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Toxic waste bubbles in a ship waiting permission to dock in Odessa. Frank Martin turns down a job in Marseilles, referring it to a pal. A short time later, the pal, wounded by gunfire, crashes his car into Frank’s living room and dies, leaving a young woman in the back seat. The employer of the dead man shows up, forces Frank to take the job, snaps a bracelet on his wrist that will explode if Frank gets more than 75 feet from his car, and sends Frank on a journey east with the young woman and a trunk full of something. She’s Valentina, nearly mute. Can Frank figure out what’s going on, deliver the package, and escape alive? And what does the ship have to do with it?
Transporter 3 (French: Le Transporteur 3) is a 2008 French action film, It is the third and final installment in the Transporter franchise. Both Jason Statham and François Berléand reprise their roles, as Frank Martin and Tarconi, respectively. This is the first film in the series to be directed by Olivier Megaton. The film continues the story of Frank Martin, a professional “transporter” who has returned to France to continue his low-key business of delivering packages without question.
Transporter 3 was released by Lionsgate in the United States. On its opening weekend, the film opened at number 7 with $12 million The film grossed $31.7 million in the United States and in Canada and $77.3 million in other countries, for a total gross of $109 million worldwide, making it the highest-grossing film in the Transporter trilogy.[5] Transporter 3 was released on DVD and Blu-ray Disc on March 10, 2009 in the United States. 1,108,030 units were sold, bringing in $19.7 million in revenue.
About the Story
An International Waste Management Corporation, ECOCORP, has secured the rights to operate a facility in The Ukraine. In order for them to import the toxic waste that they plan on dumping at the various sites they have purchased, they need to get the correct documentation signed by Leonid Vasilev, the Minister for the Environment. Leonid, a staunch defender of the environment, refuses to allow his country to be polluted by these rapacious businessmen. In order to pressure him to sign, EcoCorp hires Jonas Johnson, former Delta Force, now a private security contractor, to find a way to get him to sign the papers.
Johnson kidnaps Leonid’s daughter, Valentina, in an effort to leverage him to sign the required documents. Johnson’s plan is to keep Valentina constantly moving so Leonid cannot mount a rescue effort. He tries to hire Frank Martin to do the job of driving her from place to place, but Frank turns the job down. Frank gives Johnson’s men the name of a friend who might be interested in the job.
Frank’s friend, Malcolm, takes the job, but is not up to pulling it off. He is shot by Johnson’s men, and ends up crashing his car, with Valentina in it, into Frank’s house. When Frank tries to help Valentina out, he is knocked out, and when he awakes, he finds himself compromised by Johnson, and forced to take the job he did not want.
Frank drives Valentina from city to city on Johnson’s instructions, all the while being pursued by Leonid’s agents, and closely monitored by Johnson. Frank andValentina have been fitted with exploding bracelets by Johnson, which will blow them to pieces if they get more than one hundred feet from the car, thus insuring that they must obey his commands.
From Marseilles to Stuttgart, from Stuttgart to Budapest, and finally to Odessa, Frank keeps trying to find a way to free himself and Valentina from Johnson. In the course of the journey he and Valentina, who possesses a streak of Slavic pessimism that would make Tolstoy proud, fall in love. In the end, of course, Frank manages to rescue Valentina, kill Johnson, and foil EcoCorp’s effort to pollute The Ukraine.
Marseille: On the Road Again
Frank Martin’s retired? Inconceivable for his fans. And equally inconceivable for the mobsters who intend to get him back in the game whether he wants to or not. Up against a guy like Johnson (Robert Knepper), what you want is rarely the issue. And so, with a booby-trapped bracelet round his wrist, Frank Martin finds himself unable to go more than 20 meters from his precious car, or else he’ll explode. A good enough reason to head for Odessa to deliver a mystery package, and put up with the presence in his car of a mystery woman: young, carefree Valentina.
“The big step forward in this third installment is the genuine danger that hangs over Frank,” says director Olivier Megaton. “For the first time in his career, he faces a fearsome adversary who truly raises the bar. And for the first time, he falls in love, which results in him putting himself in even more danger. When he was unattached, Frank was just a cool machine. In love, he’s much more vulnerable. He allows himself to express emotion and, above all, he refuses to leave Valentina at the side of the road to save his own skin. The stakes are raised, which adds a new dimension to the character, and in this triangular face-off, we are locked into the codes of a great action movie.”
