F1’s groundbreaking Netflix series faced doubts, with Ferrari and Mercedes absent in Season 1, raising fears of a potential failure.
During the first season of Drive to Survive, Netflix’s series on Formula 1, Ferrari and Mercedes F1 declined to participate, fearing for their image. Ian Holmes, Formula 1’s director of media rights, admitted he worried this decision might significantly impact the series.
“We were in talks with another global broadcaster that was interested in a series centered on a single team, so we moved away from one broadcaster and ended up finding another, Netflix,” Holmes said in an interview published by Pirelli.
“But we had no idea how successful the series would become. In the first season, Mercedes and Ferrari didn’t take part, and we thought this could spell the end of the series. Ironically, it’s probably one of the things that helped it.”
“This allowed the series to establish its identity and its storytelling style. It wasn’t about who won a race or the championship and who came second. What it showed was that people were interested in stories about individuals, organizations, and what happens behind the scenes.”
“As we’ve seen across multiple seasons since, some of the most compelling characters featured in the series aren’t from Ferrari or Mercedes. Of course, everyone wants to know more about their drivers, but this is about human interest.”
Holmes praised the work of Box to Box Films, the company behind the series, for its ability to showcase the sport’s behind-the-scenes dynamics: “Our sport is complex, a technical discipline that, I’d say, is superbly covered by Formula 1’s on-site production, which focuses on the on-track action.”
“But it’s hard to cover this traditionally. What Box to Box, the producers for Netflix, managed to do is highlight individual stories, particularly those of the drivers—and who would have thought team principals would become so popular—and so on.”
Holmes is also eager to see the success of the upcoming F1 film featuring Brad Pitt: “It will enjoy a significant theatrical release. Don’t ask me exactly what that means, but it will be in cinemas worldwide for a relatively short but sufficient period.”
“After that, we’ll end up on Apple TV. But looking at what Apple plans to do and what Warner Brothers Discovery intends for distribution, the film will be everywhere.”
With actor Javier Bardem and producer Jerry Bruckheimer involved, Holmes is confident the film will draw a new audience: “These are major names who, simply by their identity and popularity, will attract a lot of people. And, I like to think, another group of viewers beyond what Drive to Survive has already brought.”
“We’ve tried to develop a strategy to make Formula 1 content available across as many areas as possible through various formats—shorts, features, scripted series, unscripted series. We’re even developing a travel and food series. We travel a lot, and there’s incredible cuisine.”
“We’re also exploring technology, a space where we’ve already ventured. We’re considering projects for children, teens, and young adults. What we want is to introduce Formula 1 appropriately into as many areas as possible. The film is just another example.”
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F1’s Fears: ‘Drive to Survive’ Struggled Without Ferrari – Mercedes F1’s Fears: ‘Drive to Survive’ Struggled Without Ferrari – Mercedes
