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Julian Zimet (Co-writer of Screenplay)

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"Shaw took care of the battle scenes himself. Siodmak preferred directing ballroom scenes, which he had done so often in his long career they required no invention. What he didn’t anticipate, as he choreographed fifty couples, was that the actor—whose intervention was designed to give coherence to the scene—would go crazy, punch him in the chops, and walk off the set.

I was already working on another project, but Yordan insisted that I write some lines for a minor actor, which would account for the miscreant’s absence. This would allow the ballroom scene to continue, save having to locate the crazy or drunk actor, and save having to reshoot.

While Siodmak kept the dancers in motion, I rehearsed the new actor in his role, and tailors stitched together a bespoke uniform. Within minutes he burst upon the scene, apologised on behalf of the government minister for his absence—due to a crisis in Washington—and announced an impending honour for Custer. It was a weak solution, but it saved a lot of money. That’s show business for you."

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Julian Zimet (Co-writer of Screenplay)

"The original brief was to turn out a typical Western sainted hero martyr script, which Gordon and I duly delivered. But Robert Shaw figured he would make it over to suit himself. Which he did. He turned Custer into a sadist of Shakespearean depth."

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Bernard Gordon (Co-writer of Screenplay)

 

"Production stumbled along on Custer as Julian and I tried to give the Indians a fair shake. Robert Shaw was helpful. A bright man and a fine writer, he approved of our point of view that the Indians were victims right to the end. He even wrote one speech for Custer… that made this point sharply."

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