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George Glass
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George Glass
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George Glass (August 19, 1910 – April 1, 1984) was an American film producer and publicist, best known for his work with Stanley Kramer. In Kramer's 1997 autobiography, describing how he formed his first production company in the late 1940s, he called Glass "one of the best publicity men in town", and remarked "I was fortunate to get Glass, with whom I had worked in the Lewin-Loew partnership before the war. He was a bright man and a very smooth operator."[1] In a 1973 biography of Marlon Brando, Bob Thomas wrote:

Key Information

George Glass was a veteran of movie publicity, but he was more than a publicist for Kramer. He, Kramer and Carl Foreman were partners in the independent film company, and Glass's brilliant campaigns for Champion and Home of the Brave had been a major part of the company's success. A short, stubby, ebullient man, he performed his craft on the basis of telling the truth.[2]: 55 

Career

[edit]

Glass began his career in the entertainment industry as a radio news commentator and sports broadcaster, but left radio for films in 1936 to work in advertising and publicity capacities for Samuel Goldwyn, United Artists, and others.[3] With Kramer's company, in addition to being the head publicist, Glass often acted as associate producer, sometimes uncredited (as for High Noon[4]), and sometimes with screen credit (as for Cyrano de Bergerac[5] and The Men[6]). Other productions from this period include Death of a Salesman[7] and The Wild One, for which Glass suggested the title.[2]: 82 

In 1956, Glass and Walter Seltzer started a freelance publicity organization, described in the press as a collaboration of "two of the most experienced and able drum beaters" in Hollywood.[8] After Brando formed his own production company, Pennebaker Productions, Glass and Seltzer joined him[2]: 131  as executive producers, and together they turned out a number of films including Shake Hands with the Devil, The Naked Edge, Paris Blues and One-Eyed Jacks.[9]

Glass was elected to the executive board of the Screen Producers Guild in 1960, along with Mervyn LeRoy.[10] He continued to work with Kramer for many years as an associate producer, with additional credits including Guess Who's Coming to Dinner,[11]: 436 The Secret of Santa Vittoria,[11]: 953  Bless the Beasts and Children[12]: 33  and R. P. M.[12]: 243 

Congressional testimony

[edit]

In January 1952, Glass testified before the House Committee on Un-American Activities. In his testimony, he described attending gatherings at the homes of Ring Lardner, Jr. and other members of the entertainment industry in the mid-1940s, at which he was urged to become a member of the Communist Political Association.[13][14]

Quotations

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Glass is credited by several sources with originating the witticism, "An actor is a kind of guy who if you ain't talking about him [, he] ain't listening."[15][16][17] That line has also been attributed to Brando, who reportedly heard it from Glass and quoted it many times.[2]: 55 [18] In a similar vein, columnist Mike Connolly ascribed to Glass the quip "An actor's concern for others ends where his inconvenience begins."[19]

References

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Further reading

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George Glass

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George Glass (May 13, 1910 – April 14, 1982) was an American film publicist and associate producer known for his long-term partnership with director Stanley Kramer, where he played a key role in the production and promotion of socially conscious films during the 1950s and 1960s. Glass began his career in the film industry as a publicist, working for major studios before joining Kramer in the early 1950s as vice president in charge of publicity for Stanley Kramer Productions. He later became an associate producer on several of Kramer's most acclaimed projects, helping to bring stories addressing racism, nuclear threat, religious intolerance, and justice to the screen. Notable films he contributed to included The Defiant Ones, On the Beach, Inherit the Wind, Judgment at Nuremberg, Ship of Fools, and Guess Who's Coming to Dinner. His work with Kramer contributed to a series of films that received widespread critical recognition and multiple Academy Awards, establishing a legacy of independent filmmaking focused on important social themes.

Early life and entry into entertainment

Youth and early career

George Glass was born on August 19, 1910, in Los Angeles, California. Details of his early career prior to his established work in film publicity are limited in available sources.

Publicity career

Work with Samuel Goldwyn, United Artists, and early campaigns

George Glass began his publicity career in the film industry in 1936, when he joined independent producer Samuel Goldwyn in advertising and publicity roles. He subsequently worked in similar capacities for United Artists and other companies, building expertise in motion picture promotion during the late 1930s and through the 1940s. His early work focused on traditional studio publicity efforts for Goldwyn's productions and United Artists releases, establishing him as a seasoned practitioner in Hollywood's advertising and public relations landscape before the rise of independent filmmaking units. Glass's experience in these positions proved foundational to his later collaborations in the industry. In the late 1940s, he transitioned to Stanley Kramer's newly formed independent production company.

