The modern horror landscape is obsessed with Art the Clown. Between the viral box office success of the Terrifier sequels and the sheer brutality that has people fainting in theaters, he’s basically the new Freddy Krueger. But here’s the thing. Most fans think he started with the 2016 movie.
He didn't.
If you really want to understand why this mime is so unsettling, you have to go back to the original Art the Clown short film era. Before David Howard Thornton brought his iconic, campy charisma to the role, there was a much grittier, dirtier version of the character lurking in the indie underground.
The 2008 Debut: The 9th Circle
In 2008, a young filmmaker named Damien Leone didn't actually set out to make a "clown movie." He just wanted to show off his practical effects skills. He had this weird idea about a woman being tormented on a bus by a clown—something awkward and funny that turned into a nightmare.
That idea became The 9th Circle.
Honestly, Art is barely the main event here. He’s more like a demonic middleman. The plot is simple: a woman named Casey is waiting at a train station on Halloween night. Art shows up, does some creepy pantomime, and then—instead of sawing her in half like we'd expect today—he injects her with a sedative and delivers her to a literal Satanic cult.
It’s a weird short.
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You’ve got demons, witches, and monsters that look like they crawled out of a 1980s creature feature. But when Leone showed the film, audiences didn't care about the witches. They only wanted to know about the clown.
Why Mike Giannelli’s Art Hits Differently
Before Thornton took over, Art was played by Mike Giannelli, a friend of Leone’s. If you’ve only seen the new movies, Giannelli’s performance might shock you. He isn't "cute" or "funny" in a quirky way.
He’s just gross.
Giannelli’s Art felt like a genuine predator. There was this "uncanny valley" vibe to his face that made you want to wash your hands after watching him. While the modern Art is a theatrical performer, the original Art the Clown short film version felt like a guy who lived in a dumpster and hadn't bathed in a decade.
The 2011 "Terrifier" Short: A Prototype for Chaos
By 2011, Leone knew he had something special with the clown. He dropped the cult stuff and focused entirely on Art. This 20-minute short—also titled Terrifier—is where the Art we know today was truly born.
Basically, it's a cat-and-mouse game. A woman witnesses Art committing a murder at a gas station, and he spends the rest of the night making her life a living hell. This is where we first see the "sh*t-smeared walls" gag that would later appear in the 2016 feature. It’s also where Art’s supernatural durability starts to peek through.
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The ending of this short is still one of the most disturbing things Leone has filmed. It isn't just about the gore; it’s about the total lack of hope.
All Hallows' Eve: The Bridge to Fame
If you’re looking for these shorts today, you’ll likely find them tucked inside the 2013 anthology film All Hallows' Eve.
Leone was approached by a producer to bundle his shorts into a feature-length project. He added a wraparound story about a babysitter finding a mysterious VHS tape. It’s a classic horror trope, but it worked.
- The 9th Circle (2008) is the first "segment."
- The 2011 Terrifier short is the finale.
- A new middle segment featuring an alien (which Leone admits was just filler) was added to hit the runtime.
Watching these back-to-back, you can see the character evolving in real-time. He goes from a background monster to a silent lead who can carry an entire franchise.
What Most People Miss About the Short Films
There’s a huge debate in the fandom about which version of Art is "better."
Some purists argue that the Art the Clown short film era was actually scarier because it was more grounded. There was less "magic" and more "serial killer." In the shorts, Art felt like he could be hiding in your actual basement. Now, he’s more of an immortal slasher god.
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Also, the budget for these shorts was essentially nothing. Leone’s mother reportedly funded The 9th Circle in lieu of paying for a college semester. Talk about a gamble. That DIY energy is what gives the early films their grimy, snuff-film aesthetic that you just can't replicate with a multimillion-dollar budget.
Key Differences Between the Shorts and the Movies
| Feature | The Short Films (2008-2011) | The Feature Films (2016-2024) |
|---|---|---|
| Actor | Mike Giannelli | David Howard Thornton |
| Personality | Silent, brooding, predatory | Expressive, theatrical, "funny" |
| Lore | Tied to Satanic cults | Tied to the Pale Little Girl / Entity |
| Gore Style | Gritty and "realistic" | Over-the-top and fantastical |
Actionable Next Steps for Horror Fans
If you’ve only seen the Terrifier movies on the big screen, you’re missing the DNA of the character. To get the full experience, follow these steps:
- Watch All Hallows' Eve (2013): This is the easiest way to see both the 2008 and 2011 shorts in their remastered context. It’s usually streaming on platforms like Tubi or Shudder.
- Pay Attention to the Eyes: In The 9th Circle, Art’s eyes glow yellow at one point. This is a massive hint toward his demonic nature that people are still debating today in the context of Terrifier 3.
- Compare the Gas Station Scenes: Watch the gas station scene in the 2011 short and then watch the one in the 2016 movie. You’ll see how Leone refined his pacing and how Thornton’s physical comedy changed the entire tone of the character.
- Look for the VHS Tape: The "cursed tape" from the shorts makes a brief cameo in the later movies. It's a fun Easter egg for the die-hard fans.
The evolution of Art from a low-budget experiment to a household name is one of the coolest success stories in modern horror. Understanding the Art the Clown short film origins doesn't just make you a more informed fan; it actually makes the newer movies more interesting because you can see where the "rules" of Art were first written—and where Leone decided to break them.
The transition from Mike Giannelli’s silent, hulking threat to David Howard Thornton’s manic, pantomiming monster represents a shift in how we view slasher villains in the 2020s. We want our monsters to have personality now. We want to love them while they’re doing the unthinkable. But looking back at those early shorts reminds us that at his core, Art was always meant to be the thing you hope you never see at a lonely train station at 4:00 am.
The grittiness of the early work acts as the foundation for the spectacle we see today. Without that 2008 experiment, horror wouldn't have its new king. It's as simple as that.