Most Dangerous’ Spy’

There are so many true stories from WW2 to be told on the big screen without the need for artistic licence.

One of World War II’s ‘Most Dangerous’ Spy’s was an American woman with a wooden leg who worked for Britain’s Special Operations Executive recruited by non other than Vera Atkins.  Dubbed by the Gestapo as the “the most dangerous of all Allied spies.”… She would later work for OSS…

Virginia Hall, a.k.a. the ‘Limping Lady,’ organized sabotage and rescue operations across Vichy France, paving the way for the Allied invasion. She was America’s Greatest Female Spy.

During World War II, Nazi officials were constantly hunting down resistance fighters and the allied spies who aided them. But there was one foreign operative the Third Reich held special contempt for—a woman responsible for more jailbreaks, sabotage missions and leaks of Nazi troop movements than any spy in France. Her name was Virginia Hall, but the Nazis knew her only as “the limping lady.”

Virginia Hall did walk with a pronounced limp, the result of a freak hunting accident that required the amputation of her left leg below the knee. In its place was an ungainly seven-pound wooden prosthetic that she lovingly nicknamed Cuthbert.

Hall was raised in Baltimore, Maryland by a wealthy and worldly family that put no limits on their daughter’s potential. Athletic, sharp and funny, she was voted “the most original in our class” in her high school yearbook. She began her college studies at Barnard and Radcliffe, but finished them in Paris and Vienna, becoming fluent in French, German and Italian, with a little Russian on the side.After graduation, Hall applied to the U.S. Foreign Service, eager to see the world and serve her country, but was shocked to get a rejection letter reading, in effect, “No women, not going to happen”.

Hall went back to Paris as a civilian in 1940 on the eve of the German invasion. She drove ambulances for the French army and fled to England when France capitulated to the Nazis. At a cocktail party in London, Hall was “railing against Hitler,” says Pearson, when a stranger handed her a business card and said, “If you’re really interested in stopping Hitler, come and see me.”


The woman was none other than Vera Atkins, a British spymaster believed to be  Ian Fleming’s inspiration for Miss Moneypenny in the James Bond series.

Atkins, who recruited agents for Winston Churchill’s newly created Special Operations Executive (SOE), was impressed with Hall’s firsthand knowledge of French countryside, her multi-language fluency and her unflappable moxie.

In 1941, Hall became the SOE’s first female resident agent in France, complete with a fake name and forged papers as an American reporter with the New York Post. She quickly proved exceptionally skilled at not only radioing back information on German troop movements and military posts, but also at recruiting a network of loyal resistance spies in central France.

What 1940s spy craft lacked in technological sophistication, it made up in creativity. The BBC would insert coded messages into its nightly news radio broadcasts. Hall would file “news” stories with her editor in New York embedded with coded missives for her SOE bosses in London.


“In Lyon, Hall would put a potted geranium in her window when there was a pickup to be made,” says Pearson, who spoke to some of Hall’s aging compatriots in France. “And the pickup would be a message behind a loose brick in a particular wall, or it might be go to a certain cafe, and if there’s a message, the bartender would give you a glass with something stuck to the bottom of it.”

Hall became so notorious to Nazi leaders that the Gestapo dubbed her “the most dangerous of all Allied spies.” When Barbie and the Gestapo distributed wanted posters for the “limping lady,” Hall fled the country the only way she could, a grueling 50-mile trek over the Pyrenees mountains southward into Spain. Her Spanish guides first refused to take a woman, let alone an amputee, but she would not be deterred. The November weather was bitter cold and her prosthetic was agonizing.

At a safe house in the mountains, Hall radioed her superiors in London to report that she was OK, but that Cuthbert was giving her trouble. The deadly serious reply from SOE headquarters, which mistook Cuthbert for an informant, read, “If Cuthbert is giving you difficulty, have him eliminated.”

