen SNUBBED Lewis Hamilton's F1 film after he 'refused' to take part in nightclub scene with Brad Pitt

Daily Mail​

time6 hours ago

  • Daily Mail​

Revealed: Why Max Verstappen SNUBBED Lewis Hamilton's F1 film after he 'refused' to take part in nightclub scene with Brad Pitt

Max Verstappen has admitted that he would prefer to stay at home and look after his two-month old baby rather than attend black tie events after he snubbed two premieres for Lewis Hamilton 's new F1 film. 'F1', which counts seven-time world champion Hamilton as an executive producer, was released on Wednesday amid fanfare from fans and drivers. Formula One stars were given a first glimpse of the movie, starring Brad Pitt and Damson Idris, in a private screening before the Monaco Grand Prix last month. The film's premiere in New York was attended by drivers Lando Norris, Ollie Bearmam, Nico Hulkenberg and Carlos Sainz. But Verstappen swerved both events and admitted he has not even watched the film yet, instead preferring to spend time looking after his newborn. The Red Bull driver welcomed his first child at the beginning of May with partner Kelly Piquet. The Dutchman, 27, told The Sun: 'Being authentic is not something I have to try and focus on. It's just who I am. 'I don't like to be on the red carpet and dress up in a suit. I don't like to interact with people that I don't really know, and have a fake smile and fake chat. It's horrible, I just don't enjoy it. 'I prefer to hang out with my friends and spend time with my little family. I also have a lot of other projects going on outside of F1. 'So any extra work like red carpets is not what I want to do. I'm at a stage of my career where I've achieved so much professionally. 'I'm just focusing outside of it now, like my big passions to make life more enjoyable and not just being performance driven.' 'With the nappies, some are more smelly than others!' The four-time world champion even declined to take part in an extra nightclub scene for the film with Brad Pitt. Other drivers took a greater interest in the movie. 'I'll just say, for the pure F1 fan, be open-minded to Hollywood films,' Williams driver Carlos Sainz said. Formula One teams were keen to help producers and granted the actors unprecedented access to their facilities. McLaren handed them access to their Woking headquarters while Williams allowed them to use their wind tunnel for four days. Silverstone was essentially rented out to film-makers for three months in summer 2023, leaving junior drivers unable to use the track. Hamilton's production company Dawn Apollo features in the opening credits and has been credited with playing a decisive role as he helped train Pitt and Idris in Formula 2 cars. Joseph Kosinski, who was behind Top Gun: Maverick, and directed the latest potential blockbuster, revealed ahead of the Canadian Grand Prix: 'Lewis was the first person I reached out to. 'I sent him an email and said, 'I want to make it as authentic as possible. Will you help me?' And luckily, Lewis said, 'Yes'. 'He was involved in all the technical details with fascinating advice. In Hungary, for instance, he said, 'If Brad's going to let someone pass during a blue flag and he wants it to be as tight as possible, he's only going to do that at turn six'. That kind of detail, I couldn't have gotten from anywhere else.'

Less death, more social media: Formula One films decades apart reveal a changed world
Less death, more social media: Formula One films decades apart reveal a changed world

The Guardian

time8 hours ago

  • The Guardian

Less death, more social media: Formula One films decades apart reveal a changed world

