Chase Scene Outtakes!!!


After shooting 80 minutes of Super 8 film Dizzy did the unthinkable: he discarded everything in 
order to shoot the film in 16mm (like BLANCANIEVES, CLERKS and EL MARIACHI which were later blown up to 35mm). Some 
of these scenes were never re-shot for the feature length version of the film, and the ones that were, were shot with 
new actors. The Director of Photography for THE ARTIST said: "Today’s black and white is too precise, too sharp. 
So we shot the whole film in 500 ASA colour so it would be grainier." Dizzy did the opposite: He shot the 
whole film out doors in bright sunlight in 50 (and later 100) ASA B&W so that there would be hardly be any grain. The transfer from 
film to HD was done by Cinepost.


Dizzy setting up the Super 8 camera for the scene from which the frame below was taken. 


These three scenes were never reshot for the 16mm version of the film.



This scene was never reshot for the 16mm version because the alley door was later locked.


This scene with the cops trying to open the door was reshot, but at a different location 
(with different actors), because the building were torn down. (This version was better in Dizzy's opinion.) 
The last two shots for this scene jump because the Super 8 cartridge was jammed. (You can see it on that clip above.)
This happened quite a bit through the course of filming the first version of this movie (and also with TEED-OFF). 
This scene was never filmed again.


There were two scenes shot at this dumpster for the 16mm version, and the one on the right was one of them. 
At first, they were both going to end up in the film, but it seemed too repetitive, so the one on the left got the 
boot because the other one was better. After adding the sound effect for the outtake clip, Dizzy had 
second thoughts about removing it. Proving that, all you need for a good silent comedy, is good sound effects. 
(You hear that silent clown wannabees.)


This scene was actually shot three times: The first time (above far left) had Dizzy climb down the pole to get 
away from the cop. Then it occurred to Dizzy that it would be better to climb onto the pole and descend with
it. (This could only be done when a train was coming.) The cop climbing up after Dizzy the first two times was
Mario Pisciuneri. Alex Gorchkov, who would replace him in the movie for the 16mm version refused to
climb up the ladder to do the scene, so Martin Foley stepped in to do it instead. The third time on the far right,
done a year or two later for the 16mm version, turned out differently.
Side by side comparison of a scene in Super 8 and 16mm. The 16mm still on the right is clearer and has more detail.
Posing for a publicity photo.