But Hall wasn’t done fighting Nazis. Since the British SOE refused to send her back into France as a marked woman, Hall signed up with the U.S. Office of Strategic Service (OSS), a precursor to the CIA.

In 1944, months before the D-Day invasion at Normandy, Hall rode a British torpedo ship to France, and disguised as a 60-year-old peasant woman, criss-crossed the French countryside organizing sabotage missions against the German army. In one OSS report, Hall’s team was credited with derailing freight trains, blowing up four bridges, killing 150 Nazis and capturing 500 more.

After the war, Hall was awarded the Distinguished Service Cross, one of the highest U.S. military honours for bravery in combat. She was the only woman to receive the award during World War II.

General William Donovan presents Miss Virginia Hall with the Distinguished Service Cross, September 1945.

Back home, she continued to work for the CIA until her mandatory retirement at age 60.

Virginia Hall continued to be honoured for her accomplishments. In 1988, she was inducted into the MI Corps Hall of Fame. The US Army Intelligence Center honored her further by naming a dining facility after her in 1994.

In 2006, the British ambassador presented her niece, Lorna Catling, with a Royal Warrant giving Virginia Hall membership in the Order of the British Empire. The award had been signed by King George VI in 1943, but Hall refused to accept it because it might have blown her cover.

In November 2013, a bill was introduced to Congress “to award the Congressional Gold Medal, collectively, to the members of the OSS in recognition of their superior service and major contributions during World War II.” Hall was specifically mentioned in the bill.. Hall passed away in 1982.

The Day of the Jackal BTS.

Some photos from behind the camera of The Day of the Jackal. This job was and is a personal favourite.

Surveillance training.

Eddie and Lashana were taken through a basic foot and technical surveillance package to help prepare them for their characters.

Sniper training.

We took Eddie to the Bisey range to fire an AT308 with a Schmidt and Bender scope at 1000 metre targets after a morning of intensive theory lessons, followed by applying what he had learned.

Budapest.

MI6 HQ.

Croatia.

Easter Eggs

I always like to stick a bit of Biddiss in there somewhere.

The Phantom.

In my regiment, there was a mysterious being known as the Phantom who would creep in at night amongst the sleeping soldiers and help them with their eyebrows.

So, as an homage to the Phantom, I gave one of the SF 4×4 the callsign prefix Phantom 3.1.

No one ever found out the Phantoms identity.

Duggans army number.

My last for is 5881, and on many shows such as strike back, you might just see it. So I gave it to Duggan. My first report as a recuit in depot para was also used for the scene when duggans recuit repot is read out during a brief at MI6 HQ.

The reception and that Mobile phone.

The show was a great hit and received some attention after the Graham norton show.

Here’s looking forward to season 2.

I think the production was happy with the work we provided.

Link

The Ministry of Ungentlemanly Warfare BTS.

British Prime Minister Winston Churchill and a group of military officials hatch a daring plan to neutralize Hitler’s fleet of German U-boats during World War II. Made up of a motley crew of rogues and mavericks, the top-secret combat unit uses unconventional techniques to battle the Nazis and change the course of the war.

The film is inspired by true events and based on the declassified files of the British War Department, ‘The Ministry of Ungentlemanly Warfare. AKA the SOE and small-scale raiding force (SSRF).

The film is very loosely based on the book of the same name by war journalist Damien Lewis that narrates the recently declassified history of Winston Churchills top-secret department the SOE tasked with developing a fighting force trained in irregular warfare tactics to operate behind German lines and confuse, disrupt, terrorize, exhaust, and demoralize Hitler and his thugs.

Their methodology included all sorts of ungentlemanly things one really isn’t supposed to do in war: assassinations, black operations, bribery, corruption, money laundering, and much more.

For its own tactical inspiration, the SOE and one of its naval officers, Ian Fleming, pilfered lessons-learned from a range of then non-traditional warlords such as T.E. Lawerence, Michael Collins, and Al Capone. This was war with the gloves off.

