The character Governor LePetomane was named after a popular turn-of-the-century French performer, Joseph Pujol, whose stage name was "Le Petomane" ("The Fartmaster"). He told stories punctuated with flatulence, demonstrated his ability to blow out candle flames from two feet way with his back turned, and performed "La Marseillaise" and popular tunes.
Supposedly, this movie officially marks the first time the sound of farting has ever been used in a film (at least according to the film makers in the DVD Documentary). According to Mel Brooks, they came up with the idea after watching numerous old westerns where cowboys only consume black coffee and plates of beans, thus concluding that such a food combination would inevitably lead to farting.
One studio executive stopped Mel Brooks in an elevator at the Warner Brothers lot and told him that several scenes were offensive and needed to be cut in order for the picture to be released. Brooks nodded and agreed to be polite even though he had no intention of changing a thing, being that he had final cut written into his contract.
The role of Bart was intended for Richard Pryor, but due to the controversial nature of Pryor's stand-up routines of the day and his background, Mel Brooks couldn't secure financing for the project with Pryor in that role. So Pryor was made a co-writer of the script, and Cleavon Little played Bart. Pryor later got to star in a different western comedy - Adiós Amigo (1976).
Production began with Gig Young as the Waco Kid. On the first day of shooting, the scene where the drunk Waco Kid hangs from a bunk asking if Bart is black, Young revealed that he really was indeed drunk (he had had an alcohol problem for years) and proceeded to undergo a physical collapse on set. Brooks shut down production for a day and Gene Wilder flew cross country to take over the role. Young later sued Warner Bros. for breach of contract.
Gene Wilder was originally offered the role of Hedley Lamarr but he didn't feel right for it and told Mel Brooks that he wanted The Waco Kid instead. However, Brooks wanted someone older for The Waco Kid, someone like Dan Dailey. Dailey was originally considered for the role of the Waco Kid but poor health and declining eyesight forced him to decline.
The Hebrew writing on headband worn by Mel Brooks on the movie poster should translate to "Kosher for Passover", but it has a (deliberate) mistake: the first letters were switched, which translates it to something like "Posher for Kassover". The huge coin on the poster is inscribed "Hi! I'm Mel, Trust Me!"
On the marquee at Graumann's Chinese Theater, the flashing title 'Blazing Saddles' is a matte lay-in, covering the film's original title, 'Black Bart.' The final title of the movie wasn't decided until after principal photography.
When Mel Brooks advertised in the show business trade papers for a "Frankie Laine-type" voice to sing the film's title song, he was hoping for a good imitator. Instead, Frankie Laine himself showed at Brooks' office two days later, ready to do the job but nobody told him the movie was a parody.
The world premiere was at the (now gone) Pickwick Drive-In Theater in Burbank, California. The guests rode horses into the drive-in for the premiere. (The Pickwick was also used in Grease (1978) as a filming location.)
The scene in which Mongo knocks out a horse has a basis in reality. Mel Brooks' former Your Show of Shows (1950) and Caesar's Hour (1954) boss, Sid Caesar, who was a physically imposing and somewhat violent man, reported in his 1982 autobiography "Where Have I Been?" that while trail riding with his wife, her horse caused trouble and he punched it once between the eyes. The horse collapsed, unconscious. He notes that this event was Brooks' inspiration for the Mongo-vs.-horse scene.
In the DVD Commentary, Mel Brooks said that the working title for the film was "Tex X" as a reference to black Muslim leader Malcolm X. It was then switched to "Black Bart". In either case, neither he, nor the other writers thought those were great titles. Brooks says that one morning he was taking a shower and the words Blazing Saddles (1974) suddenly popped into his head. When he got out of the shower, he pitched the title to his wife, actress Anne Bancroft, who liked the idea and that's how the movie ended up with its title.
When auditioning for the role of Lilly, Madeline Kahn was asked by Mel Brooks to pull up her skirt so he could see her legs. She was quite hesitant, being unclear of Brooks's intentions. Brooks actually just wanted to see if she had legs good enough to approximate Marlene Dietrich's famous "gams".
The scene in which Cleavon Little draws a gun upon himself to save himself from the townspeople's wrath was based on a childhood incident from Mel Brooks. Brooks said that once, to his disbelief, he stole some gum and a water pistol from a drugstore; when a store worker tried to stop him, Brooks held the worker at bay with the very water pistol he had just fingered from the store.
After promising to edit out several 'offensive' scenes such as the infamous farting sequence, Mel Brooks in fact never cut a single scene except one: after the room is darkened and Lilly informs Bart "It's TWUE! It's TWUE!", Bart quietly states "You're sucking on my elbow".
During a speech awarding Mel Brooks as a Kennedy Center Honoree, President Barack Obama mentioned going to see Blazing Saddles (1974) at the age of 13. When Brooks asked how he got in with the ratings restriction, the president replied, "I think I had a fake ID," before adding, "The statute of limitations has passed."
