Having made films like ‘Amy’ and ‘Senna’ where I was like, ‘Let’s not be chronological with this film. In Season 4, we look at some races through three different lenses in three different episodes. We could be much more fluid and freestyle with the way we approached it. “One of the things he impressed upon us was that we didn’t have to be entirely chronological. He really did open our minds to how we could build this show,” Gay-Rees said. Big props have to go out to Nat Grouille, the executive at Netflix that we’ve worked with since day one on this. Series executive producer James Gay-Rees said that it’s been a helpful guiding force from the start. Over that time, though, this Netflix documentary series has unlocked a nifty trick to better tell the stories of the drivers and teams that make up this worldwide auto racing circuit: It moves backwards. Mining drama from something already definitively decided months ago is a challenge that “ Formula 1: Drive to Survive” has faced since it debuted its inaugural season in 2019. Making a show about a global phenomenon, with the outcome decided long before a TV season ever makes it to audiences, seems like it could be a hindrance.
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