Their audacious approach changed the course of the war and laid the foundation for the British SAS and modern Black Ops warfare.

Co-written and directed by Guy Ritchie, The Ministry of Ungentlemanly Warfare has a stellar cast including Henry Cavill, Eiza González, Alan Ritchson, Alex Pettyfer, Henry Golding, Hero Fiennes Tiffin, and Cary Elwes.

The real operation, Operation Postmaster, was very different to what’s portrayed on screen as I mentioned in Timeout

 

Obviously, the ‘Official’ post operation report on Postmaster recorded no enemy kills. The report is then buried and only surfaced in 2014, and a war movie with no kills is going to play more like a documentary, which would not be as entertaining for the majority. And movies are made for everyone to enjoy!

So, to the behind the scenes drama of filmmaking and the military advisor providing military solutions to theatrical problems.

Day raid over, night raid.

The background to this scene.

Originally scripted and planned to be a night shoot, but for logistical reasons out of the productions control, the scenes could only be shot during the day.
The MA is summoned to the director for a military solution to the problem.

I suggested two options.

A. The SOE are conducting a close target recce with the intention of a night raid.
Then they see members of the SS turn up, which mean the prisoner is either going to be relocated or shot, so they have to conduct a daylight raid.

B. The majority of the soldiers get on a truck to go to the local town after a bomb, planted by the team goes off as a diversionary tactic, so the camp is not fully maned, and so a daylight raid at that point would be a good idea.

The director went with solution A because he wanted loads of soldiers to get the good news when things got noisy.

I also managed to get Fillyourboots – FYBUK a quick mention.

The 007 draw.

During the fight choreography in the bunker scene, I went into the background of the fighting techniques used by the SOE with the stunt co-ordinator and cast.

As per the teachings of SOE instructor .fairbairn and sykes I encouraged  Allan Richardson to use the instinctive one hand, three, quarter hip draw.

Did you know?


The first actor to play James Bond on Dr. No. Sean Connery and his stunt double were trained in preparation for the role by weapons expert Geoffrey Boothroyd, who used the same training manuals

Cooking the Grenade.

Grenades have a second safety feature, which is a lever on the side of the main body, called the striker leaver or spoon, that is held in place by the pin. This spoon holds back a striker.

When you hold a grenade and pull the pin,, you do so in a way that keeps the spoon held down. When the spoon is released, the spring-loaded hammer strikes a primer and lights the fuse. The grenade then has an *approximate* 4–5 second fuse before the grenade detonates.

“Cooking” the grenade involves releasing the spoon, but holding onto the activated grenade for a few seconds, letting the fuse burn before throwing it, to limit the opportunity for an enemy to react to it or even throw it back.

Allan liked it!

Hollywood Magazines

One of my pet hates and something I will pester the cast to remember. Always try to get a magazine change during dialogue. Otherwise, the editor might squeeze it out to cut the time down.

For now, these are just a few examples of advice and problem solving given to production. 

Now, for some BTS pictures of the hard work and dedication from all the cast and crew. Enjoy!

The Maid of Honour.

The Harbour.

Big bangs.

Training.

The set visitor.

One of the fun jobs to work on

Link

Military Berets. The pain in a military advisors backside and how to shape them.

The pain in my backside and a constant complaint amongst veterans who will scream and rant at the TV “who was the military advisor on that”

Last week, I ran a short poll on what grips the most, and Berets were clearly the firm favourite.

I touched on the subject briefly on a previous post titled “Who was the military advisor on that

So, I thought I would delve deeper into the subject if only to help settle the blood pressures of our armed forces community and help the costume department as a point of reference for the future.

Firstly, the recipe on how to shape a beret.

1. Take the beret and stick it on your head first, to make sure it’s the correct size, ensuring the bow is central to the back of your head, and  Pull the access cloth to the right and see how far the beret pulls towards your right ear. It should not cover the right ear.

