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George Glass

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George Glass
George Glass c.1960
Born(1910-08-19)August 19, 1910
Los Angeles, California, U.S.
DiedApril 1, 1984(1984-04-01) (aged 73)
Ventura, California, U.S.
OccupationsFilm producer, publicist
Years active1936–1971
SpouseHarriet Glass (née Galblum)

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:

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

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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 joined the executive staff of Hecht-Lancaster[8][9] as vice president in charge of publicity,[10][11][12] and managed the campaign for Trapeze.[10][13] Later that year he 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,[14] and Frank Sinatra later singled out their work in describing “how press agentry was often responsible for saving films.”[15] 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.[16]

Glass was elected to the executive board of the Screen Producers Guild in 1960, along with Mervyn LeRoy.[17] He continued to work with Kramer for many years as an associate producer, with additional credits including Guess Who's Coming to Dinner,[18]: 436 The Secret of Santa Vittoria,[18]: 953  Bless the Beasts and Children[19]: 33  and R. P. M.[19]: 243 

Congressional testimony

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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.[20][21][22]

Publicity stunts

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To promote So Ends Our Night, Glass arranged for a member of the cast, Gerta Rozan, to stage a protest outside of the offices of film’s producers, David L. Loew and Albert Lewin.[23][24][25] Rozan claimed to be upset that her big scene had been cut out of the film, and while carrying a picket sign reading “DON’T SEE ‘SO ENDS OUR NIGHT’ – LOEW-LEWIN UNFAIR TO GERTA ROZAN,” she told the press that she would take off an article of clothing each day until her demand for its reinstatement was met. After successively removing her blouse, skirt, and slip, by the third or fourth day (sources differ) she was left wearing only a black bra and panties, at which point a representative of the production company – variously reported as Kramer (who worked on the film as a production assistant[26]), Loew and Lewin, or Glass himself – rushed out of the building, covered Rozan with a coat, and escorted her inside where negotiations ensued and her request was granted.[27][28][29] The “strip picket” story and accompanying photographs[30] were widely published in newspapers for the duration of the event,[31] and Time magazine described it as the “best all-round publicity stunt of the season.”[32]

In anticipation of the release of New Wine (later retitled The Great Awakening), Glass arranged for actress Eleanor Counts to pose in a bathing suit at a winery in what is today Rancho Cucamonga, California, standing beneath a large vat of champagne. A spigot was opened, the press photographed Counts being thoroughly showered with the beverage,[33][34][35] and Life magazine subsequently published a photo of this event as its Picture of the Week.[34][36] Days later, for a lavish press preview event for the film held at the same venue, Glass orchestrated the ceremonious burial of a time capsule filled with film industry memorabilia,[37][33][35] reportedly including "a sarong from Dorothy Lamour, a curl from Mary Pickford’s hair, a banned sweater from Lana Turner, stockings from Marlene Dietrich," and "a fake mustache and a vest" donated by Charlie Chaplin.[33]

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."[38][39][40] That line has also been attributed to Brando, who reportedly heard it from Glass and quoted it many times.[2]: 55 [41] In a similar vein, columnist Mike Connolly ascribed to Glass the quip "An actor's concern for others ends where his inconvenience begins."[42]

Filmography

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Publicist (uncredited)