Dom DeLuise has claimed that the role of the director of the film-within-a-film 'The French Mistake' was originally meant to be played by actor Peter Sellers. But after he endured an exhaustive four-hour audition, Brooks instead cast DeLuise.
The name of Dom DeLuise's character "Buddy Bizarre" is a reference to the famed dance choreographer Busby Berkeley, who was renowned for staging highly elaborate and precisely-timed song and dance numbers, of which "The French Mistake" is a clear parody.
When the film was first screened for major Warner Bros. executives, almost no one in the audience laughed and the movie looked to be a disaster that the studio would not release. But Brooks quickly set up a subsequent screening for the WB studio's employees. When these regular folks laughed uproariously throughout the movie, Warner Bros. finally agreed to take a chance on releasing it.
One day in the Warner Bros. studio commissary, Mel Brooks and the other writers were seated at a table opposite John Wayne ("the Duke"). The Duke turned and said he had heard about their Western, the one where people say stuff like "blow it out your ass". Mel handed the Duke a copy of the script and said, "Yes, and we'd like you to be in it." According to Brooks, the Duke turned down the offer the next day by saying, "Naw, I can't do a movie like that, but I'll be first in line to see it!"
When handing out the paddles to everyone at the table, Gov. William J. LePetomaine calls them by name as Frankie, Johnny, Patsy and Kelly. "Frankie & Johnny" was a popular song in the 1930s and Patsy Kelly was a popular comic actress at that time.
The bull that Mongo rides has "YES" painted on one side and "NO" painted on the other. This is apparently a reference to the practice in the 1950s of marking the back of school buses for which side was safe to pass on, essentially inferring that Mongo and his mount are as big as a bus.
Though credited on screen as "Gum Chewer", Don Megowan actually played a different role in the film: he was the man who Madeline Kahn pushed into the audience after he lurched drunkenly toward her while she was on stage.
Madeline Kahn started working on the movie the day after being fired from the role of Agnes Gooch in Mame (1974). Lucille Ball believed that Kahn got herself fired (by deliberately acting poorly) so that she could take the role of Lili Von Shtupp in this film, but still get paid for the Gooch role in "Mame", which by her contract wouldn't have happened if she'd merely quit.
After writing his first two feature films on his own, Mel Brooks was nostalgic for the collaborative group writing style of his days on Your Show of Shows (1950), so he employed 4 other writers to work with. According to co-writer Andrew Bergman, who wrote the treatment on which the film is based, almost all of the scenes include some contribution from the 5 writers.
The sound effects for the famous wind-breaking scene (with the cowboys around the camp fire letting nature take its natural course after a meal of beans) were added in the cutting room by Mel Brooks and any passer-by, who rubbed soap onto their hands and placed the hand under the armpit, and then closing the armpit.
Mel Brooks wrote a song called "Bart" which would reveal that character's back-story as a pimp, but it was cut before filming began because he felt it slowed the film down and would make it less likely for audiences to sympathize with his plight.
Mel Brooks never told Frankie Laine that the theme song 'Blazing Saddles' was for a comedy. Frankie thought it was a dramatic western. Mel was worried Frankie wouldn't sing it with conviction if he knew the truth.
While filming, Burton Gilliam was at first having a difficult time saying the word n****r, especially to Cleavon Little because he really liked him. Finally after several cuts, Cleavon took him off to the side and told him it was okay because these weren't his words. Cleavon jokingly added "if I thought you would say those words to me in any other situation we'd go to fist city but this all fun. Don't worry about it."
In the scene where Hedley's men ride through the fake town, there is a quick cut to Lilly Von Schtupp singing a drinking song with the German soldiers. They are singing the same song that Zero Mostel and Gene Wilder were singing with Kenneth Mars in The Producers.
At the beginning of the scene in which Mongo awakens chained up in the sheriff's office, when Bart is hanging up posters on the board, there is a wanted poster already hanging up on the wall. This same wanted poster can be seen on the wall in the jail house in the John Wayne movie Rio Bravo (1959).
The music played during the transition to the scene with the poster advertising Lily Von Schtupp's performance is the first four measures of "Springtime For Hitler" from Brooks' previous movie "The Producers", played on an old-time saloon piano.
At the end of the movie when the whole group is running out of the Warner Bros. studio front gates, there is a man in a sweater standing on the sidewalk, watching the action. Mel Brooks has said that the man was not part of the movie, and had simply wandered into the scene; they shooed him away and then went to film the scene -- the guy comes back into the shot and is seen standing next to a light pole as the characters stream past him down the street.
created mob noise by having people say, "Harrumph." We can hear an example of this moment after the townspeople refuse to give land to the Irish. In the ensuing hubbub, Brooks can be heard to say, "Everybody, harrumph!"