Ensuring the brim sits straight across your forehead, 2.5 cm above the eyebrows

It’s not always easy for some.

2. Adjust the bow, so the beret is not too loose, but equally not too tight around your head as it’s going to shrink a little after point 4.

3. Fill two bowls, one with warm/hot water and one with cold water

4. Dunk the beret in warm water first, but do not completely submerge. Keep the leather band from getting wet as much as possible by holding the beret by the inner liner when dunked. Once satisfied, the outer is completely wet, take out, and gently wring the beret to get rid of any excessive water.

Don’t overdo it with the wring, or you might stretch the fabric too much.

5. Repeat the same process with the cold water.

6. Fit the damp beret on the head, ensuring you fit it as in point 1. Adjust the bow at the back again to the desired size. Place your cap badge over the left eye just above the leather band. Get a mate to lightly mark where the badge holes need to be made.

7. Take it off, then place small holes with a knife where the marks were made. Most badges come with a backing to help hold the badge up straight.

8. Once the badge and backing are fitted, replace on the head as in point 1.

9. While holding by the cap badge backing, pull the beret cloth to the right and down towards your right ear, ensuring you dont pull down so hard, you end up stretching the cloth over your right ear and shoulder.

At the same time, smoothly shape the left side over and style around the cap badge to your desired style.

10. Once satisfied, keep on your head for a few hours if possible, adjusting every now and again. This will help mould the beret in place. If still not satisfied, repeat steps 4 and 5, but with the badge in place.  Don’t pull down at the back if it feels uncomfortable, or you will get this.

11. Once dry and happy, cut away any access bow and tuck away inside the leather band. Some units like to sow a beret backing over the band entrance to ensure no lose ends fall out.

12. The final touch is to gently shave the beret of any fluff.

The style of the beret can depend on several factors, mainly the country and unit represented and time period depicted, so the way in which the beret is shaped and worn varies. 

what might be the norm now might not have been the same in the 1940s!

Other nations styles

United States.

Spanish army.

French Tarte Chasseur.

All those steps are easy to follow if you have the time, but now, for the realities of filmmaking.

Costume departments are always up against it with longer working hours than most on set. Cast, Stunts, and Supporting Artists all need to be dressed ready for an 0800 call time. So with 500 people to get ready, you can imagine their workload.

It’s understandable if beret shaping is the last thing on their mind when a director wants to shart shooting at 0800, not 0801.

Whether I identify scenes where berets are worn during the script notes phase or on the shoot. I will always try to flag it up and offer to help the costume department where I can in advance, but you need to offer help, not rush in, and do it without asking.  Set etiquette. Very important.

At times, costume suppliers will send the berets, brand new with even the plastic inside a few days before a shoot and will stipulate the berets have to be returned as new or the productions get charged the full price. Not always the case, but I have witnessed it a few times. 

If the budget is tight, it causes problems as the costume department will be reluctant to allow the berets to be shaped correctly, worried it could affect the suppliers’ returns policy.

It’s not the costume departments fault, of course, as most would not know how or why there is a need to shape military Berets or how it won’t really affect the return policy.

As long as the productions hired a military costume specialist or advisor, that is!

However, on rare occasions I have had time with the costume department in advance and managed to convince them to allow me to take the berets out for a few days before a shoot and shape them to the respective heads during a boot camp.

On other occasions, we have simply not had the luxury of time, and the berets have turned up on the day of the shoot.  The Gentleman is a prime example of all departments working together under limited time constraints.

While on location in Turkey filming The Ministry of Ungentlemanly Warfare a new scene had been written depicting a UN monitoring team from the British Army.

A platoon commander and his platoon Sgt moving between VCPs when the main character gets an unexpected call.

It was the opening scene to the series, and first impressions last, so the main cast member Theo James needed to look the part as much as the production would allow as with the rest of the soldiers on set.

