DATE

4/5/25

TIME

7:48 AM

I Need Permission

Part. 27 I Need Permission

It was exactly the same with movies. My dad has always been into high definition sound systems. He has friend groups who enjoy sound systems as much as he did. After a few years of contemplating, my dad decided to order these custom-made speakers. He said it was cheaper that way for the same quality sound. He really liked what turned out to be the product, I did too. The wood was solid, smooth, golden, marbled. The sound was good, combined with his already good amp, and whatever voltage stabilizer he got that was the same model as a surgical operation room would have in hospitals.  I heard stable current or voltage, whichever it was, was supposed to bring out better sound. 

I have no idea if any of those is true. I don’t believe anything he says most of the time. The amount of time I caught him lying has taught me he’s not a man of his words. I always took everything he said with a grain of salt. Maybe that’s an understatement. I should say I stopped taking him seriously at a very young age. 

However, for how much he liked his custom-made speakers and amp and such, he wanted to try all kinds of sounds, bass, flute, acapella, all kinds. He’d always take me to what was called a Computer Center (“合丰电脑城”) back in the day to get all these american movies and CDs. That’s when I started getting into Final Destinations, Spy Kids, Titanic, National Geography and all the american stuff. My dad would only allow me to get two movies at most each time. Otherwise I’d watched way more. However, later I learned how to borrow DVDs from the library close to home. After a while, they started stopping me from borrowing DVDs from there too. 

Either way, I did feel like I was granted permission to watch movies, enjoy movies, just not when it’s “excessive” in their opinion, that I never thought of it as something I could make a career out of. I also just had a funny realization as I was writing this: I always respected authorities, even when people think I don’t. I had to get permission to write from the headmaster, and the permission to make movies from my dad. I had to get permission, I still need their permission.


PART 28. It’s Hard to Pursue a Vocation When Your Parents Are Against It

My dad gave me life, gave me a home, gave me food, gave me access to education, it’s hard to say my life is mine and my vocation is mine without considering his take in all of these. It’s hard and selfish for me to say, I’m going to spend most of my life doing this, pursuing this, no matter how difficult, I will not give up, it will exist in one shape or another in my life, always, sometimes I’ll make money, other times I won’t, but I will not give up, as it is, my calling. My dad gave me life, gave me home, gave me food, gave me access to education. It’s hard to say my life is mine and my vocation without considering his take on all of these (hi, yes this line is intended as a repetition). According to my dad, we have been 孙 and Changshanese for “at least” hundreds of years, as the only child of the oldest son, I apparently had to consider my lineage. It’s not something I realized I do until recently. This is so old-school, I really didn’t think I was that old-school at that young age, and still very old-school in that way, at an older age. 

Even though I got permission to do these things, but only as hobbies, not as a vocation. I could do as much of it as I wanted, as long as it didn’t affect me doing the more important thing, which was supposedly my main career as a full-time student. My job was to study, but more like, to memorize after middle school. It was unclear to me what a career was, it was like something you make money with that you could keep getting better at or not better at, if you do it for an extended period of time, they call it a career. But a vocation was not that confusing of a concept to me, it meant something I was supposed to do. Therefore, it’d feel like it's something I was supposed to do. However, I didn’t feel like I was supposed to do anything for a long time, so I was convinced vocations didn’t exist for a while. 

Even though I didn’t fall into filmmaking until more or less the end of 2017, I had been spending a lot of time on it, as a hobby, but more intense than a hobby. I liked to binge, I liked to go to movies alone. I liked to watch movies alone. I liked to know biographies of all the directors that made me curious, and followed up for more work done by the same people. That list later expanded to screenwriters, now producers, music supervisors, choreographers, VFX studios, and distribution companies. I liked it, but it was not a vocation. I would read screenplays, finding it very funny, and laugh to myself, but it was not a vocation. I’d rather watch movies alone than spend time with people, but it was not a vocation. 

When I realized what it meant to direct in 2018, I asked myself, can I pull this off? After observing each department, and how challenging of a schedule a director has to keep up with, my conclusion was, it would be possible, but it would be extremely hard. It would be even harder if I stayed in China for longer, and it would be close to impossible if I couldn't get my dad’s permission. I felt like the entire family would have to be on the same page about this: I’m about to do something extremely risky and challenging, probably will never succeed, and by the time I realize I’m not good enough for it, it will possibly be too late to switch paths. I can’t have them be pulling me one way, when I’m trying to go another against the headwind already. I had to focus. 

