
Lewis Hamilton says Brad Pitt's character in F1 film has echoes of James Hunt
Lewis Hamilton has revealed Brad Pitt's character in the new Formula One blockbuster was based on James Hunt.
F1: The Movie, of which seven-time world champion Lewis Hamilton is an executive producer, was released this week.
Pitt, 61, plays the role of veteran driver Sonny Hayes, who returns to the grid after a long absence with fictional team APX GP.
Hunt, the 1976 world champion, was famed for his charisma and maverick approach to motor racing.
Speaking ahead of this weekend's Austrian Grand Prix, Hamilton said: "Firstly, I didn't write it. The writer, Ehren (Kruger), I am sure he was looking at people like James Hunt.
"He wanted a really cool character and he was looking at the characters from back in the (Ayrton) Senna days, so a combination of those drivers and I would say the James Hunt vibe.
"I don't know if that is what he ultimately chose, but that is the character I feel resembles very closely to him (Hayes) – a very cool, calm, good-looking cat and an elder statesmen within the team."
Pitt's rookie team-mate Joshua Pearce is played by British actor Damson Idris.
Filming took place across multiple races over the last two seasons and F1 chiefs hope the movie will follow the popularity of Netflix's Drive To Survive series in cracking America.
The film premiered in New York last Monday and Hamilton was in Times Square along with the majority of the grid's drivers and cast.
He continued: "When you are reading the script it is hard to see how it will play out, but then to be at the premiere in the middle of Times Square and having Brad up on the screen with a Formula One car and the F1 logo, I was like, 'holy crap, this is absolutely insane'.
"That experience was great and, for me, a moment I will never forget.
"I had seen the film so many times on my laptop, watching every different section for so long and making comments as we edited and improved it, and I was like, 'I have seen it already, so I am going to leave and go to dinner', but I decided to stay, and to see everyone's reaction after it finished was one of the coolest things and really special."
Source: PA
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Brad Pitt has spent recent years trying to coast through a reputational rebuild; despite serious allegations of violence during his marriage to Angelina Jolie, and the striking fact that all six of his children have reportedly cut contact with him, public scrutiny around his behaviour has remained curiously muted. F1 , his latest star vehicle, appears designed to reinforce his status as a heroic, magnetic figure – an aging icon with wisdom to impart, charisma undiminished, and a past blurred enough to avoid discomfort. It is a film about legacy and second chances, one that insists on emotional payoff while asking little of its lead actor in terms of depth or vulnerability. Directed by Joseph Kosinski (Top Gun:Maverick , Oblivion) and written by Ehren Kruger, F1 follows Sonny Hayes (Pitt), a retired Formula One driver coaxed back into the paddock to help revive a flailing team. 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Idris finds in Pearce a sense of internal life that pushes against the films slick surfaces, hinting at the stakes and stress that elite sport demands, especially for a young Black driver constantly reminded of how replaceable he is. The most compelling presence in the film, however, is our own Kerry Condon, whose performance as Kate McKenna, the teams technical director, brings a necessary sense of grounding and emotional clarity. Condon plays Kate with quiet intensity, a sharp intelligence, and a weariness that never tips into cliche; she is utterly convincing as someone who has spent years holding a team together under enormous pressure, and she resists sentimentalising the role, instead conveying strength through focus, stillness, and precision. Her real Thurles accent cuts through the film's Americanised tone with refreshing honesty, and her interactions with Pitt are some of the few scenes where the characters actually seem to be listening to each other, rather than just exchanging narrative signposts. Condon gives the film an anchor it sorely needs; her presence reminds us that real professionalism, unlike myth-making, is often quiet, procedural, and unglamorous. Javier Bardem, as Ruben, brings a burst of theatricality to the film, infusing the role with flamboyant energy and a sense of chaotic optimism; however, the character is largely functional, existing to propel Sonny back into the spotlight without ever challenging him in any meaningful way. The supporting cast (Tobias Menzies, Kim Bodnia, Sarah Niles) hover around the margins, delivering competent performances with minimal material, their characters flattened into symbols of management pressure, team loyalty, or comic relief. 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Formula One itself is credited as a collaborator and co-producer, and its fingerprints are all over the films pristine surfaces; this isnt a gritty expos or a character study shaped by risk, but a controlled and flattering promotional package, designed as much to protect the sports image as to tell a compelling story. Sonnys comeback is treated as inherently noble, his past simplified into a hazy backstory that is referenced but never interrogated. The script avoids exploring power dynamics, institutional politics, or even the more brutal realities of the sport; instead, it offers a smooth, reassuring vision of mentorship and redemption that resists complexity at every turn. It gestures toward struggle but refuses to inhabit it, framing transformation as something that happens through platitudes and montages rather than through real reckoning. F1 is not a failure, nor is it a breakthrough. 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