Munich: Statham’s Ready to Roll
With Corey Yuen, who worked with Jet Li and Jackie Chan before moving West to choreograph Lethal Weapon 4, X-Men, Transporter 1 & 2 and Kiss of the Dragon, coordinating the fight sequences, Olivier Megaton says his aim was “not to make any scene like any of the fifteen movies that are the benchmark. I always try to start afresh and invent the scenes I’m going to shoot from A-Z. The idea was to move the franchise forward. For example, in the Otto’s Garage scene, even though Jason Statham fights with every tool within reach, we’re a long way from Jackie Chan’s style.”
That particular scene, in which the actor performs a wonderful “strip-fight” also provides Olivier Megaton a chance to showcase the rippling muscles of Jason Statham, who followed a strict diet before shooting. “In the last year, he’s worked hard to sculpt an exceptional body shape. The loss of weight shows in his face and heightens his charisma. Obviously, we tried to make the most of his athletic physique. The idea behind the striptease scene was to show Valentina that Frank wasn’t just a bruiser. Not only is he a battler, but also he has a dream body, and that’s what first appeals to her. It’s only logical for it to appeal to female audiences, too.”
Another enjoyable scene for audiences is the final showdown between Frank and Johnson, the explosive denouement to the chess game that they play out throughout the movie. “I wanted to make sure that, in the fight, Frank met his match,” says Robert Knepper, “that possibly in this film Frank could be killed, that it was a match of two gladiators coming together. The gift about it was knowing that Corey Yuan was doing it and that it was going to be more than brute strength, it was going to be something of a mental challenge with Eastern philosophy in there, too.
I had studied Tai Chi a few years ago and I remember that it was based on animal imagery, and I kept thinking of the preying mantis, how it walks and then scurries and attacks. Most all of the rest of the fight I was able to do, but there was one particular move where I said to Corey, Stunt double. We shot the scene in two days and it’s exhausting, but it’s also exhilarating because you find reserve of energy and you go back and do it again. You really do feel like you’re at the Olympics.”
Budapest: Cranking Up A Gear
After the huge success of The Transporter’s first two adventures – over 1.5 million admissions in France and over $50 million GBO worldwide – the third episode had to raise the bar even higher in the action scenes. “In Transporter 1 & 2, except for a standout scene, the action scenes lasted 30-40 seconds. Since then, movies like the Bourne Trilogy or Domino by Tony Scott have cranked it up a gear. Even with a smaller budget, we had to follow those movies and show that we could take it further also. We may not have had 75 million euros, but we had plenty of ideas!” (Olivier Megaton)
With a demanding shooting schedule that stretched from February 18 to July 9 2008, Transporter 3 features unlimited stunts, chases and fights, giving Frank Martin no respite.
The principle weapon in the battle to stay on schedule and within budget was the extremely precise storyboard produced by Jonathan Delerue (Hitman, Frontiers). “Given the number of action scenes in the movie, we couldn’t waste any time on set, so it was vital that everybody should have a clear grasp of what we were doing. In the end, everything that’s in the movie was in the original storyboard.” (Olivier Megaton)
As far as the stunts were concerned, another expert came into play: Rémi Julienne, whose credits include six Bond movies, most of Belmondo’s pictures and, more recently, The Da Vinci Code. The director says, “With Rémi, our aim was to be as innovative as possible, not using anything he’d already done on previous movies. All the car chases are filmed at real speed, without models, to capture the pace and inertia of a car going into a spin.” Unlike most modern action movies, 3D was used as sparingly as possible, with most stunts being performed on set. “That’s where you have to come up with new ideas. How do you jump a car onto a train without it smashing up? How do you slide it down the side of truck? Every day was a different challenge and most of the solutions were dreamed up on the spot. That’s what made the shoot so exciting and such fun.” (Olivier Megaton)
Most of the chase scenes are structured like action symphonies, which resulted in crumpled fenders, high-risk chopper flying and even the use of a purpose-built quad in the streets of Marseille.
Odessa: New Faces
As in the first two episodes of the franchise, Transporter 3 reunites Frank (Jason Statham) with Tarconi (François Berléand). The only French actor in the gang can’t hide his pleasure at being reunited with his British counterpart – “We fall into each other’s arms every time” – nor the stress the bilingual role causes him. “The first few days are hard work because my English is very poor and you don’t act in the same way in English as in French. You don’t accentuate the same words. That means I have to work with a coach, and it’s one of the few times I actually feel nervous on a movie set.”
