While AI tools capable of mimicking Studio Ghibli's visual identity have become a major online phenomenon, Hayao Miyazaki appears to have remained almost completely disconnected from the trend. Studio Ghibli producer Toshio Suzuki told Asahi Shimbun that the legendary filmmaker is not particularly aware of modern generative AI platforms. According to Suzuki, Miyazaki has largely isolated himself from outside information since working on The Boy and the Heron, preferring to concentrate on his creative process rather than follow the latest technological developments.

Suzuki himself has little enthusiasm for the wave of AI-generated artwork that flooded social media, particularly during 2025, when countless photographs were transformed into images resembling Ghibli productions. He revealed that he declined numerous interview requests at the height of the trend because he expected public interest to fade quickly. For Suzuki, AI can reproduce certain superficial elements of animation, but viewers familiar with the medium can easily recognize the difference. More importantly, he believes these imitations offer little artistic value.

Miyazaki's distance from the current AI debate is particularly notable given his previous reaction to an experimental computer-generated animation. Years ago, the director famously described what he saw as an insult to life itself. Suzuki's latest comments, however, suggest that Miyazaki has not been actively following the rapid expansion of today's image and video generation technologies. Suzuki also remains convinced that the filmmaker's artistic language cannot simply be recreated through AI or conventional CG techniques.

Away from the technology debate, Miyazaki's work continues to return to theaters. Studio Ghibli Fest 2026 will bring Princess Mononoke back to selected cinemas from September 26, followed by Spirited Away beginning October 17 as part of the film's 25th anniversary celebrations. At a time when automated creative tools are becoming increasingly sophisticated, Studio Ghibli's position highlights an enduring question for animation: technology may imitate an aesthetic, but reproducing the personality and artistic vision behind it is an entirely different challenge.