That fall before I came back to the US after my birthday in 2019, I went over the scenarios over and over again with my parents, trying to convince them and myself of going for this, as I feel like I kind of do have a head start.  I’ve always been such a self-conscious person. I always thought I was bad at everything, but when it came to the subject of performance art, literature, movies, music, i always had pretty strong opinions, and i didn’t really care for other people’s opinions on those. On top of that, because I was allowed to write and watch movies, those became my mediums of expression, words, and moving images with sound. I felt kind of confused, because I had been trying this idea of “vocation”, and I was about to give up. I was about to just do whatever I need to do, an easy stable job or whatever is easiest for me. Then I found out that experiencing the process from a creative aspect that participates in the making instead of a consumer aspect of movies who only enjoys the product, is still fun, or should I say even more fun? It was kind of a weird feeling. Because I already decided that you can't find a job you like, not just a job that makes you survive. You will always hate your job. The idea of having something you feel like you are meant to do is bullshit. Then I sort of went down a rabbit hole of how I always turned to it whenever I needed help, the kind of help I couldn't get from anywhere else. I kept going back to it, and I got confused. I told my parents “I think” I want to make movies in one shape or another. They were even more confused, what do you mean you “think” you want something so strange and confusing? Isn’t working for a bank clear enough? What’s up with this new show you are putting on right now? It’s a joke, she’s not serious, it’s time to stop trying this. She’ll get over it, just watch, she will give up. Her wants always come and go. It won’t last. 



Part. 27 I Need Permission

电影对我来说也是一样的路径。

我爸一直对音响系统很着迷。他有一群也很爱音响的朋友。考虑了几年后,他决定订一套定制音箱。他说那样成本更低,效果还一样好。他后来确实很喜欢那个成品,我也挺喜欢的。那套音箱是那种实木的,光滑、金黄、带点纹理。音质也不错,配上他原本就很好的功放,还有他不知道从哪搞来的电压稳定器——据说是医院手术室在用的型号。我听说电压或者电流稳定下来,能让音质更好。我不知道这些到底是不是真的。我其实不太信他说的任何事。他撒过太多谎了,我从小就知道他不是个“说话算数”的人。他说的任何话我都要打个问号,甚至这话说得太轻了,应该说:我很小的时候就不再认真对待他的话了。

他对音响系统这么执着,他也真的很喜欢各种声音:低音、长笛、人声清唱,什么都想听。他以前总带我去一个叫“合丰电脑城”的地方,去淘各种美国电影和CD。我就是从那会儿开始看上《死神来了》《小鬼当家》《泰坦尼克号》《国家地理》还有各种美式内容的。他每次只允许我带走两张碟,再多就不行了。不然的话,我肯定会看得更多。后来我学会去家附近的图书馆借DVD。借了几次以后,他们也开始不让我借了。我确实觉得我“被允许”去看电影、去喜欢电影。只是不能“过度”喜欢。在他们眼里,喜欢是可以的,但沉迷就不行。所以我从来没有把它当成一份“可以拿来当饭吃”的事。

我刚刚在写这一段的时候突然意识到一个蛮好笑的事情:我其实一直都挺尊重“权威”的,虽然很多人以为我不尊重。我要写作的时候得去跟班主任申请“许可”。我要拍电影的时候得先得到我爸的“许可”。我一直得获得他们的允许,

到现在也还是。


PART 28. It’s Hard to Pursue a Vocation When Your Parents Are Against It

我爸给了我生命,给了我一个家,给我饭吃,给我上学的机会。很难在说“我的人生是我自己的、我的志业是我自己的”的时候,不考虑到他在这一切里的份量。说实话,这样说出来对我来说挺难的,也挺自私的——我决定了,我要花大半辈子做这件事,不管有多难,我都不会放弃。它会以某种形式一直存在在我生命里。有时候我会靠它赚钱,有时候不会,但我不会放弃。因为它是我必须做的事,是我的志业。我爸给了我生命,给了我一个家,给我饭吃,给了我接受教育的机会。很难说我的人生是我的,我的志业是我的,不考虑他在这些事情上的作用。(对,这一句是故意重复的。)