Making something work with only a few days to order gear and get it either flown over or found locally was not an easy task to as much right in the time given, and considering we were already working  flat out on the movie in the same location, the team did not do a bad job.

For example, finding the correct weapons and vehicles in turkey as the export times for licenses to fly from the UK can take weeks.

MTP uniforms, boots, webbing, berets, correct rank, and beret badges all needed to be flown over once costume was satisfied with my suggestions.

On the day of the shoot, the berets had just arrived via a flight the following night.

All the berets were brand new and of various sizes.

I received the Supporting Artists and Berets, including the main cast, 20 minutes before the shoot.

All the badges were the same standard UN badge, but there were no officer versions, so there was nothing we could do about that.

There were no badge backings, so I made one out of stiff cardboard and showed a costume assistant how to make the rest up quickly.

Luckily, the costume designer had the hot and cold water to shrink and shape the berets as best I could in the time given.

Each man was lined up as I went through the various sizes to match each head, including the main cast.

Then, I began the shaping process as described above but left out sowing a bow backing and shaving them.

But job done and on the van to set

The hard part is encouraging the actors to not pull the back of the beret down throughout the day. Something I needed to closely monitor and correct after each take.

There was a lot more to do, and make do, with what was supplied on the day, but this blog is about berets.

Some things you just have to get on with and do your best, and there will always be the armchair nit picker desperate to impress on social media. It’s just one of life’s mysteries.

So there you have it. Employ a military advisor or military costume specialist and avoid the most hated debate amongst the veterans community, because as much as some people think it doesn’t matter, it will when a lack of planning and thought makes the headlines for all the wrong reasons, which can ruin all the hard work making drama only remembered for one thing.

PB Military Technical Adviser for Film and TV

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Napoleon Boot Camps

A short video highlighting some of the bootcamps I have worked on when preparing supporting artists, stunts and cast for War and Peace. Vanity Fair and Napoleon.

I along with the historical advisor read the script, providing notes detailing any errors and providing workable suggestions to get the same artistic effect, but closer to reality.

Remember, an advisor can only advise they can not demand to a director to do it the advisors way, Its not your train set and you wont last long in the filming game if you stamp your feet at every inaccuracy . However, I always try to move the drinks cabinet closer to berlin during filming. Some I win and some I lose.

I then set about writing up a boot camp training plan, depending on the year being filmed.

For the British army I used The drill manual The Rules and Regulations for the manual and platoon exercises, formations, field exercise and movement 1807 addition.  The Dundas manual and the Imperial Bayonets for the french etc.

Depending on the action or scenes, I will take from the manual what is required and apply it to the training program. I may only have four days to get 300 men to a respectful level of competency in drill, musket training, and cannon training before filming. 

Not everything can be covered in the time I am given and some drill needs to be more generic so not to confuse the volunteers to much with information overload.

Health and safety, and working time directives are added to the mix, just the make the job even harder.

Try training 300 men during a productions strict COVID policy. start at 8am, every one is tested and can only start training once everyone’s results are clear, around 10am. one hour lunch break, and I must have all weapons handed in and the volunteers heading home by 1700.

During the boot camp, uniform fitting will take place which gives me even less time with each volunteer.

I run a selection day a week before the bootcamp. This insures the volunteers understand what they are letting themselves in for, and allows me to asses their suitability to attend the boot camp.

Good fitness is a must as filming days are long and can be physically demanding when required to perform intense action sequences.

The selection day allows the costume department to ensure the Volunteers can fit in the uniforms provided.

I have put together some of the action from Vanity fair and Napoleons Battle of waterloo and War and Peace Battle of Borodino. Its not a great edit, but hope you enjoy.

Napoleon Boot camp

Firstly, a big thank you to all the hard work and resilience of the supporting artists who helped make this movie.

My job is to train mass numbers in the basics of drills and tactics of the projects target period in the shortest time possible in a safe and controlled environment.

Everyone is required to go through a rigorous assessment to ensure everyone is fit and healthy.

