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With ‘F1,' rising star Damson Idris enters Hollywood's fast lane

With ‘F1,' rising star Damson Idris enters Hollywood's fast lane

Damson Idris was trying to tune out the noise, but that's a little difficult at a Formula One race.
The British-Nigerian actor was in the zone, in character, filming the high-octane summer movie 'F1' with Brad Pitt at some of the world's most famous racetracks. While Idris' profile has been rising in recent years, after six seasons starring in the FX series 'Snowfall,' there's nothing like being next to globally famous Formula One drivers and a Hollywood megastar to put things into perspective. He was pretty sure he was going to coast under the radar.
Then he started hearing not just his own name from fans in the crowd but 'Franklin Saint,' too, the name of his drug kingpin character on 'Snowfall.'
'It's funny, because I see myself as a young actor who nobody knows,' Idris, 33, said in a recent interview with The Associated Press.
Revving up to the next level
Anonymity may already be a thing of the past for Idris, though. In May, he made a splash at the Met Gala, arriving in a full racing suit (branded with 'F1's' fictional team name APXGP) and a Swarovski crystal-studded helmet that he and two ushers removed to reveal a second look underneath. The boldness and theatricality of the stunt made it one of the most talked about moments at an event where everyone is trying to stand out.
And things are poised to rev up even more when 'F1' opens globally Friday. Speeding into theaters on a wave of great reviews and the promise of a 'Top Gun: Maverick'-style spectacle, filmmaker Joseph Kosinski is pretty sure Idris is going to start hearing people shout 'Joshua Pearce' at him too.
That's the name of Idris' character, the hotshot rookie driver of the worst team on the circuit who's desperate to prove himself and hang on to one of the coveted seats.
'I'm very excited for people to see him own this character and go toe to toe with a giant movie star,' Kosinski said. 'I think he can do anything. He's just super talented, and I feel like I'm lucky to see him at the beginning of what's going to be a pretty stratospheric launch.'
Idris tries to seek out projects that challenge him and characters who are as different as possible — from each other and, especially, from him. Joshua Pearce fit the bill in a moment when he was preparing to say goodbye to Franklin Saint. After he read the 'F1' script, the character even infiltrated his dreams.
'I said to myself, 'Man, no one's going to be able to play this part like I will.' I remember writing Joe (Kosinski) a letter and telling him that,' Idris said. 'When we finally jumped in the cars for the first time, I was hooked. I was like, 'Yep this movie's mine. It's no one else's and I can't wait to give my all to it.' And that's exactly what I did.'
Giving it his all at 180 mph
'F1' wouldn't just require playing a part. Both he and Pitt had to learn how to drive the cars at speeds of up to 180 mph. It took months of training behind the wheel the supervision of stunt drivers Luciano Bacheta and Craig Dolby, as well as physical training to adapt to the G-forces they'd feel in the car.
When it came time to film, which they did with special cameras attached to the cars, sometimes they were driving during breaks at real races with hundreds of thousands of spectators around. Every time you see Idris' or Pitt's face in the car, Kosinski said, they're really driving that car.
'It's so insane. It's actually quicker in real life and it looks really fast on the screen,' Idris said. 'In a split second, a decision could be really detrimental. But I couldn't imagine doing this movie any other way. If it was on green screen, you'd be able to tell.'
There's a bit of art-meets-life symmetry wrapped up in 'F1,' in which an up-and-comer teams up with a veteran. In the film, it's a reluctant pairing of two alphas. The mentorship is fraught, the lessons are hard-earned and the competition is not exactly friendly. Unlike Joshua, Idris is more than willing to get advice from those around him, whether it's producers like Jerry Bruckheimer and Jeremy Kleiner, his director Kosinski, or his co-stars, from Pitt to Javier Bardem.
'I speak to them every day and I ask for advice,' he said. 'The main focus is on stories, playing characters that I can be proud of and range. That's everything I'm setting out to do in this career.'
Acting was not always the goal for Idris. Like many kids in South London, he once dreamed of being a soccer player. Sure, the idea of being a renowned athlete held some appeal, but he also loved the sheer discipline it required. Then, at age 18, he realized he'd never be as great as Lionel Messi.
'When I see him one day, hopefully I'm blessed to meet him, I'm going to tell him that he's the reason why I quit football, because he was so good,' he said. 'Wonderfully, acting is a subjective industry, so I can at least cheat my way into working with Brad Pitt.'
Cheating is, of course, a bit of cheeky hyperbole for an actor who studied drama at university and continued training at London's Identity School of Acting afterward. Since he made his stage debut in Ade Solanke's 'Pandora's Box' over 10 years ago, Idris has been hitting the pavement like the rest of his peers. And he's just getting started.
What's next for Damson Idris
Idris recently wrapped filming the Tomi Adeyemi adaptation 'Children of Bone and Blood' in Cape Town, South Africa. Directed by Gina Prince-Bythewood, Idris plays Prince Inan in the African fantasy that co-stars Viola Davis, Cynthia Erivo, Chiwetel Ejiofor and Idris' idol and real-life mentor Idris Elba.
'It's not just a namesake,' Idris said. 'I feel so blessed to be able to say that I'm like his little brother and I can call him and get advice.'
Next up, Idris will prepare to portray Miles Davis in Bill Pohlad's 'Miles & Juliette,' about the jazz legend's romance with French singer Juliette Gréco. He's also founded a fine jewelry line, named Didris, inspired by his mother, and is getting into producing as well — his production company has a deal with FX Networks and wants to make opportunities for emerging talents.
And like his character in 'F1,' Idris is learning to block out the noise. He knows that a film career is a long journey and there will be ups and downs.
'It's a huge moment, but I'm fortunate to have so many people in my life that keep me grounded,' Idris said. 'I've soaked in information from people I admire who say the same thing during these higher moments: Pinch yourself, stay grounded, remember where you came from.
'That's exactly how I'm walking through this portal and into these next couple of years. I'm excited, I'm humbled, I am blessed and I can't wait to see what the future brings.'

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'F1 The Movie' shot scenes at Florida restaurant, Rolex 24. When is the film in theaters?
'F1 The Movie' shot scenes at Florida restaurant, Rolex 24. When is the film in theaters?

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'F1 The Movie' shot scenes at Florida restaurant, Rolex 24. When is the film in theaters?

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Speed, celebs, Champagne: Formula 1 is having its Hollywood moment
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Jonathan Anderson's Grunge Aristocracy at Dior
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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. 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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.' 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'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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