Michael Caines, the world famous chef and owner of hotel and vineyards at Lympstone Manor, is one of the key sponsors of Williams F1. We needed to find a way of connecting up his incredible culinary skills, the fantastic hotel experience and the thrill and excitement of motor racing.
Part of the allure of Formula 1 is its promise of global travel, of experiencing new cities and cultures and the chance to taste some of the best food from around the world. We want to celebrate this rich cultural diversity with our three recipe films. Michael Caines will be seen cooking three local dishes for each of the Monza, Texas and Abu Dhabi Grand Prix, building up anticipation for the race weekends that lie ahead.
At the beginning of the films, Michael will introduce the dish he will be cooking. Then, as he cooks, he will describe what he loves most about that country’s cuisine, before giving his own personal twist on the recipes and give tips about how a viewer could try these dishes at home. As he works, we wanted to also get an insight into the busy schedule undertaken by the Williams hospitality team on a race weekend.
For our brand film, we wanted to make the most of the beautiful Lympstone Manor location to create a film that celebrates the old and the new, paying particular attention to Williams F1’s rich British heritage and celebrating the team’s longstanding commitment to the best hospitality experiences on offer in the paddock.
Thematically, Michael Caines’ interview focused on his love of motorsport and its roots in British heritage. We wanted him to discuss the similar demands facing a chef and a member of the Williams F1 team. We put a focus on how commitment, attention to detail and the will to innovate are crucial ingredients to success, but that nothing is more important than sharing it with others. That is what a Williams hospitality experience is all about.
To visualise Michael’s partnership with the team, we superimposed archival footage of Williams F1 onto the old photographs that line the walls of the manor. Moving back into the kitchen, we will then see small glimpses of collateral footage flashing across the metallic surfaces of the kitchen as the film reaches its climax.