In the climax of the film, nearly 2,000 extras participated in the filming.
80 cars were destroyed during the filming.
David Mammett once modified the script for this film, but he actually rewrote the script and changed the characters and dialogue in J.D. Seck's original work. Subsequently, the producer had a dispute with the director and the American Screenwriters Guild. MGM and the American Screenwriters Guild insisted that Seke was ranked before Mamet, so Mamet asked to remove his name or use a pen name instead.
Jean-Claude Ragnitz, director of automotive stunts, was a F1 driver.
The figure skater Natasha Kirilova in the film has won two Olympic championships and three world championships, while, who plays her, has won two Olympic championships and four world championships.
In order to make Robert De Niro and Natasha McEhhorn look like they were actually driving, the crew used a right-hand drive car with a racer driving on the right side. The two actors just imitated the driving action.
, who played Larry in the filmasked to complete the stunt driving himself.
Porn star Ron Jeremy once played a small role in the film, but was later cut off by the producer.
In order to make the film show a light color, the art department does not allow extras to wear brightly colored clothing.
34 dead bodies appeared in the film.
In order to get the real engine sound, the producer specially imported the European models in the film to the United States to record the sound effects.
Although French regulations stipulate that shootout scenes cannot be filmed in the early morning, the crew of the film is licensed.
In order to play Deirdre better, Natasha McEhhorn once asked film technical consultant Mike Gould for Deirdre's action style. She believes that although Deirdre has received preliminary training, he is definitely not as capable as Sam or as capable as the American soldiers, so Deirdre will make mistakes and stumble.
There are many scenes with multiple characters in the film. Frankheimer asked to capture multiple characters at different distances in the same frame. For this, the director of photography Robert Fleis used a Super 35mm camera with a wide-angle lens.