Prior preparation and training before a shoot ensures everyone knows their role in the bigger picture on the day.

More photos will be posted in due course.

We can advise, not dictate.

Historical advisors are on hand to advise on the history of the project.

Military advisors are on hand to assist the director in forming the supporting artists to the desired look of his direction.

Advisers can only advise. We cannot insist as its not our train set.

We make drama, not documentaries.

Theatrical Firearms Explained.

In the wake of the tragic events on the set of Rust, team PB thought it best write a short blog to highlight the difference between theatrical firearms, live rounds, blank rounds and SBR UTM (silent blank rounds ultimate training munitions)

Theatrical firearms (prop gun)


The term “prop gun” or Theatrical firearm includes a variety of weapons, including nonfunctioning or nonpractical weapons, like cap guns, BB guns, top venting blanks and fake guns constructed of wood, plastic or rubber. Soft and hard rubber are primarily used by stunt performer’s when carrying out hard demanding falls.

The term also can mean real weapons modified to fire only blank cartridges, in the UK we call them section 5 firearms or practical weapons and if fired at close range they can cause serious injuries and potentially kill if not closely monitored by proficient firearms professionals. 

How theatrical weapons work

When filming with semi- and fully automatic weapons like the AK47 or M4 that are gas-operated, which means the combustion gas from firing a round is what reloads the weapon, the barrel typically has a mechanism called a “restrictor.”

Restrictors function similarly to the blank-firing adapters (BFAs) used in the military which are deliberately coloured Yellow or Red for identification, except for the film world where the device is internal, rather than attached to the exterior of the muzzle.

Theatrical weapons have the restrictor down the barrel to conceal the fact that it is a blank firing weapon.

Devices like BFAs or restrictors do two things: they help prevent debris from escaping from the barrel through the muzzle when a blank round is fired and they help the weapon chamber another round by preventing the combustion gases from fully escaping the barrel.

But weapons that are not gas-operated, like revolvers, bolt operated rifles and muskets don’t require a restrictor to help chamber another round. Which means there is no physical barrier between the blank round fired and whatever the weapon is pointed at.

The image below demonstrates the amount of flash from a futuristic weapon which was actually a Colt revolver with plastic mouldings built around. Note the amount of flash.


Live rounds

A live round or cartridge is ammunition fed into the barrel of a fully functioning weapon that comprises of several parts: 

  • The casing (sometimes called a shell)
  • Propellant material (gunpowder) inside the shell
  • The percussion cap or percussion primer on the bottom of the cartridge. (Where the firing pin strikes)
  • The actual projectile (bullet) itself

The bullet is the part of the cartridge that flies out of the gun towards the target.

Blank rounds

Blanks are shell casings loaded with gunpowder. They lack the deadly bullet point, which is usually replaced with cotton or paper wadding.

When blanks are discharged, they create the sound of gunfire, and the gunpowder combusts, causing a muzzle flash. The force of firing a section 5 firearms provides the actor with real recoil and case ejection.

SBR UTM (silent blank rounds ultimate training munitions)


UTM’s Silent Blank Rounds (SBR) cycles the firearm, which provides realistic recoil and weapon function, including bolt or slide lock-back, yet with no noise or projectile.


With the silent blank rounds the piston is solid, when it’s driven forward the gas can’t escape, so the cartridge is silent with no flash. This action allows the cycling of the firearm in an enclosed space without concerns around noise or injury.


UTM’s pistol conversions prevent a live round from fully seating inside the barrel so incapable of firing a live round


Their blank weapon conversions for rifles feature an off-set firing pin, enabling the weapon to only shoot UTM’s rim-fire blank training ammunition.


Silent Blank rounds are ideal for close-up shots to the body or camera and can be fired directly at the head without any danger to the actor.


Live rounds are to never be on set at any stage.

