CHAPTER 4
The Chase Brandon Years
IntheCompanyofSpies (1999) and TheAgency (2001–2003) were two of the earliest projects to receive CIA assistance, but they were certainly not the only ones. In fact, Chase Brandon’s term as entertainment industry liaison officer was prolific. From 1996 to 2007, he assisted numerous projects, including EnemyoftheState (1998), Alias (2001–2006), 24 (2001–2010), Bad Company (2002), TheSumofAllFears (2002), TheBourneIdentity (DVD, 2003), TheRecruit (2003), FardAyn (in preproduction), and TheRogue (in preproduction). By associating themselves with the CIA, these filmmakers were able to market their work as “authentic,” “accurate,” and a “rare insider’s look” at the Agency, but what exactly did the CIA seek to gain from their collaborations, and what has been the impact of these films more broadly? The answer is multifaceted. First, the CIA attempted to use these projects for recruitment purposes. Second, some of these films helped Langley to reinvent itself after the Cold War and deflect specific post- 9/11 criticisms aimed at the Agency. These films also allowed the CIA to project itself as an omnipresent and omnipotent entity—an image that has served it well for decades. The CIA’s broader relationship with those in the motion picture industry has also helped the Agency boost internal morale, encourage future cinematic relationships, and even benefit in the field of covert action. Of course, a single film rarely accomplishes all these objectives, but these categories are indicative of the wide range of benefits the CIA enjoys from its collaborative efforts. While a few of these same benefits were explored in the previous chapter, a discussion of TheAgency and Inthe CompanyofSpies alone does not indicate the breadth and nature of the CIA’s influence in Hollywood. As a result, this chapter explores several