'Let's try to get the season off to a good start, shall we? Drive the car. Don't try to stand it on its bloody ear.' Have you watched the movie? It's about a rule-breaking American Formula One driver, the kind who blows past blue flags and crashes into his own teammate. You must have heard of it. They shot it in real race cars, across some of the most prestigious circuits in the world. It even had contemporary world championship drivers making notable cameos on the track. If you've never watched 1966's Grand Prix, now is the time to do it. This summer's blockbuster slot may belong to F1; and its director, Joseph Kosinski, may have gone to extraordinary lengths to capture the visceral speed of the fastest class in motor sport. But John Frankenheimer got there first. The close parallels between the two films have gone largely unremarked in the reviews. Six decades ago, when the glamour of the sport was peaking, Frankenheimer set out to capture its thrill, daring and inescapable danger. He fixed cameras to the chassis of Formula Two cars – the same substitute Kosinski has used – that hared round Brands Hatch, Spa, Monaco. Like Kosinski, he spliced real race footage into his own. His American lead, James Garner, did his own driving, just like Brad Pitt. There are even occasional shots in Kosinski's film that seem to pay tribute, intentional or not, to its predecessor – the moment that recalls Frankenheimer's stylistic use of split-screen, or when Pitt jogs around the old Monza banking. F1 the Movie, to be clear, is a billion-dollar industry giving itself a full valet – shampooed squeaky clean and buffed to an impossible sheen. But it's also the kind of sports-washing I'm prepared to indulge for the sake of the pure adrenaline thrill. After watching Top Gun: Maverick at the cinema, I walked straight back in for the next screening and sat in the front row so I could pretend to be in the cockpit. At the Imax this week I was practically climbing into the screen. I was definitely the only woman my age leaning into the turns, and wishing they would stop cutting back to Pitt's face so that I got more track time. For a bit of perspective, I had gone with my father, a man with a decades-long following of motor sport and a habit of nitpicking at movie details. Ten minutes into F1's opening track sequence he leaned over, and I braced for a critique of the pit crew's refuelling technique. 'We can go home now,' he whispered. 'It's good enough already.' A movie that can impress my father with its motor racing action deserves all the hype it gets. But neither he nor I had anticipated just how much it would remind us of Grand Prix – or how well that 59-year-old work would stand up in comparison. The Silverstone marching band, paraded past the clubhouse by a moustachioed sergeant-major, has given way to night-race fireworks in Las Vegas, and the ruinous cost of running an F1 team has jumped from a few hundred thousand to £100m. The stomach-buzz as the asphalt whizzes beneath you remains the same. Putting the two stories side by side does, however, show you interesting ways the sport has changed. Grand Prix's opening lingers, fetishistically, over images of working pistons and twisting wrenches. Such lowly mechanical details are almost entirely absent in F1, where the team headquarters looks like a space station and every element of the engineering process is rendered in gleaming sci-fi. There's also a lot less death. Frankenheimer's crashes are genuinely shocking – not because the stunts are realistic (and they are) but because of the bluntness of their outcome. Drivers are catapulted from their seats to fall on whatever part of the landscape they meet first. Spectators aren't safe either. The fact that horrifying incidents are a part of the public's fascination with Formula One is a recurring theme. F1 still plays on the life-or-death stakes, but does it in a very different way, as you'd expect from a film licensed by the governing body as a big-screen advert for the sport. It's also pretty keen that everyone you meet on screen shows motor racing in a good light. Team principals are loving family men! Drivers' managers are cuddly BFFs! People cycle eco-consciously to work! Everyone is so empathic and good at giving advice! It was the latter that had me balking at the chutzpah. There's a point where our hero tells the rookie to stop thinking about his social media. The hype, the fan engagement – 'it's all just noise,' he says. This in a movie that was produced, at phenomenal cost, as a method of growing hype and fan engagement. The film's only baddy, meanwhile, is a corporate investor, who we know must be a bad 'un because he spends his time schmoozing The Money in hospitality. Here's a game for you when you're watching F1: try to go two minutes without seeing or hearing the name of a brand that's paid to be there. I left the auditorium still blinking the name of accountancy software. By contrast, Frankenheimer's film seems bracingly honest. In Grand Prix, the drivers may have moments of self-reflection but they're also uncompromisingly selfish in their pursuit. The philosophical Frenchman Jean-Pierre Sarti suggests they live in denial: 'To do something very dangerous requires a certain absence of imagination.' 'Why do we do it? Why not tennis, or golf?' It's the question at the centre of every motor-racing film. In Le Mans, Steve McQueen answered by stripping out everything but the sound and feel of the track. F1's hero describes the feeling when he's 'flying' (not for nothing does he arrive walking down the tarmac, carrying a duffel like a certain fighter pilot). Perhaps that's what makes motor racing ripe for big-screen treatment – it's the most literally escapist form of sport there is. If F1 gives it the glossy treatment, Grand Prix sees beneath the sheen.

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