Set protocols 

The use of firearms on set is subject to stringent safety standards. Specialists such as BAPTY.co.uk who provide weapons for use on film sets and advise on their safe use. 

Before weapons leave the armoury they’re test fired, cleaned and inspected. The weapon serial numbers are sent to the police authority who over sees all theatrical weapons used in the UK film and TV indindustry.

Every weapon on set must be accounted for and it is the armourers responsibility to know every weapon be it non practical or practical while on set. 

When on set and not required the practical weapons are concealed and constantly manned by the armourer until required.

Before being issued weapons a safety brief and training is provided highlighting important features of the weapon and the importance of trigger and muzzle discipline. 

Strikeback 2019

A demonstration of the danger a blank round can do is provided by firing a blank round into an orange or apple to provide a visual demonstration on the effects to skin. 

Before shooting a scene,  rehearsals are mostly carried  out ‘dry’ which means no blanks are loaded in the weapon.

Dry rehearsals Strikeback 2018

Ear and eye protection will be offered to crew within the set area and the armourers will ensure saftey distances for firing in close proximity are observed along with limiting the chances of hot ejected cases bouncing back to hit the actors. 

Strikeback 2018

Once ready to shoot the armourer will show weapons are clear to the actor and show him the blank rounds before being loaded.

Once the working parts are released forward and a round is chambered the safety catch is applied and the armourer will announce ‘Weapons Hot’ to everyone on set. 

If at any time the armourer observes something they feel is not safe before and during the shoot they will step in and stop everything until any safety issue is resolved. 

If a weapon misfires during the shoot the actor is instructed to simply play out the action until the director shouts cut then simply raise their hand and with the weapons barrel pointing towards the floor and the armourers will clear and inspect the weapon. 

If the weapon needs to be fired off for safety reasons, such as a black powder musket or test fired,  the armourer will notify all cast and crew by shouting ‘ fire in the hole’ before firing in a safe direction. 

Cast, stunts and extras are all instructed on the importance of not playing with weapons during breaks, leaving a weapon unattended or walking off set without handing it back to the armourer. 

Once filming has finished all weapons are accounted for and serials checked against their lists before being packed up and taken back to a secure location, cleaned ready for the next day.



Training Bootcamps

Most productions will invest and provide weapons and tactics training to everyone participating in the action scenes involving weapons.

1917 bootcamp 2019


Military Technical Advisers along with armourers will assess and train for what is required in the script to a high standard and preferably two to three days before the action is to take place.

Cast training for strikeback and Wrath of Man

Anyone deemed unsafe or not confident around weapons will be issued a non firing weapon. 

Bootcamps ensures everyone is fully briefed and confident in weapon handling and safety protocols beforehand which then only requires a ‘remind and revise’ before going on set. 


Theatrical firearms courses 

I have touched on such courses in the past and frequently asked if I run my own course. 

I run production financed training for the specific roles required for the production who hire my services to train cast, stunts and supporting artists who are paid to learn for the required role.

Room clearance drills.

There are numerous courses out there some good some over hyped and some very bad. Some lay claim being on their course will ensure you are picked for action roles over those who have not.

Some issue certificates as proof of attendance which are waved under an armourer and advisers nose to demand or stake claim to forgoing any training and being picked first to fire weapons.

Such claims are solely a sales pitch and untrue.


The following hurdles only apply.


1. The Director choses the look he requires. 


2.  The Armourer and the military advisor will assess and decide who is safe and able to fire a blank weapon on set.


3. Armourers weapons and procedures may be different to what your course provider taught you.

Allways remember. The armourers weapons so its their rules.


Such courses are a ‘nice to have’ and will help you better understand weapon safety but they will not turn you into an overnight expert nor will they bag you your big break. Skill fade will factor in once you leave a course no matter how long it lasts. 


No firearms courses are recognised by any governing body or production. No armourer or military advisor will accept firearms certificates or even previous military qualifications as an insurance of safety on set.

