Have you ever watched Zero Dark Thirty and thought the movie…exceptional? Did you find yourself applauding the torture scene for its “enhanced interrogation techniques”? What about the patriotic feeling in your stomach as you tuned in to The Sum of All Fears or Clear and Present Danger in the 1990s and 2000s – even if you aren’t American?
Did you know that the Oscar winning Argo – the wonderfully fictionalized movie based loosely on real events – grossed over $230 million in box office profits? Ben Affleck even won a tour or two of restricted access areas at the CIA’s highly restricted Langley facility. But for research purposes, of course.
George Clooney, shortly after starring as a CIA officer in Syriana received his membership into the globalist think tank, the Council on Foreign Relations, to keep the company of Henry Kissinger and Hillary Clinton. Although Clooney has been hailed a humanitarian, his Deep State connections conflict with what is portrayed.
According to film director Oliver Stone, the “CIA runs Hollywood.” And he’s not far wrong.
In the 1940s, Allan Dulles’ newly created CIA fostered a close relationship with Hollywood. It was a covert work in progress, and it wasn’t until the days of Bill Clinton, that the Hollywood studios got their own CIA mentor liaison, veteran officer Chase Brandon, who headed the newly established Entertainment Liaison Office. It was Brandon’s job to sanitize the CIA’s image for the American and international audiences, to push the agency narratives dependent on the political climate of the time.
According to Brandon himself, “It took us a long time to support projects that portray us [CIA] in the light we want to be seen in,” admitting to the CIA’s influence over Hollywood.
But some movies do sneak through – or maybe it’s the actors who subvert the CIA net. The Hunger Games trilogy springs to mind, and its prolific star actor Donald Sutherland, who said in an interview that he desperately wanted to do this one last movie to “catalyze and revolutionize” and inspire a “revolutionary movement” against governments among young adults. (@2:00 below)
Nonetheless, the murky CIA-Hollywood relationship runs deep. Just like Zero Dark Thirty, where torture is glorified and portrayed as necessary; history also becomes contorted.
What you see in the movie is not what happened. History is constantly redefined and shaped until it only vaguely represents the historic facts we conveniently forget about. ‘Hollywood History’ gives us predetermined glimpses of The Iron Lady and Lincoln, giving a skewed account of the real world.
We watch what is tailored to the political climate. In Zero Dark Thirty, the retrofitting of history occurred when its director Kathryn Bigelow was convinced to rewrite the script from a failed operation perspective to one that chronicled a selected version of events. Actress Susan Sarandon went on record, writing “you should know that the movie has generated controversy because it leaves a mistaken impression: that the CIA’s torture of prisoners ‘worked’ by providing information that led to Bin Laden.”
The CIA readily admits to its en masse assault of propaganda. It’s up to the audience to act as passive sieve, unable to determine fact from fiction or to watch these movies with a critical eye; unfolding the layers of fabricated events used to manipulate the citizen.