Hayao Miyazaki andStudio Ghiblihave enchanted people across the globe. Whether it isMy Neighbor TotoroorSpirited Away, their work captures a timeless, universal spirit that spans generations. Ghibli’s gentle hand-drawn style and emotionally resonant storytelling make it one of animation’s most beloved and respected names worldwide.
In August 2024, after theInside Out 2release in Japan, Miyazaki met Pixar’s chief creative officer, Pete Docter, on the radio showToshio Suzuki’s Ghibli Asemamire. Their dialogue revealed a fundamental creative split.Miyazaki stated, “We do not do test screenings,” and added, “It is impossible for every audience member to understand a film.”
Taking Full Responsibility for Vision
Pixar’s Love of Testing and Tweaking
Miyazaki explained his reasoning further: “We are the ones who must take responsibility for the final product, so we cannot hand over that responsibility to someone who just happened to be there.” This steadfast belief has guideddecades of filmmaking at Studio Ghibli, where vision comes from trust in the creator rather than external feedback.
Pete Docter presented a very different creative philosophy. “For us, test screenings are useful,” he said. “Because the film is still in progress, we can identify when something is not resonating or when viewers are not feeling the emotion we want, then we adjust, so the story connects before it is finished.”
Watching the Audience Like a Hawk
Working Alone to Shape the Story
Docter further explained, “Sometimes I let feedback go in one ear and out the other, but at a test screening we watch together. That lets me feel when viewers are engaged or when their attention drifts. Those reactions are genuine, and adjusting to connect with as many people as possible is our responsibility.”
Behind the resistance to test screenings lies Miyazaki’s deep working method, grounded in solitude and self-belief. He is known to storyboard his films alone, sometimes for years, before a single scene enters full production. Every frame is built to serve the story he envisions, not a set of notes from an outside audience.
Keeping Ghibli’s Creative Spirit Intact
Making Films for Kids and Adults Alike
Studio Ghibli’s work culture reflects Miyazaki’s beliefs. Staff members often speak aboutthe intensity of production, with hand-drawn animation requiring immense focus and precision. Miyazaki sets a high standard but also fosters an atmosphere where the film’s integrity comes before convenience. “We cannot rush for convenience,” he has said, “because the work must last.”
In past interviews, Miyazaki has reflected, “A film made especially for children with devotion can also delight adults. That is my greatest joy.” For him, pleasing an audience comes from sincerity, not market testing. “If you are truthful in the way you work, the audience will understand. That is the only way I know to connect.”
Why Test Screenings Are Off the Table
Storyboarding as a Personal Dialogue with the Film
When asked directly about incorporating audience reactions before release, Miyazaki dismissed the idea. “If you try to please everyone, the film loses its shape,” he said. “There is no single audience. There are only people, each with different lives. A film must be true to itself, not to a survey.”
Miyazaki’s storyboards are famously detailed,often resembling finished illustrations. He treats the process as a private conversation with the film, refining scenes over and over until the emotional rhythm feels right. “I have to live inside the film until I can see the whole thing in my head,” he once explained. “That is the only way I know to guide it.”
Trusting Viewers to Meet Him Halfway
Letting the Films Speak for Themselves
While Miyazaki does not shape his films based on pre-release reactions, he is aware of the expectations audiences carry into the theater. “I am not ignoring the audience,” he has said. “I am trusting that they will meet the work halfway. If I cannot believe in the work myself, then there is nothing for them to believe in either.”
When asked directly about incorporating audience reactions before release, Hayao Miyazaki dismissed the idea. “If you attempt to please everyone, the film loses its shape."
This approach is visible in works likeThe Wind Rises, which sparked debate for its portrayal of wartime Japan, andPonyo, which embraced a simple story for very young children while still enchanting adults. In both cases, Miyazaki did not adjust the work to avoid controversy or broaden its appeal. Instead, he trusted the audience to find their own meaning.
Two Very Different Roads to the Same Goal
A Friendship That Allows for Honest Debate
The contrast between Docter’s adaptive model and Miyazaki’s internal model underscores a broader debate. What does it mean to serve an audience: by the integrity of one’s vision or by responding to collective feedback? Both are rooted in care yet ask different things of the creative process.
This rare and candid conversation was possible because of decades ofmutual respect between Ghibli and Pixar. Their cross-cultural admiration and occasional collaborations built a level of trust that allowed both to speak openly about differences without diminishing their regard for each other.
Different Methods but the Same Respect for Storytelling
A Conversation Fans Will Remember for Years
Miyazaki’s refusal to chase trends or alter his vision for short-term approval has given his films lasting power. Many Ghibli works gain more appreciation years after release, suggesting that his approach prioritizes timeless storytelling over instant audience satisfaction. “The work must be something you can still believe in after many years,” he has said.
Fans and creators heard a rare window into the values that sustain two of the world’s most influential animation studios. Miyazaki’s refusal to dilute his vision demonstrates a commitment to artistic integrity. Docter’s dialogue with the audience shows respect for shared experience. Both underscore animation’s power to move hearts differently yet profoundly.
Even months after the broadcast, listeners continue to discuss how two masters can honor their audiences in such distinct yet sincere ways. Their discussion reminds us there is no single path to storytelling, only the one that reflects a creator’s belief. In that respect, both men share the same ultimate goal: to tell stories that endure.
