The 2012 spy drama Argo, starring Ben Affleck and based on the real-life CIA operation to exfiltrate six embassy staff trapped in Tehran following the 1979 revolution, was a big publicity boost for the agency.
In late 2012, Ben Affleck was on the promotional circuit for Argo. Naturally, this led to questions about the CIA-Hollywood connection and, in one interview, Affleck commented “Probably Hollywood is full of CIA agents, and we just don’t know it.” When he was asked if he was working for the CIA Affleck replied, “I am, yes, and now you’ve blown my cover.”
2001: Affleck’s first contact with the Agency
At the time these comments were widely interpreted as a joke, a flip response to an absurd question. But behind the scenes, Argo was supported by the CIA and Affleck had previously worked closely with the Agency when he played Jack Ryan in 2002’s The Sum of All Fears.
According to production notes for the nuclear terrorist spy thriller, then CIA-Hollywood liaison Chase Brandon arranged for Affleck to make multiple visits to CIA headquarters in Langley, Virginia.
Brandon observed, “One of the things, I think, that benefited Ben as he walked around the agency was to simply feel the atmosphere of the place. There’s a very palpable sense of mission and importance to what goes on there, and I think Ben picked up on that simply by being in the building.”
Likewise, Affleck’s ex-wife Jennifer Garner starred in the CIA-supported series Alias, and appeared in a CIA recruitment ad after having been recruited herself for the role by Brandon.
Details about how the Agency worked with the Argo film makers, and Affleck in particular, were scant, despite the film being a major topic for commentators and water-cooler conversations, and the film proving a massive commercial and critical success and winning multiple Oscars.
Scant, that is, until now.
In response to an eight-year-old FOIA request by British academic Matthew Alford, the CIA recently released over 200 pages of documents that shed new light on the “close working relationship” between the Agency and the makers of Argo, especially Affleck, the film’s director and star.
Alford, my co-author on National Security Cinema: The Shocking New Evidence of Government Control in Hollywood, commented “I was very confused when the documents came through the door. I had totally forgotten that I’d put in a request for CIA correspondence on Argo. That’s because I did it in 2012.” He added, “I really don’t think they like releasing material on this, at least not to us.”
For some time the CIA had wanted someone to make a movie about the Argo operation, and even promoted it as a suggested movie plot on their Entertainment Industry Liaison page in 2007.
Though George Clooney and Grant Heslov had the movie in development for several years, it wasn’t until Warner Brothers invited Affleck to join the party that the project really took off. He worked closely with Tony Mendez, the former CIA officer who Affleck played in the film and the man behind the idea to disguise the embassy staff as a Hollywood movie crew, and it was through Mendez that Affleck reconnected with the Agency.
2011: Affleck rejoins the CIA
As the CIA documents reveal, in March 2011 Affleck and Mendez went on a tour of the Old Naval Observatory, the former headquarters of the CIA as well as their predecessor the OSS, and the base for the Agency’s Office of Technical Services where Mendez worked at the time of the Argo operation.
The tour was arranged by the US State Department and the CIA, and was followed by a visit to Langley, Virginia, for a roundtable in the Director’s Conference Room where Affleck discussed the project with CIA officials. An internal email outlines how the CIA were “hoping to develop a close working relationship with the film makers on this project.”
During this visit to Langley, Affleck looked around the CIA museum and asked for copies of historical photographs in their archives, which were released after a lengthy clearance process. In an email he thanked the Agency for their help, saying “I am extremely grateful and hope very much to tell a story that does Tony and the Agency justice.” Affleck’s email finished, “I look forward to returning to headquarters again soon.”
One officer replied “I’d be happy to support another visit by you or others working with you on the film,” adding “I love opportunities to show off our Langley home.”
In May Affleck inquired about getting permission to film at Langley, and the following month he and several of the production crew took another trip to CIA headquarters.
After the tour, Affleck fired off another email to the CIA, again asking about getting filming permission. One public affairs officer wrote back to assure Affleck “We’re trying,” while another replied “We’re excited about the filming, and want to make this work.” Referring to Affleck’s latest visit the email continued, “And, you definitely gave our new hires something to call home about!”
‘We will do the Agency proud, I promise you’
On Argo, Affleck, production designer Sharon Seymour and executive producer Chris Brigham kept following up, trying to get permission to film inside the Langley campus and the Old Headquarters Building. It was only after several script reviews that permission was granted, leading the Deputy Director for Public Affairs to write an email effusively thanking the bosses for their decision. He described Argo as “A good news CIA story, with real life CIA good guys.” The official then wrote to Affleck to tell him the “good news” and Affleck shot back “This is great!!! Thank you so much!! I am thrilled. Please let me know whatever I can do. This is a thrill. We will do the agency proud I promise you.”
In September location manager Peggy Pridemore – who was simultaneously working with the Agency on filming near the Langley campus for Covert Affairs – was allowed into the CIA Director’s office during another visit, while actor Bryan Cranston was given a tour of the facility in October, and met with CIA officers to learn about, “how their lives work, keeping secrets, effects on their home life.” In a Q&A session included as a bonus with Argo’s DVD release, Cranston opined “The most interesting thing about Langley was the food court. There’s a Subway, there’s the Burger King. And you start thinking about it and you realize, they can’t send out for pizza, Dominos doesn’t make that drive.”
