Last summer, I was pleased to attend a unique display of Johnon Frankenheimer's "Grand" Sommerville Theater. We have been warned in advance that the rare 35mm printing we were supposed to see, succumbed to the elements in the last few decades, resulting in Magenta's shine throughout the film. Optimally you want to see a movie in the best conditions, especially for the first time watching. Every trembling I had about his faded appearance was intermittent in the first 10 minutes, because I witnessed the most emerging spectacular sequences of the racing I have ever seen. It seemed that printing was maintained for dear life until it did it near the 3 -hour finish, and from God, it made an impression.

Almost every car film has due to the 1966 races in 1966 in 1966 Because of how he transformed the way the directors showed high -speed excitement. The Grand Prix has mounted 65mm cameras on Panvision on various racing cars in formula that can catch actors like Jameseshei Garner from behind the wheel, as well as their surroundings, through a remote control as they were moving at a speed above 100mph. He invited you to feel like you were really there in the car, which was a significant step forward in a medium where the rear projection was the way to go with driving scenes. It was an innovation film, one that would inspire films like "Le Mans" and "Thunder Days". The revolutionary spirit of "Grand Prix" is still alive and well in cinemas right now with Josephosef Kosinski's "F1® film" (yes, that is its official title).

Just a few flights, Kosinski and Starwarr's film Daredevil Tom Cruise defied their chances and pushed the restrictions of air photography with the submersible driving that was a "top gun: Maverick". Similar to the "Grand Prix", she placed the audience at the driving places of these metal death machines, with the actors actually in the vehicles. After hearing that Kosinski would make a Formula One movie, it made me incredibly excited when I see how it will convey its lessons from working tirelessly because that film looks good as it is.

/The movie Whitney Seibard found a lot of mistakes with F1 in his review, Mostly with Brad Pitt's characterization of Sonny Chase, but he still couldn't deny the pure excitement of the races sequences. Kosinski understands the attractiveness of the exciting excitement you want from a summer blockbuster. "F1" may not reach Maverick's emotional heights, but similarly boasts a story of a middle -aged man who regains the excitement of his glorious days by returning the controls of a very dangerous vehicle that can move at the speed of light. "F1", however, is not a completely vanity project for Pete, as he is just as good as his co-Starvala in Damson Idris, played by Hotshot Up-and-Commissioner Oshoshua Pierce. Together, the two go on an adventure with the Globe (Silverstone, Monza, Las Vegas, Suzuka, Mexico City, Spa, Hungarling and Abu Dhabi) to get their team, APXG, out of the bottom. The film undoubtedly extends its duration, but after the two stands behind the wheel, it is turned off in the races. Kosinski believes that the audience knows they do real, going so far as to make the scenes of the races to feel realistic by progressing with technical innovations to do it all possible.

In case this is your first Formula One racing exposure, you rarely get a look at the right cockpit drivers during the broadcast. Similar to Maverick, Kosinski and cinematographer Claudio Miranda, they wanted to bring a similar experience to watch the "headquarters" that gave you first -hand Pete and Idris behind the wheel. This will require a similar technique used in the "Top Gun" sequel, where they were able to set up small cameras of Sony Venice Rialto in the F-18 cockpits.

Given the form of cars in which the actors were a much tougher space, Kosinski knew he had to push the envelope and build his "F1" vehicles from the ground to make them a perfect machine (through Screencrush):

"We worked with the Formula One Mercedes-up team to build our racing car, and as we build it, we worked in design 16 different mounting points for our cameras and special bays under the radiators to keep the batteries and recorders and receivers.

The Sony 6K movie theater is not only the smallest ever produced, but was able to withstand the Extencaleal G-strength. (through Magazine for cinema ym). Akin at the Grand Prix, Kosinski was able to work with Panavison to create a camera that is able to capture so much flexible promising drivers and their surroundings (through Screencrush):

"Pan -shot is kind of turning your head. It's a very natural way to get it in the world. But what I liked about it was when you look at the nose of a car rocket on the track and then pay 180 degrees and watch Brad Pitt looking at you with your wheels,

Given the huge budget of the film, which is rumored to be near $ 300 million, Kosinski seems to have used the money for good use to further defend his craft. It is much like the Jamesesheims Cameron puts a wealth of resources in his extensions "Avatar". For, however, all this equipment, much of what makes F1, is so exciting to witness the actors working on the vehicles themselves.

Maverick's cast went through a vigorous training program to be ready to go to the sky, so it is a coincidence that the F1 will have to go through something similar to be ready for the track. Kosinski puts Pete and Idris through a four -month course to be ready to shoot at the real Formula One car (through Top equipment):

"We recorded all the races you see in the movie for Real, and then using a little Hollywood magic, we all weave together and make us feel like Sony Chase and Oshoshua Pierce are the 11th team of races with all these drivers."

Idris feels particularly lucky that he can shoot at 14 different events at the Grand Prix after all that training (through Magazine Sharp):

"The beauty of what was that we had to go to the Grand Prix. Would we trained on the track, and then we would have these 10-minute slots during the race weekend to get our shots with the crowd, with mutilation of Formula 1", "

Production came a bit of a slowdown when the SAG-AFTRA strike came into force in 2023, while the cast and crew were at the British Grand Prix of that year. But instead, causing a hamper, it was actually a blessing in the masking of a pit because it allowed him to practice driving for another year (through Gq).

In an ERA where it seems easier to use a visible CG to simulate danger, talking about Kosinski, Pete and Idris, along with the entire F1 team, that they were all as dedicated to catching the excitement in the camera. Balloon budgets are almost certainly a problem with many Hollywood projectsBut this was not an ordinary movie. "F1" was made by the country to bring the audience back to the realism of the High Oktan, set on the go by the Grand Prix, while moving the media forward, so other directors can build what they did here. Whatever you end up thinking about the movie itself, it's pretty special.

The F1® film is now being played in cinemas all over the country.