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Producer

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References

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  1. ↑ Kramer, Stanley; Coffey, Thomas M. (1997). A Mad, Mad, Mad, Mad World: A Life in Hollywood. New York: Harcourt, Brace and Co. p. 9. ISBN 0-15-154958-3.
  2. 1 2 3 4 Thomas, Bob (1973). Marlon: Portrait of the Rebel as an Artist. New York: Random House. ISBN 0-394-48728-1.
  3. ↑ Spear, Ivan (May 29, 1948). "Press-Agents Who Became Successful Producers". Boxoffice. pp. 22–23. Retrieved 2025-01-24.
  4. 1 2 Byman, Jeremy (2004). Showdown at High Noon: Witch-Hunts, Critics, and the End of the Western. Lanham, MD: Scarecrow Press. p. 35. ISBN 0-8108-4998-4.
  5. 1 2 The American Film Institute Catalog of Motion Pictures Produced in the United States: Feature Films, 1941 - 1950. Berkeley: University of California Press. 1999. p. 526. ISBN 0-520-21521-4.
  6. 1 2 The American Film Institute Catalog of Motion Pictures Produced in the United States: Within Our Gates: Ethnicity in American Feature Films, 1911-1960. Berkeley: University of California Press. 1997. p. 655. ISBN 978-0-520-20964-0.
  7. 1 2 Blum, Daniel (1969). Daniel Blum's Screen World 1953. Vol. IV. New York: Biblo & Tannen. p. 15. ISBN 978-0-8196-0259-6.
  8. ↑ "Glass Joins H-L". This Was The Week When... Motion Picture Exhibitor. January 25, 1956. p. 23. Retrieved 2026-05-30.
  9. ↑ International Motion Picture Almanac for 1957. New York: Quigley Publications. 1956. pp. 97–98. Retrieved 2026-05-30.
  10. 1 2 "Portland". Boxoffice. June 30, 1956. p. 37. Retrieved 2026-05-30.
  11. ↑ "Films Top Video On Thesp Greats". Variety. April 11, 1956. p. 2. Retrieved 2026-05-30.
  12. ↑ "Portland". Motion Picture Herald. August 29, 1942. p. 54. Retrieved 2026-05-30.
  13. 1 2 "Executive Travelers". Boxoffice. April 21, 1956. p. 47. Retrieved 2025-01-24.
  14. ↑ Spear, Ivan (November 17, 1956). "George Glass, Walter Seltzer Form Publicity Organization". Boxoffice. p. 28. Retrieved 2025-01-24.
  15. ↑ "Publicists Guild Gives Four Special Awards". Boxoffice. April 12, 1965. p. 6. Retrieved 2026-01-19.
  16. ↑ Spear, Ivan (April 24, 1961). "George Glass, Walter Seltzer End Pennebaker Affiliation". Boxoffice. p. 16. Retrieved 2025-01-24.
  17. ↑ "Walter Mirisch Renamed President of Producers". Boxoffice. May 9, 1960. p. W-1. Retrieved 2025-01-24.
  18. 1 2 3 4 The American Film Institute Catalog of Motion Pictures Produced in the United States: Feature Films, 1961-1970. Vol. F6. Berkeley: University of California Press. 1997. ISBN 0-8352-0453-7.
  19. 1 2 3 4 Sigoloff, Marc (1984). The Films of the Seventies: A Filmography of American, British and Canadian Films 1970-1979. Jefferson, NC: McFarland and Company. ISBN 0-7864-0882-0.
  20. ↑ Navasky, Victor S. (1991). Naming Names. New York: Penguin Books. pp. 156–159. ISBN 0-14-015235-0.
  21. ↑ "LA Area Red Peak Placed At 4,000 in House Probe". Boxoffice. January 26, 1952. p. 50. Retrieved 2026-05-10.
  22. ↑ Communist Activities among Professional Groups in the Los Angeles Area - Part 1: Hearings before the Committee on Un-American Activities, House of Representatives, Eighty-second Congress, Second Session, January 21, 22, 23, 24, 25, and 26, and April 9, 1952 (Report). Washington, D.C.: United States Government Printing Office. 1952. pp. 2486–2495. Retrieved 2025-01-23.
  23. ↑ Heffernan, Harold (1952-10-27). "Anne Baxter Puffs Cigar, Fans Puff in Confusion". Valley Times. p. 6. Retrieved 2026-04-19.
  24. ↑ Hopper, Hedda (July 1945). "Hot Copy!". Modern Screen. Vol. 31, no. 2. p. 107. Retrieved 2026-04-19.
  25. 1 2 Newquist, Roy (1972). A Special Kind of Magic. New York: Pyramid Books. pp. 49–50. ISBN 0-515-02767-7. Interview with Glass in which he details his recollections of working on So Ends Our Night and the Gerta Rozan publicity stunt.
  26. ↑ "Stanley Kramer". Hollywood Walk of Fame. Retrieved 2026-04-20.
  27. ↑ Othman, Frederick C. (1940-11-28). "Strip-Picket Triumphs in Strike for 'Girl's Rights'". Indianapolis Times. p. 9. Retrieved 2026-04-19.
  28. ↑ Harrison, Paul (1940-12-08). "Hollywood's Fads, Fancies and Foibles". Indianapolis Times. Vol. 4, no. 52. p. 6. Retrieved 2026-04-19.
  29. ↑ "This Week in Hollywood". Movie-Radio Guide. Vol. 10, no. 10. 1940-12-14. p. 7. Retrieved 2026-04-19.
  30. ↑ "Gerta Rozan's 'Strip Picket'". Retrieved 2026-04-19.
