In the acclaimed new animated short Where Rabbits Come From by writer-director Colin Ludvic Racicot, a widowed rabbit father goes against the dystopian authorities of his world to instill a sense of wonder into his daughter’s life. The 15-minute-long, black-and-white project has won several awards on the festival circuit this year, including the Canadian Screen Award for Best Animated Short Film and the special Jury Award at the San Diego International Kids Film Festival, and is qualified for Oscar consideration. We caught up with Racicot to find out more about the inspirations and making of this special labor of love.
Animation Magazine: Can you tell us a little bit about the origins and inspirations for the short?
Colin L. Racicot: I’ve always been fascinated by the world of magic — there’s something so beautiful and mysterious about it. The possibilities seemed endless to me creatively.
The other big inspiration came from my journey as a father. Bonding with my daughter opened up a whole new world for me. It made me realize the immense power of imagination and how a simple connection can completely change your life’s perspective. I remember drawing with her and feeling so immersed, as if time stopped and I felt so present. There’s actually a drawing scene in the film because of that!
Merging these two ideas together led to the story and world of Where Rabbits Come From.
When did you start working on Where Rabbits Came From and how long did it take to make?
We began developing Where Rabbits Come From in 2020, starting with concept art and storyboarding, and completed the film in January 2023. It was a gradual process, as many team members worked part-time, but that allowed us to take the necessary time to carefully craft and polish every aspect of the film. We weren’t in a rush — each stage of production was given the attention it deserved to ensure we created something truly meaningful and well-crafted.
World building is such an inspiring aspect of filmmaking for me, so we were very meticulous while crafting each sequence. The film is filled with details that makes every rewatch a fresh experience that stays with you for days.
Can you tell us which animation tools were used to create the animation?
We had a great collaboration with Toon Boom during pre-production and production. I used Storyboard Pro extensively to create a rich and detailed animatic, probably more detailed than necessary, but I really enjoyed getting into the lighting and mood early on. That helped the animators a lot because we had a very clear vision from the start.
The main animation tool used for the film was Toon Boom Harmony. We leaned heavily into the efficiency of cut-out animation, but our goal was to ensure that viewers wouldn’t immediately recognize it as such. The use of deformers, and the pencil textures, helped shape the animation and make it as organic as possible. The FX elements are all traditionally animated as well.
By blending these traditional animated elements with carefully designed cut-out characters, and enhancing everything with a robust compositing process, I think we were able to achieve a unique visual style. This approach allowed us to push beyond the typical expectations of cut-out animation, delivering something that feels fresh and dynamic while keeping the production within budget and on schedule.
For the compositing, I handled everything in After Effects. While it was a meticulous and time-consuming process, I found it incredibly inspiring. Each animation sequence brought new energy, and shaping the lighting and mood felt like I was directing the film all over again. It was challenging, but it allowed me to fine-tune the emotional tone of every scene.
How many people worked on the project with you?
At our peak, around 20 people worked on the film, most of them remotely except for two to three artists who were in the studio. This was during the height of the pandemic, so remote collaboration became essential. Surprisingly, it went really well. I found that working with a small team pushed us to be more creative — we had to solve problems on our own and constantly improve as we went along.
That’s what makes this film special, in my opinion. It was an ambitious project, but no one felt like it was impossible. We all knew we had to work hard and learn on the fly, but the team was inspired by the story every step of the way. From the animation stage to the music recording with maestro Benoit Charest. The soundtrack is also an important aspect of filmmaking for me. Benoit’s score elevated the film emotionally, it was the cherry on top!
Can you elaborate on the cartoony visual style of the short?
The cartoony visual style of Where Rabbits Come From was inspired by many of my favorite films (The Nightmare Before Christmas, 101 Dalmatians and Howl’s Moving Castle) I wanted to create a fantasy world that felt both vivid and immersive, much like the worlds that captivated me when I was younger. It almost had to feel like an unsettling and cozy dream.
The art direction is deeply tied to the film’s themes. The world our characters inhabit is intentionally dark and monochromatic — a place where imagination, fantasy and joy are suppressed. Outside their world, it’s full of color and quite vibrant! However, the real color and magic of the film come from the characters themselves, reinforcing the idea that their inner world is where fantasy truly lives.
Can you tell us about your working relationship with Sylvain Chomet?
I wanted to work with a mentor in the making of my film. This is my first animated film and I needed to have someone that could provide me with some wisdom along the way. Sylvain Chomet is one of my favorite directors ; the Illusionist is obviously an inspiration. Reaching out to him was a no brainer and he accepted, which made me quite enthusiastic.
I was always pleasantly surprised by Sylvain’s tips and ideas, especially working on the script and storyboard. He often pointed directions creatively, instead of giving directives, if that makes any sense? This approach gave me the opportunity to mature, pave my own path, and make up my own mind creatively. So in a way, we could say he was the perfect mentor!
He has some incredible experience as a traditional animation director and animator, so his input was essential during the animation process. He gave us insightful tips to make the cut-out animation as harmonious and as natural as possible.
My collaboration with him made me a much better director and it shaped the way I see filmmaking as a whole. He has a fresh perspective on everything, even though he comes from a traditional background. We couldn’t be more blessed to have him on board.
Who are your biggest animation influences/heroes?
So many come to mind, for different reasons. It has to be Walt Disney and Hayao Miyazaki. The feeling of wonder is central to my creativity. I’m quite admirative of Disney’s achievements, and the old classics such as Sleeping Beauty, Fantasia, are masterpieces that keep fueling my artistry to this day.
Tim Burton and Henry Selick’s work on The Nightmare Before Christmas is another significant influence. That film has left such a lasting impact on me.
Can you tell us about the decision to produce the short in black and white?
I felt that a world where imagination is prohibited should be colorless, gray and gloomy. It made the characters so much alive and vibrant! The sepia sequences were used to indicate scenes that were flashbacks; memories of happier times. So it made sense to have something a bit warmer than the present. I don’t want to say too much about it, I don’t want to spoil the film!
What do you hope audiences will take away from the short?
Creating the film reconnected me with my inner child and my creativity. My goal was to craft a film that brightens people’s eyes and heart. Showing the film to many types of audiences around the world, especially children, I felt it did bring happiness, cheer, and hope. The reactions during the screening are always so captivating!
Our world may be bleak at times, so I want to make films that awaken our joy of living. After all, I think animation isn’t just about moving images, it’s about moving hearts.
Where Rabbits Come From is the debut production of Montreal-based Studio Niloc (studioniloc.ca). The film is distributed by h264 (h264distribution.com).
