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While Hollywood is generally supportive of the government - and of the military in particular - the Pentagon faces a problem. In order to stand out from the crowd and make their screenplays a bit different to the usual schlock, screenwriters like to include subversive elements and aspects, even in films that are broadly in favour of institutions like the Department of Defense and the CIA. Because the Pentagon wants to support films that promote them as a benevolent force in the world, these subversive elements present a problem for them. One solution is civilianization.

In our new book National Security Cinema: The Shocking New Evidence of Government Control in Hollywood, we document numerous politically-motivated changes made to scripts by the Pentagon and CIA in exchange for production assistance. We collated this information from a vast range of sources including over 4,000 pages of documents we obtained under the Freedom of Information Act. One recurring theme we found in these changes is the civilianization of characters, action and dialogue that the Pentagon didn’t like.

The Civilianization of Contact

In the 1997 extra-terrestrial epic Contact the National Guard provided vehicles and uniformed extras for a small handful of scenes but in exchange had a considerable influence on the script. In one scene in the White House where the protagonists are deciding what to do with blueprints they have decoded from an alien signal the original script portrays the military as deeply worried that this could be a ‘Trojan Horse’ that would instantly transport an alien army to Earth and take over. Jodie Foster’s character Ellie responded, ‘This is communist paranoia right out of War of the Worlds’.

The Pentagon saw scenes like this as a ‘silly military depiction’ and so they ‘Negotiated civilianization of almost all military parts’. In the revised scene it is the National Security Adviser, not the Joint Chiefs of Staff, who expresses outlandish fears about what this technology might be, and Ellie’s response about paranoia was cut entirely.

In another scene in the pre-civilianized version, the President gives a stirring speech at the UN about the building of this great new technology and this is intercut with a military convoy and Apache helicopters approaching the construction site. The script describes how ‘Encircling the installation is a vast graveyard of discarded aircraft—the detritus of Twentieth Century war-making.’ This is rather obvious symbolism representing how technological efforts are moving from the violence of the 20th century military industry to peaceful 21st century space exploration. In the final version this sequence does not appear, and there is no indication of military involvement in the construction of the wormhole machine. This compromised the creative and philosophical vision behind Contact – of a future where war-making is left behind in favour of learning and discovery.

The Civilianization of Jurassic Park and Whiskey Tango Foxtrot

National Security Cinema records numerous other examples of this phenomenon, where instead of outright censoring troublesome scenes the Pentagon distances itself, reducing its presence in these films to a benevolent or benign background entity. For Jurassic Park III the producers approached the Pentagon wanting to film some A-10 gunships for a scene where they battled with flying dinosaurs.

The Pentagon’s chief Hollywood liaison Phil Strub turned down this request because ‘We weren’t about to provide them something that would only generate sympathy for the dinosaurs’. He also requested that they change the identity of the character who discovers the island full of dinosaurs, asking, ‘would you change his character, make him like the president’s science adviser or something like that? Just get him out of the uniform.’ Strub also promoted the idea of the film ending with a ‘nice military rescue’, reducing the military’s role from reckless pioneers and murderers of cute flying dinosaurs, to responsible officials providing emergency/disaster relief.

This technique continues into the most recent films we examined. In 2016’s Whiskey Tango Foxtrot – a Tina Fey comedy - the military allowed several days filming at Kirtland Air Force Base in exchange for civilianizing one aspect of the script they didn’t like. The version the DOD reviewed, ‘portrayed a US Army transport brake failure, resulting in it hitting a group of Afghani shoppers in Kabul, killing and injuring them. This was changed to an NGO vehicle.’

Independence Day: When Civilianization Fails

Independence Day was not so lucky. When they approached the Pentagon for support making their alien invasion adventure there were numerous aspects of the script that Strub and his colleagues found objectionable. From Will Smith’s Air Force character dating a stripper to the fact that ‘all advances in stopping the aliens are the result of actions by civilians’ which contrasted the ‘anaemic US military response’, the Pentagon was not happy on a number of levels.

They particularly objected to the inclusion of references in the dialogue to Area 51 – the common name for the Groom Lake facility at Edwards Air Force base. Even when the producers civilianized Area 51, making it a non-military facility run by non-military officials, this still didn’t satisfy the Pentagon. As a result, the producers of Independence Day had to use CGI (still a relatively new and very expensive technology at the time) to duplicate the one fighter jet they had to create the scenes of numerous jets in dogfights with alien craft.

However, despite the production being made more difficult and expensive, the Pentagon’s rejection did mean that the producers had more creative freedom. The result was a hugely popular and successful summer blockbuster that is fondly remembered. Had the scenes in Area 51 been removed, or reworked so that they did not involve such an obvious element of UFO folklore, then the film would have been fundamentally different, and less memorable. By contrast, the Pentagon did support the sequel Independence Day: Resurgence, which almost everyone who saw it has already forgotten.

The Consequences of Civilianization

At its most fundamental, the Pentagon’s strategy of civilianization of movies is a means of removing subversive moments from the military realm, or of changing them so they aren’t subversive at all. The image of a US Army transport crashing in downtown Kabul and killing innocent people is an effective, provocative symbol representing the abject futility and stupidity of the ongoing war in Afghanistan. Changing this to an NGO vehicle dilutes this subversive element to almost nothing, and it becomes more of a plot point than politically-charged symbolism.

Similarly, by removing the scene from Contact where the construction of the wormhole machine rises above the detritus of 20th century war-making, the Pentagon diluted the subversive philosophy of that film. While Contact remains an intelligent and in places profound movie its critical light was not allowed to shine on Pentagon – all so that they could use a couple of National Guard helicopters and jeeps and a handful of real life troops as extras.

This is perhaps the more obvious consequence of military involvement in Hollywood – that films are less radical and challenging than they would otherwise be. However, there is another, more significant and perhaps unintended consequence. In movies subject to this process the characteristics of recklessness, incompetence, deceit and so on are civilian traits, not military ones. The result of this is a semi-consistent worldview across a range of fantasy movies that says that the problems of the world are civilian problems, not resulting from the military’s behaviour.

In reality, as the biggest, richest, most violently powerful organisation in the world the Pentagon has greater means than anyone else to inflict the consequences of human vice on people around the world. While Hollywood is rarely known for being realistic, the ‘soft censorship’ of civilianization exacerbates this problem, with considerable political consequences. Hundreds of millions of cinema-goers are being repeatedly told that the reasons bad things happen are because of ordinary citizens, and not institutionalised military power on a massive scale. This makes it seems like in the real world wars are not the forces of murder and destruction they really are, but are rather the background noise to the evils of human nature. As a result, civilianization of movie scripts helps make wars more likely, more popular and therefore easier to maintain for long periods, and thus more prolonged and destructive. What likely began as a means of ensuring better PR for the military through Hollywood adds up a powerful political phenomenon.