  31. ↑ Coniam, Matthew (2015). The Annotated Marx Brothers. Jefferson, NC: McFarland & Company, Inc. p. 225. ISBN 978-0-7864-9705-8. Loew had achieved saturation coverage, got the name of his forthcoming film seen in every paper, and spread the word that it would now include for certain a hot love scene featuring a girl the nation had just seen parading up and down in her underwear. A pretty girl holding a banner saying 'See So Ends Our Night' might have secured a little coverage on a slow news day. Loew had the banner say 'Don't see So Ends Our Night' - and owned the papers for three days running.
  32. ↑ "People". Time. Vol. XXXVI, no. 24. 1940-12-09. p. 44. Retrieved 2026-04-19.
  33. 1 2 3 "Champagne shower, time capsule spice up 1941 Cucamonga movie gala". Inland Valley Daily Bulletin. 2022-12-19. Retrieved 2026-05-27.
  34. 1 2 Morris, John G. (2002). Get the Picture: A Personal History of Photojournalism. Chicago: University of Chicago Press. pp. 46–47. ISBN 0-226-53914-8.
  35. 1 2 "'New Wine' flows freely" (PDF). Movie-Radio Guide. Vol. 10, no. 47. 1941-08-30. p. 6. Retrieved 2026-05-27.
  36. ↑ "Picture of the Week". Life. Vol. 11, no. 5. 1941-08-04. pp. 16–17. Retrieved 2026-05-27.
  37. ↑ "Dear Editor". Daily News (Los Angeles). 1941-07-22. p. 2. Retrieved 2026-05-27.
  38. ↑ Famous Lines: The Columbia Dictionary of Familiar Quotations. New York: Columbia University Press. 1996. p. 5. ISBN 0-231-10218-6.
  39. ↑ Shapiro, Fred R., ed. (2006). The Yale Book of Quotations. New Haven, CT: Yale University Press. p. 313. ISBN 0-300-10798-6.
  40. ↑ See alternate wording at PoetrySoup, Dictionary Quotes, Quotltr (all retrieved: 19-January-2026).
  41. ↑ See review of pertinent sources at Quote Investigator (retrieved: 1-Nov-2014).
  42. ↑ Connolly, Mike (1966-09-26). "Off the Grapevine". The Toledo Blade. Retrieved 2025-06-28.
  43. ↑ Thomas, Bob (1949-03-13). "Quiet Form Of Publicity Shows Effect" (PDF). The Prince Albert Daily Herald. p. 7. Retrieved 2026-05-30.
  44. ↑ Weaver, William R. (August 29, 1942). "Eclipse for Premieres". The Hollywood Scene. Motion Picture Herald. p. 54. Retrieved 2026-05-30.
  45. ↑ "Hollywood Idea". This Week in the News. Motion Picture Herald. March 7, 1942. p. 8. Retrieved 2026-05-30.
  46. ↑ Raiden, Ed (November 28, 1942). "Wandering Around Hollywood". Showmen's Trade Review. p. 25. Retrieved 2026-05-30.
  47. ↑ Cartwright, Jack (May 11, 1944). "Hollywood". Motion Picture Dailey. p. 6. Retrieved 2026-05-30.
  48. ↑ "Blurbers: United Artists". Studio Personnelities. Boxoffice. February 10, 1945. p. 21. Retrieved 2026-05-30.
  49. ↑ Dudley, Fredda (November 1945). "Guest Wife's Guests". Inside Hollywood. Movieland. p. 75. Retrieved 2026-05-30.
  50. ↑ Spear, Ivan (June 2, 1945). "Spearheads". Boxoffice. p. 53. Retrieved 2025-01-24.
  51. ↑ "Coming and Going". The Film Daily. October 11, 1946. p. 2. Retrieved 2026-05-30.
  52. ↑ Spear, Ivan (August 21, 1948). "Stillman to Screenplays as Associate Producer". Boxoffice. p. 26. Retrieved 2026-05-30.
  53. ↑ "Glass Maps Pic Bally". Variety. June 9, 1948. p. 12. Retrieved 2026-05-30.
  54. ↑ Thomas, Bob (1949-03-21). "Low Cost Movie Given Publicity" (PDF). The Post-Star (Glens Falls, N.Y). p. 7. Retrieved 2026-05-30.
  55. ↑ "SPs 'Brave' Probably The Record Long-Runner On Proj. Room Circuit". Variety. July 12, 1961. p. 20. Retrieved 2026-05-30.
  56. ↑ "UA Activity At Peak". Motion Picture Exhibitor. May 27, 1959. p. 24. Retrieved 2026-05-30.
  57. ↑ "Feature Review: 'One Eyed Jacks'". Boxoffice. March 20, 1961. p. 21. Retrieved 2026-05-30.
  58. ↑ "Pre-sold Properties". Motion Picture Exhibitor. August 24, 1960. p. 28. Retrieved 2026-05-30.
  59. ↑ "United Artists: The Naked Edge". Reviews. Motion Picture Exhibitor. July 12, 1961. p. 4838. Retrieved 2026-05-30.

Further reading

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  • Frankel, Glenn (2017). High Noon: The Hollywood Blacklist and the Making of an American Classic. New York: Bloomsbury USA. ISBN 978-1-62040-948-0. Provides details about the subject's business relationship with Stanley Kramer, and his role in the events that led to the blacklisting of Carl Foreman; see index under "Glass, George".
  • Manso, Peter (1994). Brando: The Biography. New York: Hyperion. ISBN 0-7868-6063-4. Provides details about the subject's work with Marlon Brando and his production company; see index under "Glass, George".
  • Newquist, Roy (1972). A Special Kind of Magic. New York: Pyramid Books. pp. 49–54. ISBN 0-515-02767-7. Interview with the subject in which he describes his career and his work with Kramer.
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