Alongside him are two newcomers to Transporter, starting with the bad guy, played by Robert Knepper, known around the world as T-Bag in Prison Break, and recently seen on the big screen in Hitman. “The amazing thing about Robert Knepper,” says Olivier Megaton, “is that, besides his obvious charisma, he has a very precise way of talking and moving. When you’re lucky enough to work with an actor of his caliber, every detail comes into play. He built every possible mannerism into his character to create this astonishingly unnerving guy. I showed him Phone Game to give him an idea of what I was looking for, and more specifically Kiefer Sutherland’s voice as he talks so softly to Colin Farrell, while actually screwing up the guy’s life. Opposite a wonderful actor like that, Jason was in a risky position. I remember the first day of shooting, when they were face to face for the first time. Jason immediately sensed that Knepper had raised the bar and he responded in kind.”
Natalya Rudakova, a.k.a. Sasha, brings a little femininity to this very masculine world. Spotted by Luc Besson when she was crossing a street in New York, she makes her movie debut in Transporter 3. “I was walking in the street and I met with Luc and he asked me to try some acting lessons and that came out good. Then I had an audition. It’s the first time I was in front of a camera. My whole body was shaking.”
For Olivier Megaton, it was this freshness that he had to capture on screen to convey the spontaneity of Sasha’s character, Valentina, whom he describes as “the complete opposite of Frank, who is so self-controlled. She lives for the moment. Working with a debutant is a bit like directing a child whose freshness is the most important thing.” “Valentina loves life,” adds Sasha. “She’s really crazy like a lot of modern young girls. As the only female character in the movie, she brings spontaneity and spice to the picture. She’s a real volcano. Without her, we’d get bored, wouldn’t we?”
Natalya Rudakova Talks Transporter 3
How did you end up making this movie?
I was just walking down the street and I met with Luc, and he asked me to try some acting lessons, which I tried. It came out good, I was excited and it was interesting to act, and then I had an audition, and then I became an actress on this movie.
Just walking down the street in NYC?
Yes, for my work. I used to work as a hairdresser. I was just walking down the street and his assistant stopped me and asked me to drink some tea with them, and he asked me to try some lessons, so I was excited.
This is your first movie?
Yes, it is. It’s the first time… Well, I had a couple lessons, and I realized I wanted to do that, and it’s a really exciting experience.
It wasn’t your childhood dream?
I never dreamed of being an actress, I never thought of it, but when you have the opportunity to try something new… When I tried out, I didn’t know for what, it was just trying, and then I liked it and teachers started telling me that I had some potential. First of all, it was really exciting to relive this character, then it was a really interesting experience, but I never dreamed of doing this.
Did you know Luc Besson before?
I knew his movies, but I didn’t know his face. I knew the name. The movies are really popular. I love his movies, really original and really amazing movies.
So when he asked you to play in T3, you didn’t hesitate?
Well, he didn’t ask me to play in the movie, he asked me to try some acting lessons. He never said for what, so I was kept in the secret. And then I had an audition that I was really worried about because it was my first time in front of the camera and there were lots of people asking me to do weird stuff like change emotions. For the first time, it’s really weird for a person who’s never done that before. But it was really amazing. My arms were shaking, but I had a great time. It was my first time in CityplaceParis, also. Then, a week later, when I found out I was going to be in the movie, I was crazily excited.
What did you think when you read the script?
I thought it was really colorful, with lots of emotions, jokes, and passion for life. It’s just really fun and breathtaking, and lots of speed inside the movie. It’s just really emotional and fun. You’re never just on one level, you always feel the emotion. It’s just lots of action and fun. It’s amazing.
For you, is this a popcorn movie? Do you like them?
I do like popcorn movies, because it’s like a rollercoaster. You go to the theater and for two hours you just smile. It’s a way to relax, it’s like an anti-depression pill. Some movies, you have to think what they’re doing, but with popcorn movies, you just have to relax and they take you to amazing places.
Can you tell us about your character?
Valentina’s a girl who loves to live. She’s a little crazy, well she’s young so that’s why she’s crazy. She has lots of color in her. She’s just an amazing, young, beautiful girl in the movie.
What does she bring to such a boys’ movie?
My character is the only female in the movie, so she brings lots of sensitive parts, lots of color, lots of love, spontaneous emotions, spontaneous moves and fun. She’s really fun and crazy. She brings lots of color and lots of flavor to the movie. Without her, it would be boring, wouldn’t it?
To begin with, she’s very mysterious, doesn’t talk. Is that why Frank falls for her, because they’re the same?