Freelance partnership with Walter Seltzer

In 1956, George Glass and Walter Seltzer formed a freelance publicity organization, marking a collaboration between two of the most experienced and able publicists in Hollywood. Around this period, they were jointly hired by producer Harold Hecht to manage the overall publicity and Academy Awards campaign for the Hecht-Lancaster production Marty (1955) in the trade press, primarily Daily Variety and The Hollywood Reporter. Walter Seltzer devised notable stunts for the campaign, including pasting a real envelope containing a letter from George Jessel onto a page in Daily Variety in December 1955 and commissioning a simple phone-booth sketch illustration for advertisements when professional resources were limited. The team maintained an intensive schedule of trade advertising, often running two different ads per week during the key Oscar push from November 1955 through March 1956, incorporating letter series, critic endorsements, and cartoon elements, culminating in a final advertisement on March 15, 1956. This freelance arrangement preceded and briefly overlapped with their later transition to executive producer roles at Pennebaker Productions.

Association with Stanley Kramer

Joining Kramer's independent production company

George Glass joined Stanley Kramer's independent production company in the late 1940s, shortly after Kramer decided to establish himself as an independent producer rather than return to the studio system following World War II. The company, known as Screen Plays Inc., was formed with partnerships that included writer Herbie Baker, producer Carl Foreman, and Glass, who came to the venture after earlier publicity work with Samuel Goldwyn. Glass took on the initial role as head publicist for Kramer's operation, helping to promote the company's early independent film projects. Stanley Kramer later praised Glass highly, describing him as "one of the best publicity men in town" and noting "I was fortunate to get him. He was a bright man and a very smooth operator." This endorsement reflected Glass's reputation in the industry and his value to Kramer's fledgling enterprise as it sought to carve out a space for socially conscious filmmaking outside the major studios. The association marked a pivotal shift in Glass's career from freelance and studio publicity toward deeper involvement in independent production.

Roles as publicist and associate producer

George Glass served as head publicist for several films produced by Stanley Kramer, handling promotional efforts for Kramer's early independent productions including Champion (1949) and Home of the Brave (1949). In addition to his publicity work, Glass held associate producer responsibilities within Kramer's company. He received on-screen associate producer credit for The Men (1950). Glass also contributed as an uncredited associate producer on High Noon (1952). These dual roles positioned him as a key member of Kramer's production team during the company's formative years.

Key contributions to Kramer films

George Glass made distinctive contributions to Stanley Kramer's films through his publicity expertise and creative suggestions, enhancing the impact of several key productions. His publicity work was particularly effective for Kramer's early independent efforts, Champion (1949) and Home of the Brave (1949), where aggressive campaigns helped generate buzz and establish the company's reputation for tackling challenging subjects. These efforts included bold promotion strategies that drew significant attention to the films upon their release. In later years, Glass continued his involvement as associate producer on Kramer projects such as Guess Who's Coming to Dinner (1967) and R.P.M. (1970), contributing to the development and execution of these socially conscious films during Kramer's ongoing independent production era.

Pennebaker Productions and independent producing

Partnership with Marlon Brando's company

In April 1957, George Glass and his longtime collaborator Walter Seltzer joined Marlon Brando's independent production company, Pennebaker Productions, following their establishment of a freelance publicity partnership the previous year. Marlon Brando Sr., serving as company president, announced that both men would become active in management, with plans for the Seltzer-Glass team to produce pictures through the company. Glass and Seltzer functioned as executive producers at Pennebaker, contributing to the company's operations and film acquisitions during the late 1950s and into the early 1960s. Their affiliation with Pennebaker Productions ended in 1961.

Executive producer credits

George Glass earned executive producer credits on several films during his tenure with Pennebaker Productions. These credits included Shake Hands with the Devil (1959), Paris Blues (1961), and One-Eyed Jacks (1961), where he was listed as executive producer, typically alongside Walter Seltzer. Shake Hands with the Devil (1959), directed by Michael Anderson and starring James Cagney, was an Irish-American co-production set during the Irish Civil War. Paris Blues (1961), directed by Martin Ritt and featuring Paul Newman, Joanne Woodward, and Louis Armstrong, explored themes of jazz musicians in Paris and interracial relationships. One-Eyed Jacks (1961), Marlon Brando's sole directorial feature in which he also starred, was a psychological Western that faced production challenges and delays. These projects reflected Glass's expanded role in independent filmmaking through the Pennebaker affiliation.

Later career and industry roles

Additional producer credits

In the late 1960s and early 1970s, George Glass continued his long association with Stanley Kramer, serving as associate producer on several of the director's films. These credits included Guess Who's Coming to Dinner (1967), The Secret of Santa Vittoria (1969), R.P.M. (1970), and Bless the Beasts & Children (1971). These roles marked the final phase of Glass's active involvement in film production. No additional producer or associate producer credits are documented after 1971.

Screen Producers Guild involvement

George Glass was elected to the executive board of the Screen Producers Guild in 1960, alongside director Mervyn LeRoy. This position placed him in a leadership role within the professional organization representing motion picture producers in Hollywood. The Screen Producers Guild, founded in 1950 as the earliest forerunner of the Producers Guild of America, advocated for producers' interests in the film industry during a period of significant transition. In 1962, the Screen Producers Guild, then led by President Walter Mirisch, merged with the Television Producers Guild to form the Producers Guild of America. His service on the board complemented his established reputation as a publicist and producer.