Finger on the trigger punishment during a bootcamp.



To end this blog,  armorers and military advisors teach and allways remind you the “three golden rules” of weapon handling, and it’s the same on a range as it is on a film or set. 

1. You always treat a weapon be it real or plastic as if it’s loaded.


2.  You never point a gun at another person.


3.  You always keep your finger off the trigger until you’re absolutely ready to fire. 

PB Military Technical Adviser for film and tv Ltd

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ROUSTAM RAZA. NAPOLEON’S BODYGUARD.

Roustam served Napoleon for fifteen years. Also known as Roustan or Rustam and was Napoleon Bonaparte’s famous Mamluk bodyguard.

born in Tbilisi, Georgia to Armenian parents. At thirteen Roustam was kidnapped and sold as a slave in Cairo.

The Turks gave him the name Idzhahia. The sheikh of Cairo presented him to General Napoleon Bonaparte in 1798 where he became
the great emperor’s famous bodyguard, and soon accompanied Napoleon in peace and wars.

Every morning Roustam, together with Louis Constant Wairy, the Emperor’s personal valet, helped Napoleon bathe and get dressed. During the day, Roustam was constantly at Napoleon’s side, regardless of whether the emperor was on the battlefield.

At night, he slept in an entrance to the emperor’s bedroom, where a small bed was laid for him. If there existed a suspicion of a conspiracy against Napoleon, then he slept right in front of the door, blocking it.

Roustam can be seen in many paintings close to Napoleon at all times.

He accompanied the emperor in the first/second wars of Austria, Prussia, Poland, Spain, Moscow, Dresden, Italy, Venice, France, Dutch and was wounded several times. He is said to have had an influence and played a role on some of the most sensitive decisions made by Napoleon.

Roustan served as a bodyguard of Napoleon until 1814.

In 1814, the end of the French Campaign also put an end to the Emperor and Mamluk’s long relationship. When Napoleon tried to commit suicide at the Château de Fontainebleau and asked Roustam for his pistols, He knew he would be inevitably accused of his masters murder. If he disobeyed the emperor’s order he would be branded a traitor so took fright and ran off to Paris to join his wife,

Napoleon wad exiled to island Elba. In March of 1815, Napoleon returned from his exile and got his title of the Emperor back, but refused to accept Roustan back or even read his letters asking for forgiveness.

Roustan settled in Durdan, where he wrote the book titled as “Life of Roustam Raza till 1814.” Roustam Raza died on December 7, 1845, and was buried in Durdan.

Operation Dingo

Operation Dingo was not only the Fireforce concept writ large but the prototype for all the major Rhodesian airborne attacks on the external bases of Rhodesian African nationalist insurgents in the neighbouring territories of Mozambique and Zambia until such operations ceased in late 1979.

Fireforce as a military concept is a “vertical envelopment” of the enemy, with the 20mm cannon being the principle weapon of attack, mounted in an Alouette III K-Car, flown by the air force commander, with the army commander on board directing his ground troops deployed from G-Cars (Alouette III troop-carrying gunships and latterly Bell “Hueys” in 1979) and parachuted from DC-3 Dakotas. In support would be propeller-driven ground-attack aircraft and on call would be Canberra bombers, Hawker Hunter and Vampire jets.

On 23 November 1977, the Rhodesian Air Force and 184 SAS and Rhodesian Light Infantry paratroopers attacked 10,000 Zimbabwe African National Liberation Army cadres based at ‘New Farm’, Chimoio, 90 kilometres inside Mozambique. Two days later, the same force attacked 4,000 guerrillas at Tembué, another ZANLA base, over 200 kilometres inside Mozambique, north of Tete on the Zambezi River.

Estimates of ZANLA losses vary wildly; however, a figure exceeding 6,000 casualties is realistic. .

The Rhodesians suffered two dead, eight wounded and lost one aircraft. It would produce the biggest SAS-led external battle of the Rhodesian bush war

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