A recurring theme around here, I found this must-read study of government war propaganda in Hollywood:
“The major exception here is the Department of Defense, which has an ‘open’ but barely publicized relationship with Tinsel Town, whereby, in exchange for advice, men and invaluable equipment, such as aircraft carriers and helicopters, the Pentagon routinely demands flattering script alterations. Examples of this policy include changing the true identity of a heroic military character in Black Hawk Down (2001) due to his real-life status as a child rapist; the removal of a joke about “losing Vietnam” from the James Bond film Tomorrow Never Dies (1997), and cutting images of Marines taking gold teeth from dead Japanese soldiers in Windtalkers (2002). Instances such as these are innumerable, and the Pentagon has granted its coveted “full cooperation” to a long list of contemporary pictures including Top Gun (1986), True Lies (1994), Executive Decision (1996), Air Force One (1997), The Sum of All Fears (2002), Transformers (2007), Iron Man (2008), as well as TV series such as JAG (1995-2005).”
The CIA is also active in feeding misinformation and insider access to Hollywood. Witness the recent Zero Dark Thirty fiasco.
“…Now, more than ever, we need the CIA.”
“…Kelbaugh’s discussion of the 2003 thriller The Recruit, starring Al Pacino. The review noted that, according to Kelbaugh, a CIA agent was on set for the duration of the shoot under the guise of a consultant, but that his real job was to misdirect the filmmakers: “We didn’t want Hollywood getting too close to the truth,” the journalist quoted Kelbaugh as saying.”
“…On October 17 , in response to 9/11, the White House announced the formation of its “Arts and Entertainment Task Force,”and by November, Valenti had assumed leadership of Hollywood’s new role in the ‘War on Terror’. As a direct result of meetings, Congress sought advice from Hollywood insiders on how to shape an effective wartime message to America and to the world.”