Personal life

Marriage and HUAC testimony

George Glass was born on August 19, 1910, in Los Angeles, California. He was married to Harriet Glass (née Galblum). In January 1952, amid the Hollywood investigations into alleged communist influence, Glass testified before the House Committee on Un-American Activities during hearings on communist activities among professional groups in the Los Angeles area. On January 21, 1952, he described attending gatherings at the homes of screenwriter Ring Lardner Jr. and other members of the entertainment industry in the mid-1940s, at which he was urged to join the Communist Political Association, though he stated that he never became a member. Glass initially indicated he might defy the committee but ultimately cooperated, providing names in an executive session, citing loyalty to the Stanley Kramer Company and a belatedly discovered hatred for communism. This testimony occurred during a time of significant professional pressure in the film industry due to HUAC scrutiny.

Death

George Glass died on April 1, 1984, in Ventura, California, at the age of 73. This concluded a career in the film industry that spanned several decades.

Selected filmography

Producer credits

George Glass earned numerous producer credits throughout his career, most prominently as an associate producer on Stanley Kramer productions and as an executive producer during his partnership in Pennebaker Productions. His associate producer credits include Cyrano de Bergerac (1950), The Men (1950), Death of a Salesman (1951), Guess Who's Coming to Dinner (1967), R.P.M. (1970), and Bless the Beasts & Children (1971). He also received an uncredited associate producer credit on High Noon (1952). As a partner in Marlon Brando's Pennebaker Productions alongside Walter Seltzer, Glass frequently served as executive producer on Shake Hands with the Devil (1959), One-Eyed Jacks (1961), Paris Blues (1961), and The Naked Edge (1961).

Other roles

George Glass began his Hollywood career in publicity roles, establishing himself as a skilled publicist before transitioning to production. He served as director of advertising and publicity for Samuel Goldwyn Productions, succeeding William Hebert in that position in 1944. Later, Glass acted as publicity director for Stanley Kramer Productions, overseeing promotional campaigns for Kramer's independent films during the late 1940s and early 1950s. He also served as publicity director for the 1942 re-release of Charlie Chaplin's The Gold Rush (1925), receiving an uncredited credit in that capacity. These publicity positions complemented his later producer credits but represented his primary early contributions to the industry.

References

  1. https://www.imdb.com/name/nm0323353/
  2. https://www.imdb.com/name/nm0321935/
  3. https://archive.org/details/boxofficeaprjun15253unse/page/n1223/mode/2up
  4. https://www.imdb.com/name/nm0321935/bio/
  5. https://www.yumpu.com/en/document/read/27055781/boxoffice-november171956/28
  6. https://www.tvweek.com/open-mic/2016/12/how-television-saved-the-movies-fromtelevision-marketers-delight/
  7. https://variety.com/2001/scene/people-news/award-winning-helmer-kramer-is-dead-at-87-1117793939/
  8. https://www.cobbles.com/simpp_archive/deutsch-stillman.htm
  9. https://www.nytimes.com/1949/04/10/archives/champion-producer.html
  10. https://www.nytimes.com/1950/01/08/archives/hollywood-reports-double-bills-flourishingrko-settles-lamour.html
  11. https://www.nytimes.com/1957/04/12/archives/film-body-rules-on-oscar-winner-mysterious-author-of-brave-one-must.html
  12. https://www.nytimes.com/1958/07/11/archives/brando-company-plans-five-films-pennebaker-inc-will-start-2.html
  13. http://catalog.afi.com/Catalog/moviedetails/53588
  14. https://www.imdb.com/title/tt0053272/fullcredits/
  15. https://www.imdb.com/title/tt0055278/fullcredits/
  16. https://www.imdb.com/title/tt0055257/fullcredits/
  17. https://www.imdb.com/title/tt0064952/fullcredits/
  18. https://c.mymovies.dk/Person/b5b48c18-1a1e-426c-8182-c20608b42de1
  19. https://producersguild.org/the-organization/
  20. https://archive.org/details/communistactivit01unit/page/2486/mode/2up
  21. https://www.vanityfair.com/hollywood/2017/02/high-noons-secret-backstory
  22. https://www.classicmoviehub.com/bio/george-glass/
  23. https://catalog.afi.com/Catalog/moviedetails/27595
  24. https://catalog.afi.com/Catalog/moviedetails/20636
  25. https://catalog.afi.com/Catalog/moviedetails/53588
  26. https://www.nytimes.com/1944/07/05/archives/screen-news-gloria-hallward-signs-a-contract-with-mgm.html
  27. https://www.nytimes.com/1954/08/12/archives/glass-to-exploit-paris-in-new-film-independent-producer-plans-to.html
  28. https://www.imdb.com/title/tt0015864/fullcredits/
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