The Transporter

Visible crew/equipment: In the initial chase scene just after the shot where you see the two police vehicles following the BMW into a narrow lane there is a head on shot of the BMW, all throughout this shot you can see the side/brake lights of the camera car reflected in the driver's side headlight, and the grill when the BMW is really close. (00:05:00)

Visible crew/equipment: At Wall Street's home, as the two men with the axes attack Frank, when the Asian man kicks Frank in the stomach in the shot looking up, the top of the set is visible in the mirror's reflection. (00:29:45)

Super Grover

Continuity mistake: When Frank begins his revenge rampage on Wall Street's men, there's a close-up of Lai bound to the office chair with duct tape across her mouth and the slit Frank made earlier is gone, so at first it's to be presumed that it's a new piece of tape. However, when Lai pokes her head out from the back seat of the car Frank stole, there is a slit in the tape, but when he pulls her and the chair out onto the road the slit's gone, only to return again when Frank brings her to his house. (00:28:40 - 00:32:50)

Super Grover

More mistakes in The Transporter

Wall Street: You can't get anything done in a world without rules.

More quotes from The Transporter

Trivia: The BMW used in the film was an E38 735i, according to the BMW Wiki page. In the DVD commentary, Statham tells us it was a custom-built, manual transmission (when the production cars are automatics), and therefore one-of-a-kind. (00:02:30)

DavidRTurner

More trivia for The Transporter

Question: Frank is fighting a lot of bad men in oil, so everything is slippery. My question is: What are the things Frank puts on the front of his feet, to fight the slippery oil, they are like half-rollerskates?

kh1616

Chosen answer: You notice that Frank removes those items from a bicycle frame. Those are stirrup-style rat trap bicycle pedals. They have serrated metallic edges which supposedly give Frank traction on the concrete floor, despite the oily mess.

Charles Austin Miller

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