Cranston recalled that the shoot itself was a day of “Top security, and I do mean top.” He recounted a moment when two SPS officers from the CIA’s internal police came round a corner while they were shooting inside Langley, and he asked them if everything was OK and one told him “There’s a Samsung phone on in one of these two gentlemen’s pockets.” Cranston was shocked by “The fact that he knew the brand, and exactly where it was, through the electronics.” Screenwriter Chris Terrio echoed this, describing how “I remember as the shoot was wrapping there were people who were scanning and debugging that hallway we were in.”
Months later, as the film was being finalised producer Chay Carter wrote to the CIA to get permission to thank the Agency in the credits, and one officer responded saying they would check with their superiors, effusing: “The trailer has been making the rounds here, and everyone – from the boss on down – loves it. We are really excited.” Weeks later, a special screening was held for a group of CIA officers, including Director David Petraeus, ahead of the film’s general release.
A third of Argo viewers felt better about the CIA
This unusually close relationship resulted in a runaway critical and commercial success, as well as a PR boon for the CIA, who were so appreciative of what Affleck had done for them that they used their Twitter account to thank him, and to say “Letting Ben Affleck film here? Best bad idea we’ve had.”
But it isn’t just the CIA’s opinion that the movie had a major positive influence on their public image.
A 2014 study by Michelle Pautz found that opinions of government agencies, levels of trust in the government and faith in the general direction of the country all improved after watching Argo, and the similarly CIA-supported film Zero Dark Thirty.
In particular, 34% of people who saw Argo ‘recorded an improvement in their assessment of the CIA’, underlining how effectively this collaboration boosted public opinion of the Agency.
Agent Affleck’s promise to “do the agency proud” paid off.
Autopsy of Brian Laundrie: No cause, manner of death able to be determined
TAMPA, Fla. — The attorney for Brian Laundrie’s parents says an autopsy on their son’s remains, which were described as “bones” by North Port police, did not reveal a cause or manner of his death.
Laundrie’s autopsy was completed Friday and his remains was sent to an anthropologist for further examination, according to reporting from FOX 5’s Jodi Goldberg.
The Laundrie family attorney, Steven Bertolino, said they were hoping for more answers from law enforcement regarding the cause of death for Brian, who was a person of interest in the death of fiancée Gabby Petito while the couple was on a cross-country road trip.
Read more from Fox Tampa Bay.
‘Basically the case is closed out’: Former FBI agent discusses what finding of Brian Laundrie’s remains means moving forward
With Brian Laundrie’s remains found, a former FBI agent told ABC West Palm Beach (WPBF 25) that in cases where a person of interest is found dead, there will be limited information people will see moving forward.
But in this case, they still have the responsibility to name who killed Gabby Petito.
“Basically the case is closed out, there are still some housekeeping issues to be addressed, it’s important for them to identify the cause of death and even more importantly the time of death,” said Stuart Kaplan, former FBI special agent turned attorney.
Read more from ABC West Palm Beach (WPBF 25).
1 killed, 1 injured after Alec Baldwin discharges prop gun in freak misfire incident on movie set: Sheriff’s Office
A female cinematographer working on the set of an upcoming western, ‘Rust’, died after lead actor and producer Alec Baldwin fired a prop gun. The film’s director was also harmed in the shooting and is in intensive care.
The incident took place around 1:50pm local time on Thursday. Halyna Hutchins, 42, and ‘Rust’ director Joel Souza, 48, were rushed to the hospital from the set on the Bonanza Creek Ranch, a film location in northern New Mexico.
Hutchins, who was director of photography, has since succumbed to her wounds, while Souza “is undergoing treatment for his injuries,” the Santa Fe County Sheriff’s Department said.
An investigation has been launched over the “projectile” with which the female victim was shot. “It appears that the scene being filmed involved the use of a prop firearm when it was discharged,” the department said in a statement.
In an update on Thursday, it said that “the investigation remains open and active,” noting that “no charges have been filed in regard to this incident” as the witnesses are being questioned.
Baldwin was seen looking visibly distraught at the scene in the aftermath of the shooting.
The actor has reportedly been interviewed by investigators.
Deadline reported earlier that the incident occurred during a rehearsal, and that “a principal cast member… cocked a gun… unaware there were live rounds in it.”
A production spokesman confirmed to Deadline that the incident involved “the misfire of a prop gun with blanks,” insisting that “the safety” of the cast was a “top priority.” The movie town was put on lockdown in wake of the incident.
‘Rust’ is directed by Souza and produced by Baldwin, who also stars as one of the film’s main characters, Harland Rust. Rust is an outlaw and estranged grandfather of a 13-year-old boy, Lucas, played by Brady Noon, who faces hanging after accidentally killing a local rancher. After Harland frees Lucas from custody, the two flee while being chased by a marshal and a bounty hunter.
The on-set mishap is not the first of its kind. While filming for ‘The Crow’ in 1993, Brandon Lee – the son of Bruce Lee – was shot and killed by an improperly loaded prop gun.