F1 producer Jerry Bruckheimer has shared insight into the making of the soundtrack for the blockbuster, which has received three Grammy nominations.
The soundtrack features an eclectic mix of tracks, including Doja Cat and Don Toliver's Lose My Mind, Ed Sheeran's Drive, and Rosé's Messy.
F1 the Album has been nominated for Best Compilation Soundtrack for Visual Media, while Tate McRae's Just Keep Watching has been nominated for Best Dance Pop Recording, and Chris Stapleton's Bad As I Used To Be has been nominated for Best Country Solo Performance.
Just Keep Watching is up against PinkPantheress with Illegal, Zara Larsson with Midnight Sun, Lady Gaga with Abracadabra and Selena Gomez and Benny Blanco with Bluest Flame in the Best Dance Pop Recording category.
Bad As I Used To Be faces competition from Tyler Childers' Nose On The Grindstone, Shaboozey's Good News, Zach Top's I Never Lie and Lainey Wilson's Somewhere Over Laredo in the Best Country Solo Performance category.
“We had the temp score together and you could see even then how much music propelled the narrative," Bruckheimer told The Hollywood Reporter. "This is a contemporary movie, it needed a contemporary soundtrack, everything new and fresh for the audience. What we don’t do is what they call jukeboxing, where the label will give you a song that they want to promote to be a big hit, and they’ll try to jam it into a scene.
"That was what we were talking about very early on. We knew it needed to be international to hit every kind of audience the same way the sport does. We gave Kevin [Weaver, Atlantic Records West Coast president] and Dave [Taylor, Apple TV and original films head of music] a template, and that sound is the genius of what they brought to us."
Following the release of F1, fans might have noticed that some of the songs from F1 the Album have been played during Formula 1 race weekends, including Drive. "They’re already playing Ed’s song at the races, and Tate," Bruckheimer added. "That’s already happening."
Weaver also shared: "There was a point here where I was like, ‘I don’t know if this is going to play as a body of work. Is this going to translate? Can it make sense with all these genres?'
"And then what ended up happening is it just informed itself. I sat down one night and I started sequencing these demos into what I felt like an album could be, and then I took that and put it in my car and listened to it on the way home. I realised at that point that this works incredibly. Just like the movie has all these ebbs and flows of emotion and feel, that’s what we got with the music."
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