Writer/director Edward Bernds first sought Sterling Hayden and then Frank Lovejoy for the lead. Producer Richard V. Heermance eventually hired Hugh Marlowe, who asked for only a quarter of the other actors' salaries. According to Bernds, Marlowe was often lazy and unprepared.
In this film, Rod Taylor still retains traces and phrases from his Australian background. By the time he filmed "The Time Machine", just a few years later, he'd lost all vestiges of his home country.
This film was produced directly by Allied Artists (formerly Monogram Pictures). It was made in hopes of shedding Monogram's "poverty row" image. It was given a larger budget, shot in color and CinemaScope and ran a full reel longer than their usual 60- to 70-minute running time common to "B" pictures. Allied Artists was able to book it under percentage contracts rather than flat rates.
Just four years later, one of this film's stars, Rod Taylor, would star in George Pal's Cỗ Máy Thời Gian (1960). Based on the novel by H.G. Wells, this film would be Rod's second foray through time in his career.
The title is derived from the modern Anglican version of a Catholic devotional doxology: "Glory to the Father and to the Son and to the Holy Spirit; as it was in the beginning is now and ever shall be, world without end. Amen."