In the beginning, Valentina doesn’t care about Frank Martin. Actually, she’s scared. That’s why she’s quiet. She already had this kind of experience with another transporter, who was trying to transport her. She’s just scared, which is why she doesn’t speak that much. They just have this kind of connection. He plays her father figure, protective, and she needed this kind of love and protection, and they connect there. Russian girls are like that.
So, it was easy for you?
Well, kind of, but my character is more wild and crazy than me. She’s spontaneous, like a volcano or firework. She cannot sit in one place, she has to do lots of things, running around, driving everybody crazy. She just brings lots of color, emotions and flavor to the movie.
What was the first day on set like?
My first day was really cold and scary, because everybody spoke French – they were trying to speak English to me. They were really nice to me, protective, there for me. They explained how I should stand for the lights, how I should speak, how I should work with the camera, so they were really knowledgeable and protective. They just accepted me from the first day. For the first few hours, I was scared to death, then I started to get used to it. The second day was really good. I got used to it pretty fast because the whole crew was so welcoming, protective. They were there for me. Everybody was amazing.
What was the most difficult part?
It was just a breathtaking experience. I just started shooting and next thing I know, I wake up and the movie’s done already. The hard part is that it was freezing cold. We started to shoot in the winter, and I was in a small dress playing summer. That part was hard, focusing on acting and not being distracted by the cold. Like I said, the crew was amazing because they were running behind me with coats and warm stuff. It was just a breathtaking experience.
What was your relationship with PersonNameProductIDJason StathamJason Statham?
I got lucky that, in my first movie, I had Jason as a partner because he was really supportive and I connect on an emotional level with him in the scenes. It’s really important because he was sending me these emotions with his acting, and we really connect there. He was really helpful for me. The same with Robert, he was an amazing person to act with. I just got so lucky with the actors on the movie because they were really supportive with emotions and everything.
Did you know PersonNameRobert Knepper’s character on Prison Break?
I didn’t know him, but I sensed something bad about him. Behind the scenes, Robert’s a really amazing person. He’s sweet, nice, really warm, but there’s something there, something about him. When he was playing his character in the movie, it was amazing. I didn’t even have to act, it was just so there. He has this weird, scary touch inside him, but that’s not who he is in real life.
What about working with Olivier, his work and the French crew?
I saw one of his movies, The Red Siren, and it was really good. I watched it before we started, so I’d know who I was working with, his vision and everything. Olivier and the whole crew was there for me. Everybody was working as a team. We didn’t have any problems or conflicts. It was like family for three months. That helped me a lot because I was away from my family for three months. I didn’t know anybody here in country-regionplaceFrance, so it was like a big family. Olivier is a pretty amazing person, lots of fun and very funny.
And the French?
I’ve never been to France before, but I was so happy that this was my first experience here. I saw France, not like a tourist but in a different, beautiful way. French people are so warm and it’s a lot like my native country, CityplaceSt. Petersburg, and it’s just so beautiful. I was glad to have this experience to see the real France not just the tourist areas. And French people are amazing, so much fun, lots of good food… I keep saying it’s amazing, but it is, it’s like a fairy tale.
Were the action scenes difficult? Did you have a double?
I don’t think I needed a double because I didn’t have the fights like Jason had. I did some fighting, little things, but I was excited to do it myself. I would never have given it to my double to do, never in my life. I was just so excited to do everything myself, even the smallest parts.
You never hurt yourself?
Yes, I hurt myself a lot. I was scratched everywhere, with bruises all over my body but it was lots of fun and it’s worth it. I would do it again and again and again…
Transporter 3 (2008)
Directed by: Olivier Megaton
Starring: Jason Statham, Robert Knepper, Natalya Rudakova, Francois Berleand, David Atrakchi, Katia Tchenko, Jeroen Krabbé, David Kammenos, Silvio Simac, Paul Barrett
Screenplay by: Luc Besson, Mark Kamen
Production Design by: Patrick Durand
Cinematography by: Giovanni Fiore Coltellacci
Film Editing by: Camille Delamarre, Carlo Rizzo
Costume Design by: Olivier Bériot
Set Decoration by: Cécile Deleu
Art Direction by: Arnaud Le Roch, Patrick Schmitt
Music by: Alexandre Azaria
MPAA Rating: PG-13 for sequences of intense action and violence, some sexual content and drug material.
Distributed by: Lionsgate Films
Release Date: November 26, 2008
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