In an exciting intersection of Hollywood and motorsports, David Pettit, senior vice president of marketing and business operations for IMSA, took on a monumental task: facilitating the filming of ‘F1: The Movie’ at the Daytona International Speedway (DIS).
Pettit’s role involved bridging the gap between the film’s producers, including renowned producer Jerry Bruckheimer and director Joseph Kosinski, and the operational intricacies of DIS.
The film, starring Brad Pitt, revolves around a character named Sonny Hayes, a former Formula One driver who turns into a nomadic racer. For the film’s opening scenes, the production team sought to depict Hayes competing in the iconic Rolex 24 Hours at Daytona endurance race.
With the France family owning both DIS and IMSA, reaching an agreement turned out to be surprisingly straightforward, granting the filmmakers access to real race footage which would enhance the film’s authenticity.
As Pettit spoke to Bruckheimer and Kosinski during a rooftop lunch, he made it clear: ‘My job is to help you break rules, to give you what you need.’
This bold declaration set the stage for a collaborative partnership aimed at creating a visually stunning portrayal of motorsport.
To showcase Hayes’ capabilities as a veteran driver, the storyline required him to win the Rolex 24, a possibility given that several seasoned F1 drivers compete in this prestigious race.
As a result, the production team immersed itself in the atmosphere of Daytona for several weeks leading up to the event.
DIS provided the filmmakers with expansive space to set up their operations, motivating both teams to work harmoniously and collaboratively throughout the filming.
Pettit noted the shared qualities between the motorsports community and the filmmakers: highly educated and motivated individuals committed to achieving perfection.
The initial request from the producers was ambitious—they wanted to ensure Hayes’ character won the race.
While Pettit didn’t dismiss this idea outright, he emphasized that if they were to enter legitimately, they would need enough funding to be competitive.
The producers, realizing the complexities of securing a win, shifted their request, asking if they could have a dedicated car for filming purposes.
However, IMSA denied this request to maintain race integrity, offering instead a compromise by suggesting a partnership with an existing team in the race.
Wright Motorsports, a team competing in the GTD class with a Porsche, agreed to shoot various race footage, allowing the production to capture wide shots of the car while keeping the integrity of the event intact.
It’s noteworthy that while the production made use of the car driven by Wright Motorsports, Pitt’s own racing scenes did not happen within the actual race framework, as his character’s Porsche did not officially compete.
Pettit explained how they managed to film a noteworthy pit stop of Pitt’s character through tactical planning.
The team extended an evening practice session by 30 minutes, allowing the crew to capture a pit stop sequence with Pitt at the wheel of the car.
‘We gave them a dedicated pit box next to the real team, enabling a staged pit stop with Brad Pitt,’ Pettit shared.
Efforts to capture climactic moments continued into quieter periods on the track, with nighttime shoots allowing filmmakers to explore creative angles and utilize stunt vehicles without the race’s chaos.
One standout sequence involved a daring request from Kosinski, who wanted to film fireworks going off from the top of DIS’s scoring tower.
Pettit, however, offered a more exhilarating option, suggesting they get Kosinski up close to the action in a golf cart.
Once at the staging area, Pettit engaged with the fire marshal to gauge how closely they could film.
With fireworks illuminating the night sky, Kosinski recognized the perfect opportunity for an engaging shot, leading to a visually striking moment in the film.
This willingness to collaborate and push for creative solutions showcased the team’s commitment to authenticity.
Throughout filming, the filmmakers placed a significant emphasis on portraying motorsports truthfully, an ideal that resonated deeply with Kelleher.
However, there came a point of contention when the production crew requested to film a victory lane celebration scene during the Rolex 24 race.
Understanding the pressures of authenticity, Kelleher expertly navigated this request with a reasoning that highlighted the real-world implications of their desires.
He reminded the filmmakers that, based on Hayes’ character racing in the GTD class, they could not film a clean, pristine victory lane moment amidst the actual race’s celebrations.
Kelleher made a compelling suggestion: to first celebrate the event’s winning car before staging a scene for Pitt’s character.
Ultimately, the filmmakers acknowledged Kelleher’s insight, admitting his approach was the most authentic way to capture the scene.
The importance of collaboration and open communication throughout the project became evident when the producers reached out to Kelleher after filming to express their appreciation.
Pitt, greeting Kelleher and his family, thanked him personally for his recommendation regarding the victory lane scene.
Kelleher reflected on this moment of recognition, sharing how surreal it was to have such a Hollywood star be grateful for his insights.
The collaboration between DIS, IMSA, and the filmmakers illustrated how bringing together different worlds can create an exceptional product that honors both cinema and the spirit of motorsport.
As ‘F1: The Movie’ prepares for its release, the efforts of everyone involved—from producers to speedway executives—serve as a testament to the passion and dedication that fuels the film industry and motorsports alike.
image source from：nytimes
