Paul Michael Glaser
The work most closely associated with Paul Michael Glaser, at least in institutional terms, is his career as a television actor, a role the Library of Congress captures under the authorized label "Glaser, Paul Michael." That cataloging places him within the documented record of American cultural life, anchoring a professional identity built across several decades of work in front of and behind the camera.
Glaser was born on March 25, 1943, in Cambridge, a detail that connects him to the Massachusetts educational landscape he would inhabit for part of his early life. He attended The Cambridge School of Weston and Buckingham Browne & Nichols School before moving into higher education. He studied at Tulane University School of Liberal Arts and later at Boston University, giving him a formal academic grounding before he pursued a career in performance as a United States citizen working in the English language.
His professional life did not stay confined to acting. Over time, Glaser also worked as a film director, a screenwriter, and a film producer, accumulating credits across several distinct roles within the American entertainment industry. That range of activity — from appearing on screen to writing scripts to overseeing productions — reflects a career that moved through different parts of the filmmaking process rather than settling into a single track.
The Library of Congress authorized label "Glaser, Paul Michael" serves as a concrete marker of his documented standing in American institutional records. Taken together with his educational path through two universities and his early schooling in the Cambridge area, it traces a biography that runs from a Massachusetts upbringing through formal academic training and into a long career spanning acting, directing, writing, and producing. His work as a television actor remains the most publicly prominent piece of that record, with his additional roles as director, screenwriter, and producer rounding out the fuller picture of his professional life.
Quotes by Paul Michael Glaser

I don’t think a movie today that captured all the things that we did in the seventies could come close, because it’s like asking to recreate the seventies and the audience sensibilities and that’s impossible.

The car is a character in the piece – I’ve never liked the car, I submitted to it’s objectionable popularity.

We all know that looking back only gets you into an accident because you’re going to run into something without seeing it.

First of all I thought it was ugly, I thought it was ridiculous that undercover police guys would drive a striped tomato and I’ve never been a big champion of Ford.

When we experience our fear, when we say the words “I am scared,” we have the choice, the ability to acknowledge that being ‘scared’ is not who we are. It is not our identity.

When we experience our fear, when we say the words "I am scared," we have the choice, the ability to acknowledge that being 'scared' is not who we are. It is not our identity.

We were surprised that the television series had the kind of longevity that it had after only four years of filming it and the reception in 6 countries around the world was quite extraordinary.

This particular film highlights Ben and Owen's strengths which is that they are great comedic actors with tremendous chemistry and they do a really good job.

