The Guy

There have been a lot of big hits in Hollywood over the years with lots of great writers.

On the screen and in the credits, there are their names.

They wrote it then, right?

Yeah, for the most part.

Crap movies usually have more writers than are credited, but for the purposes of this blind, yeah. There is someone who has written for movies that have earned tens of billions of dollars at the box office and received no credit at all.

How is that possible?

You would think someone who is helping to write hits that earn tens of billions of dollars at the box office would be in huge demand.

He was in huge demand.

Producers and studios went after him with a vengeance and would bend over backwards for his approval and willingness to help with a movie.

If he said yes to a movie, it meant the studio was going to have a huge financial partner.

If it meant that the guy wanted to write or rewrite a script so it fit a certain agenda, the studio didn’t care.

They got money and access and a much softer landing if the movie crashed.

So, who was this guy?

The liaison between the federal government and Hollywood.

Allen Dulles

CIA

How the CIA Hoodwinked Hollywood

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.”

The flag-waving Tom Clancy franchise became a centerpiece of CIA propaganda in the 1990s, with a succession of actors (Alec Baldwin, Harrison Ford, and finally Ben Affleck) starring in films like Patriot Games, Clear and Present Danger, and The Sum of All Fears, which pit the daring agent Jack Ryan against an array of enemies, from terrorists to South American drug lords to nuclear-armed white supremacists.- Source