There are two magnificent shots in The Runt that elevate the film’s spiritual meaning and provide that link between the personal and collective. Throughout the film, the sun appears as a symbol of life. In one shot, Hykade begins with a shot of the sun, but pulls back the camera to reveal that we are actually inside the rabbit. In this simple, beautiful shot, Hykade visualizes the soul and gives life to the rabbit. The second shot comes just before the rabbit is killed. The screen is entirely white until Hykade’s camera again pulls back to reveal that we are actually looking deep inside the rabbit’s eye. Without using a single word, this image screams the runt’s final aching plea for life.

As inspiring and beautiful as Hykade’s images are, music is all a vital part of the equation. The voices of Bob Dylan, Johnny Cash (whom Hykade initially approached to narrate Ring of Fire — Cash refused because he apparently felt that Hykade’s film was immoral. Strangely, Cash had no qualms about making a controversial music video — Delia — about murdering a woman) and other angels of song seep through the pour of every Hykade image. “The music is always there from the very beginning. All the work is based on imaginary beats that are connected. The imaginary beat is the invisible structure of all the animated work. And as the invisible part of the film, it is the most important part, where everything that moves in time is based on the music and rhythm.”

The second part of the trilogy, Ring of Fire (2000), dug deeper into the sexual aspects of Hykade’s childhood. © Gambit Films.

With his country trilogy complete, will Hykade finally get down to the business of making his Jesus feature? “I tried to do this Jesus film a few years ago, but I was not ready for it. I wasn’t able to transport an intense emotion into a story. I will think about it again. I will think about it for my whole life and if I will receive the gift of song I will do the film.”

Meantime, Hykade (who has made a number of inspired commissioned films) has to butter his bread and that means more work on his excellent children’s series, Tom. “I will do a second interactive game about Tom & The Slice of Bread with Strawberryjam & Honey. The children liked the first interactive game and they want more. So I want to give them what they want. I have to do some things for children — funny things. You know, I don’t want to travel just one road and these children films are always a good way to get away from all this violence and killing.”

Chris Robinson has been with the Ottawa International Animation Festival since 1991. A noted animation critic, curator and historian, he has become a leading expert on Canadian and international independent animation. His acclaimed OIAF programming has been regarded as both thoughtful and provocative. In May 2004, Robinson was the recipient of the President’s Award given by the New York chapter of animators for contributions to the promotion of independent animation.

His books include Between Genius and Utter Illiteracy: A Story of Estonian Animation, Ottawa Senators: Great Stories from the NHL’s First Dynasty, Unsung Heroes of Animation, Great Left Wingers and Stole This From a Hockey Card: A Philosophy of Hockey, Doug Harvey, Identity & Booze.

An anthology of Robinson’s “Animation Pimp” columns will be published in 2006. He is working on Fathers of Night, a novel about angels, devils and everything in-between. Robinson lives in Ottawa with his wife, Kelly and sons Jarvis and Harrison.