Gkids, the North American distributor for Studio Ghibli films, is using a statement about the box office for a “Princess Mononoke” re-release to perhaps make an oblique commentary on the recent release of an AI tool that replicates the style of the iconic animation studio.
A new 4K restoration of the 1997 Studio Ghibli classic “Princess Mononoke,” from Hayao Miyazaki, was Thursday on Imax across 330 screens. The animated feature made $1.2 million in previews ahead of its Friday opening, according to Gkids. In a statement, Chance Huskey, VP of distribution for GKids, said, “In a time when technology tries to replicate humanity, we are thrilled that audiences value a theatrical experience that respects and celebrates Hayao Miyazaki and Studio Ghibli’s masterpiece in all its cinematic hand-drawn glory.”
The statement comes just one day after OpenAI launched its latest image generation technology, which quickly went viral as users started to apply the legendary studio’s style to their vacation snapshots and family portraits. But many in the animation and creative communities spoke out against idea of the time-consuming art of animation being replaced by an automated, anonymous technology.
Miyazaki, the co-founder of Studio Ghibli, has previously expressed strong disapproval of AI-generated animation. In a 2016 meeting where he was shown an AI animation demo, Miyazaki said, “I am utterly disgusted. If you really want to make creepy stuff you can go ahead and do it. I would never wish to incorporate this technology into my work at all.” He also said, “I strongly feel that this is an insult to life itself.”
In an interview with Variety, Akihiko Yamashita, who spent nearly two years working as the supervising animator on the Studio Ghibli film “Howl’s Moving Castle,” explained Miyazaki’s animation process. “He is somebody who actually draws himself. From the layout to the storyboards — everything — he draws it himself. And let’s say a key animator has drawn some animation. If he doesn’t like it, then he will change it and draw a rough drawing. Then, the key animators and other animators have to bring that to the final stage.” Yamashita added, “I really have no idea how many pages of drawings there were or how many cels we drew. I just know that we worked a huge amount and we drew a huge amount.”
Hollywood actors and other creatives have voiced concerns about efforts by OpenAI and other artificial-intelligence companies to “weaken or eliminate” protections on copyrighted works for training AI systems. In comments filed with the Trump administration‘s Office of Science and Technology Policy earlier this month, more than 400 filmmakers, actors, musicians and others objected to what they said was lobbying by OpenAI and Google “for a special government exemption so they can freely exploit America’s creative and knowledge industries.”
From Variety US