Another one-line quip that was censored by the DOD came in the James Bond film Tomorrow Never Dies.
When Bond is about to HALO jump out of a military transport plane they realise he’s going to land in Vietnamese waters. In the original script Bond’s CIA sidekick jokes ‘You know what will happen. It will be war, and maybe this time we’ll win.’
This line was removed at the request of the DOD.
Strangely, Phil Strub denied that there was any support for Tomorrow Never Dies, while the pre-eminent scholar in the field Lawrence Suid only lists the DOD connection under ‘Unacknowledged Cooperation’.
But the DOD are credited at the end of the film and we obtained a copy of the Production Assistance Agreement between the producers and the Pentagon.
Vietnam is evidently another sore topic for the US military, which also removed a reference to the war from the screenplay for Hulk (2003). While the military are not credited at the end of the film, on IMDB or in the DOD’s own database of supported movies, we acquired a dossier from the US Marine Corps detailing their ‘radical’ changes to the script.
This included making the laboratory where the Hulk is accidentally created into a non-military facility, making the director of the lab an ex-military character, and changing the code name of the military operation to capture the Hulk from ‘Ranch Hand’ to ‘Angry Man’.
‘Ranch Hand’ is the name of a real military operation that saw the US Air Force dump millions of gallons of pesticides and other poisons onto the Vietnamese countryside, rendering millions of acres of farmland poisoned and infertile.
They also removed dialogue referring to ‘all those boys, guinea pigs, dying from radiation, and germ warfare’, an apparent reference to covert military experiments on human subjects.
The documents we obtained further reveal that the Pentagon has the power to stop a film from being made by refusing or withdrawing support. Some movies such as Top Gun, Transformers and Act of Valor are so dependent on military cooperation that they couldn’t have been made without submitting to this process. Others were not so lucky.
The movie Countermeasures was rejected by the military for several reasons, and consequently never produced. One of the reasons is that the script included references to the Iran-Contra scandal, and as Strub saw it ‘There’s no need for us to… remind the public of the Iran-Contra affair.’
Similarly Fields of Fire and Top Gun 2 were never made because they couldn’t obtain military support, again due to politically controversial aspects of the scripts.
This ‘soft’ censorship also affects TV. For example, a planned Louis Theroux documentary on Marine Corps recruit training was rejected, and as a result was never made.
It is impossible to know exactly how widespread this military censorship of entertainment is because many files are still being withheld. The majority of the documents we obtained are diary-like reports from the entertainment liaison offices, which rarely refer to script changes, and never in an explicit, detailed way. However, the documents do reveal that the DOD requires a preview screening of any project they support and sometimes makes changes even after a production has wrapped.
The documents also record the pro-active nature of the military’s operations in Hollywood and that they are finding ways to get involved during the earliest stages of development, ‘when characters and storylines are most easily shaped to the Army’s benefit.’
The DOD’s influence on popular culture can be found at all stages of production, granting them the same kind of power as major studio executives.
Agencywood: The CIA and NSA’s Influence on Movie Scripts
Despite having far fewer cinematic assets the CIA has also been able to wield considerable influence on some of the projects they have supported (or refused to support).
There is no formal CIA script review process but the Agency’s long-serving entertainment liaison officer Chase Brandon was able to insert himself into the early stages of the writing process on several TV and film productions.
Brandon did this most prominently on the spy thriller The Recruit, where a new agent is put through CIA training at The Farm an obvious vehicle for inducting the audience into that world and giving them a glimpse behind the curtain. The original story treatment and early drafts of the script were written by Brandon, though he is only credited on the film as a technical advisor, covering up his influence on the content.
The Recruit includes lines about the new threats of the post-Soviet world (including that great villainous justification for a $600 billion defense budget, Peru), along with rebuttals of the idea that the CIA failed to prevent 9/11. And it repeats the adage that ‘the CIA’s failures are known, but its successes are not’. All of this helped to propagate the idea that the Agency is a benevolent, rational actor in a chaotic and dangerous world.
The CIA has also managed to censor scripts, removing or changing sequences that they didn’t want the public to see. On Zero Dark Thirty screenwriter Mark Boal ‘verbally shared’ his script with CIA officers, and they removed a scene where a drunk CIA officer fires an AK-47 into the air from a rooftop in Islamabad, and removed the use of dogs from the torture scenes.
In a very different kind of film, the hugely popular romantic comedy Meet the Parents, Brandon requested that they change a scene where Ben Stiller’s character discovers Robert De Niro’s (Stiller’s father-in-law to be) secret hideaway. In the original script Stiller finds CIA torture manuals on a desk, but Brandon changed that to photos of Robert De Niro with various dignitaries.
Indeed, the CIA’s ability to influence movie scripts goes back to their early years. In the 1940s and 50s they managed to prevent any mention of themselves appearing in film and TV until North by Northwest in 1959. This included rejecting requests for production support, meaning that some films were never made, and censoring all references to the CIA in the script for the Bob Hope comedy My Favourite Spy.
The CIA even sabotaged a planned series of documentaries about their predecessor, the OSS, by having assets at CBS develop a rival production to muscle the smaller studio out of the market. Once this was achieved, the Agency pulled the plug on the CBS series too, ensuring that the activities of the OSS remained safe from public scrutiny.
While very little is known about the NSA’s activities in the entertainment industry we did find indications that they are adopting similar tactics to the CIA and DOD.
Internal NSA emails show that the producers of Enemy of the State were invited on multiple tours of NSA headquarters. When they used a helicopter to film aerial footage of Fort Meade, the NSA did not prevent them from using it in the movie.
According to a 1998 interview with producer Jerry Bruckheimer, they changed the script at the NSA’s request so that the wrongdoings were the actions of one bad apple NSA official, and not the agency in general.
Bruckheimer said:
‘I think the NSA people will be pleased. They certainly won’t come out as bad as they could have. NSA’s not the villain.’
This idea of using cinema to pin the blame for problems on isolated rogue agents or bad apples, thus avoiding any notion of systemic, institutional or criminal responsibility, is right out of the CIA/DOD’s playbook.
In all, we are looking at a vast, militarised propaganda apparatus operating throughout the screen entertainment industry in the United States.
It is not quite an official censor, since decisions on scripts are made voluntarily by producers, but it represents a major and scarcely acknowledged pressure on the kind of narratives and images we see on the big and small screens.
In societies already eager to use our hard power overseas, the shaping of our popular culture to promote a pro-war mindset must be taken seriously.
