Interview with a Film Armourer: Mr. Stephen Petroni

You're probably aware that you've seen more guns on the silver screen than you have in real life. But have you ever asked yourself where those guns come from? Who chooses which characters get which guns, and who does all the research to make sure historical characters aren't shooting guns which hadn't even been invented yet back in their time?

Well, that's the job of the armoury department. We spoke to Stephen Petroni who, apart from being a firearms researcher and gun shop director, works as a film armourer and historical advisor. Along with his son Julian, he has worked in this capacity on most productions involving firearms shot in Malta since 2003.

Stephen Petroni is the managing director
of a gun shop and film armoury

Petroni told us he first started working in the industry when he was contacted to provide arms for Silmido (2003), a Korean action film directed by Kang Woo-suk. He provided a Browning machine gun which he adapted to fire blanks and loaded for use on set. You wouldn't want live rounds in those things...

After that, he explained that he was contracted to work on several other productions with different roles from one to the other. On A Different Loyalty (2004) he advised what kind of pistol a British secret operative in Beirut in the 60s would've carried, supplied it, then trained actor Julian Wadham in its use. 

"This second experience combined the three key roles that I would later combine in the services that we offer to the movie industry: historical advice, on-set training and armoury supplies"

Petroni has also collaborated with UK film armouries on larger productions which required large numbers of firearms. In comparison to Malta, he told us that "while UK firearms laws are exceptionally stringent... once these armourers are licensed to do their job, they are not burdened with unnecessary and restrictive red tape... they enjoy greater flexibility to react to what the industry demands."

Favourite Productions

When asked about some of the productions he's most happy to have worked on, Petroni mentioned his work on the TV Series Das Boot (which has now entered its third season of production in Malta) which is about German WWII submarines. He told us that this is a favourite subject of his, and that his work on the series involved the sourcing of an anti-aircraft cannon which would've historically been mounted on the U-Boats, along with its mount. Apart from this, they were tasked with the creation of a special replacement barrel for the cannon which would replicate its recoil when firing.

Petroni also mentioned his aid on the recent Blood on the Crown (2021, retitled from Just Noise or Storbju) where he worked closely with Harvey Keitel, advising him on the historical intricacies of the Sette Giugno riots which the film depicts. "Much to my surprise, he [Keitel] would refuse to go on set if I was not also present." related Petroni.

The Process

The typical process for a film armourer begins with a call or an email. Petroni told us that following this, an in depth reading of the script would take place, followed by cross referencing of the armoury's available firearms which would be suitable and accurate to the roles being depicted. If a specific firearm is called for which the armoury does not have on-hand, then this might be tracked down and imported.

After this whole process the armoury waits for a draft schedule, which allows them discuss the work with police and file for permits and other paperwork. Meanwhile the firearms themselves are cleaned, prepared, modified and customized if need be. Next comes the tailor-made training for the actors and extras who'll be using the firearms. Once filming starts, the daily Call sheets are followed and team mates and police detailed.

"Days (or nights) are typically long and tiring but we have to be focused for safety reasons" 

The armourers have to always be close to the action, making sure the firearms are used safely and storing them appropriately between takes. Once filming is over, the guns are serviced and stored securely as before. Petroni said that his role means that he ends up interacting with almost everyone on set, but especially stunt teams and special effects coordinators.

Petroni told us that usually he will try to go for as much authenticity and historical accuracy as possible when advising and supplying firearms as an armourer, but "the director has the last say after I offer our advice".

Asked what he would like to see changed in his sector of the film industry, Petroni told us that he only wished restrictions were looser and less bureaucratic, for him and his team to be able to be more flexible and adaptable as film armourers, to whatever is demanded of them.