我爸说,我们孙家是长沙人,我爷爷的爸爸、从男人还穿长袍留长发的时候、以及更以前都是。已经“至少几百年了”,他说。虽然我一般不信他说的话,但是这件事我感觉很确凿。我是孙家长子的独生女,姑妈总是在我去看她的时候,远远从门口迎来,叫我”孙家大小姐“。在我从小的耳濡目染里,好像我必须考虑我家的“血脉”问题。我是最近才意识到我居然一直都在下意识地考虑这些。这太老派了,我以前完全没觉得我自己年轻时会那么老派,结果到现在我年纪大了,还这么老派。虽然我“被允许”去做这些”爱好”,但也只是作为爱好,不能是“职业”。我可以随便看、随便写、随便玩,但前提是,它们不能影响到我做“更重要的事”——也就是我所谓的“正职”,一个全职学生。我的“工作”是学习。但从初中开始,这“学习”更像是死记硬背。

我对“职业”这个词其实一直都搞不太懂,它听起来就像是:某个能赚钱的事,不管你能不能越做越好,只要做得够久,就可以被称为职业。但“志业”这个词,我倒是没觉得难懂。志业就是你应该做的事情。所以它会有一种“我就是应该做这个”的感觉。可问题是,我很长一段时间都没有任何“我应该做这件事”的感觉。所以我一度觉得,这个世界上根本没有“志业”这种东西。

虽然我直到2017年底才开始真正走进电影这个东西,但我之前已经花了很多时间在它上面。说是爱好吧,但又比爱好更上头。我喜欢狂看电影,喜欢一个人去电影院。我喜欢一个人看电影。我喜欢查所有让我好奇的导演的传记,喜欢顺藤摸瓜看他们所有的作品。后来我关注的人从导演扩展到了编剧、制片人、音乐总监、编舞、特效公司,甚至到发行公司。我很喜欢。但那时候,我不觉得它是志业。我会读剧本,读得笑出声来,但我还是觉得那只是爱好。我宁愿一个人看电影,也不愿意和人相处,但那也不是志业。

2018年我终于明白“导演”到底意味着什么。我问自己:我做得来吗?我观察了各个部门的分工,观察了导演每天要应对的那种日程。我得出的结论是:做得来,但会非常,非常难。如果我继续留在中国,会更难。如果我得不到我爸的支持,那几乎不可能。我感觉我得让全家都站在同一战线上:我要去做一件极其冒险、极其艰难的事情,大概率不会成功,而且等我发现自己不够好的时候,可能已经来不及转行了。他们不能在我已经顶风而行的情况下,还拉我往回走。

我得集中注意力。

2019年秋天,在我生日之后、回美国之前,我不停地和爸妈过各种可能的未来计划(在我看来就是自己给自己的未来写剧本、一个意思),试图说服他们,也说服我自己去试一试这条路。因为我其实有一点点“起步优势”的感觉。我一直是个很自我怀疑的人,我一直都觉得自己什么都不擅长。但唯独在表演、文学、电影、音乐这些东西上,我的意见都挺强的,而且我根本不在乎别人怎么看。加上我一直被允许写、被允许看电影,这两个就变成了我的表达媒介——文字和有声音的影像。

我当时其实已经挺困惑了,我一直在努力验证“志业”这个概念到底存不存在,我已经快要放弃了。我当时就想,算了,找个简单稳定的工作,什么容易干什么得了。但我发现,当我不只是作为“观众”去看电影,而是作为创作者参与进去,那种过程,居然也很有趣,甚至……更有趣?这感觉有点怪。因为我已经决定过了:不可能有你“喜欢”的工作,你只能有一份能让你活下去的工作,你一定会讨厌你的工作。所谓“你注定该做的事”这种说法,就是骗人的。

但我后来就越想越不对劲。我发现,我每次遇到人生崩塌或大迷茫的时候,都会下意识回到电影上去。那种别的地方都得不到的帮助,它一直都能给我一点。我就一直回去,一直靠近它,最后我搞糊涂了。我跟爸妈说:“我觉得,我想做电影。不管形式是什么样。”他们听完更糊涂:“你‘觉得’你想做?什么叫‘觉得’?你自己想做什么你不知道?你问我们?”他们心里想的是——去银行上班不香吗?这又是哪一出新戏?是演的吗?她不是真的吧?别闹了,这种事该停了。

“她又来这套了,她的想法一向反复无常,她不会坚持的。”

她会放弃的,等着看吧——她总会放弃的。

sunnyspaceundefined@duck.com

website designed by Daiga Shinohara

©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2023, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,23年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。

sunnyspaceundefined@duck.com

website designed by Daiga Shinohara

©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2023, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,23年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。

sunnyspaceundefined@duck.com

website designed by Daiga Shinohara

©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2023, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,23年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。