How the CIA Hoodwinked Hollywood

Since its inception, the agency has wooed filmmakers, producers, and actors in order to present a rosy portrait of its operations to the American public.

Nicholas Schou, The Atlantic
7:00 AM ET

The CIA has a long history of “spooking the news,” dating back to its earliest days when the legendary spymaster Allen Dulles and his top staff drank and dined regularly with the press elite of New York and Washington, and the agency boasted hundreds of U.S. and foreign journalists as paid and unpaid assets. In 1977, after this systematic media manipulation was publicly exposed by congressional investigations, the CIA created an Office of Public Affairs that was tasked with guiding press coverage of intelligence matters in a more transparent fashion. The agency insists that it no longer maintains a stable of friendly American journalists, and that its efforts to influence the press are much more above board. But, in truth, the intelligence empire’s efforts to manufacture the truth and mold public opinion are more vast and varied than ever before. One of its foremost assets? Hollywood.

The agency has established a very active spin machine in the heart of the entertainment capital, which works strenuously to make sure the cloak-and-dagger world is presented in heroic terms. Since the mid-1990s, but especially after 9/11, American screenwriters, directors, and producers have traded positive portrayal of the spy profession in film or television projects for special access and favors at CIA headquarters.

Ever since its inception in 1947, the CIA has been covertly working with Hollywood. But it wasn’t until the mid-1990s that the agency formally hired an entertainment industry liaison and began openly courting favorable treatment in films and television. During the Clinton presidency, the CIA took its Hollywood strategy to a new level—trying to take more control of its own mythmaking. In 1996, the CIA hired one of its veteran clandestine officers, Chase Brandon, to work directly with Hollywood studios and production companies to upgrade its image. “We’ve always been portrayed erroneously as evil and Machiavellian,” Brandon later told The Guardian. “It took us a long time to support projects that portray us in the light we want to be seen in.”

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