The series was video taped at the KTTV Studio, Hollywood, CA., where Norman Lear had his Empire (production office) established. The "All That Glitters" offices had been set up at the KTTV studios, assigned a stage where the art department and wardrobe had offices within the stage complex; including the stage control room--director, AD, tech director, lighting director, editor video-tape facility. Scenery was built outside of the studio at an independent Hollywood set construction shop (Dick Sheehan). Don Roberts asked for, and hired Hub Braden, joining Braden with Norman Lear's art department team, to be Production Designer, art directing and dressing the new series. The show's "soap" schedule identified with a daily drama, taped similar to a network day-time drama, for a night-time syndicated Monday through Friday viewing time slot. The scenario established a role reversal between male and female character. The comedic intent was when God made Woman, called Eve. Afterwards, God (a woman) felt Eve needed a partner creating Adam. The dominate female role "Eve" model had carried down through Centuries: Moses had been Mosea, a woman, Jesus had been Jessia, a woman, not King Louis XIV, but Queen Louisa XIV. Women ran the corporate world with a woman president. The counter-part for office personnel was a male secretary, no house-wife but a house-husband, staying at home to clean, raise the kids, cook, minding the home requirements! An interesting premise for a twist of fate. Dialogue and situations in the projected scenarios expanded this premise. Norman Lear went as far as to make the Producing staff all female, women Producers including the production personnel, except for Production Designer Hub Braden, the Director Herb Kenwith, Prop-master Warren Schaffer, stage hands, and camera men and studio facility support technicians.
The first day on stage with cast and crew, the director, Jim Frawley was fired by Norman Lear. The cast and crew were released, ordered to report back the next day. Herb Kenwith was brought into the production, that late afternoon. Herb Kenwith directed the entire series.
The show's female production staff, headed by Stephanie Sills, the producer, were a mirror image of the show's scenario. The female "All That Glitters" cast were located in a corporate kingdom titled "Globatron". Preliminary production (design) discussion centered upon a corporate logo for the fictional Globatron business empire. Stephanie Sills dictated that the logo should feature a rose, a world globe being held, balanced with-in the open rose (petals) blossom. Specifically, the rose represented a woman's sex organ trapping the world power within. In the main board room set, the sculptured logo was featured prominently, on the wall behind the corporate director's glass top desk and chair.
"All That Glitters" was a five night series which aired on the local Los Angeles Channel 13 television station, weekly. The entire series ran all the shows taped in the schedule. After Norman Lear canceled the show, the scenery was dumped. All permanent (which had been purchased) set dressing furniture pieces were divided up and relocated in the Lear Office empire.
The world of the Norman Lear's limited night-time television series "All That Glitters" was exactly like ours except that the women were the dominate gender. Women were the captains of industry and men were household workers, secretaries and waiters trying to attract attention with their sexuality. To add some additional twists to that twist there were characters into dominance/submission, a woman, the first transvestite or trans-gender role portrayed on television, who had been a man (played by Linda Gray) and, of course, women CEOs having affairs with their male secretaries. This was the TV series that Norman Lear had Herb Kenwith take over the directorial assignment after Norman Lear fired the first choice of his female producing team, the film director James Frawley. Jim Frawley's background was in feature film, where one camera films the action, resets for secondary shots, close ups, etc. During the first day stage blocking rehearsal, a four camera blocking plotting day, Frawley dismissed three camera men, announcing he would video tape the show with only one camera. Mid-day morning, Norman Lear was called to the KTTV studio-stage to observe. The lack of experience with the "Glitter's" team of lady producers created a multiple state of confusion. The producing team, unprepared for an unexperienced film director's state of confusion having to deal with blocking many actors in consecutive scene staging's, while blocking four television camera positions and shots. The television medium format for multiple camera shot positions, multiplied by the camera tape editing process, created a stage of mass pandemonium and tension. With Norman Lear on stage, the women producers blamed the production designer Hub Braden for his stage layout of the ten sets to justify Jim Frawley's failure to stage multiple cameras. To justify Frawley's dismissal of three camera men, his failure in dealing with multiple cameras, the producers frantically put the order out to "find Hub" so we can fire him! No one could find Braden because early in the day, Braden had been so exasperated with the inexperienced film director's handing of actors and technical crew, he had departed the stage mayhem, to supervise his free-lance design project being set up, to be taped at across town's NBC Burbank studio: the Hollywood based-columnist Rona Barrett's Academy Award interview special featuring Academy Award Nominee guests. The Ronna Barrett theatrical interview background stage set was designed to collapse on camera at the conclusion of the TV interview show. Braden's art director assistants at KTTV had been instructed to deal with any stage problems. Therefore, no one could find Braden to tell him the "Glitter's Producers" wanted to fire him. Around four-thirty, that afternoon, Lear fired Jim Frawley on stage in front of the entire crew of actors, producers and technicians, with everyone dismissed until the next day. Norman Lear immediately brought Herb Kenwith into the studio-facility to take over the show's directing reigns. Told by the producers that they were firing their production designer Hub Braden, Herb Kenwith replied "you can't fire him! He is the only one here that knows what he is doing! HE STAYS!" Braden, that night at seven p.m., returned to the KTTV stage to check out the day's progress; discovering an empty stage with Herb Kenwith standing in the middle of the stage, holding an open script book studying each stage set arrangement, analyzing scene blocking shots. Braden, ignorant of the day's sequence of mayhem, greeted Herb in amazement, blurting out "thank God you are here!" Herb filled Braden in with all the day's consequences, including how he, Herb, had saved Braden's job! The success of the series was primarily Herb Kenwith's sense of humor and tongue in cheek direction of the outlandish situation comedy scripts. Probably the first ever night time television comedy dealing with female sexual mores, twists, and compulsions. The Norman Lear project was short-lived, canceled after twelve weeks; a five night television comedy series, telecast on Los Angeles' local syndicated Channel 13 network with terribly dismal ratings.
Two featured characters in "All That Glitters" were Eileen Brennan as Ma Packer and her lazy son, Sonny Packer, played by Tim Thomerson. Sonny's (Thomerson's) role idol and wannabe impersonation of an Elvis Presley character, always strumming his guitar, practicing swinging hips and rock movements was diligently encouraged by his Ma (Eileen Brennan) Packer. Their principal abode was a run down farm shack. In preparation for the first introduction of the outlandish pair, Herb and Eileen requested the littered straw and dirt studio set floor be inhabited with a small pot bellied pig and a dozen chickens. The first day to video-tape Ma and Sonny Packer's introduction in the series, Eileen picked up one of the hens, holding the chicken in her arms like a pet cat, petting and soothing the clucking hen while performing her character's motherly role. The entire week of staged scenes, Eileen carried the same hen in her arms, with the chickens pecking seeds from the straw on the ramshackle shack floor. The following week, the producers decided to cancel the livestock. Arriving early on set for rehearsal, Eileen and Herb confronted the dull witted lady producers. Where were the Chickens? Canceled to save money on a chicken wrangler and his flock of hens! The cast and crew waited for one hour while the wrangler and his flock of hens could arrive. Thereafter, Eileen, her chicken-hen co-star, with the floor flock of hens were featured until Ma moved uptown, with Sonny becoming a full fledged rock star on a local television station talent show, landing a gig at a local Western bar and stardom! Ma Packer, now a sexy glamorous theatrical agent, became a music-rock group phenomena.