DATE

4/6/25

TIME

6:41 AM

I Don't Need Permission. Neither Do You.

PART 31. Do I need permission? 

There was this place called the Kid’s Palace (青少年), which was less of a kid’s palace, more of a tiger dads palace for me. All kinds of activities would take place there, from chinese dancing, to math, to calligraphy, to electronic keyboard. I was there every week, and I liked going there to see, but hated being forced to stay the whole time and engaging / participating in a certain way, a way that my dad would deem “true participation”. 

As a kid, given permission allowed me to develop foundations in a few subjects. I didn’t like anything my dad forced me into doing, such as math olympia, calligraphy, traditional chinese dancing. I understand he was trying to expose me to as many things as possible, but he was wrong that I had to stick to everything for an extended period of time for me to know whether I liked it or not. If I didn’t like it, it was that I didn't “try hard enough”. He didn’t like how when I didn’t like something I wouldn’t even give it a shot, he was wrong. Being there was me giving it a shot. 

I would always get annoyed when he proudly said he “tricked” me into liking to read, to me it was more like trapping me in a home with no other options. I didn’t read any of the books he ever bought, the history books, the traditional Chinese literature books. I wanted to read 《幽默与笑话》which was a monthly magazine filed with funny stories and clever jokes. Funny enough, the magazine started the year I was born, in 1993. They started just in time for me. 

I knew what I liked. I would make that judgment so fast and so certain that my dad always thought I was bullshitting. I wanted to go against everything he wanted me to do, but I also wouldn’t give up something I like just for the sake of pissing him off.  When he pushed me into liking things I had no interest in, it backfired. When he didn’t interfere, the only interests he allowed me to have, became my vocation. 

Do I need his permission? No. Do I need anyone’s permission? No. I realized sometimes giving permission to yourself is harder than giving permission to others or asking permission from others. Even today, I find myself asking for permissions for many things I do. It used to be what I wore, what I said, how I said things, how I acted, around who, who’s ok to like or hate. When I was working in Qingdao(Huangdao) I caught myself being unsure of everything and always having to check with my boss all the time, until she finally said, please make your own judgement, you are old enough for that. She was confused by my lack of ability to make decisions for myself. I was stunned by her decisiveness. I still feel unsure about decisions I make sometimes, but instead of looking outside, I turn to myself for permission. I find myself questioning myself less and less, and just do instead. It’s going quite well for my mental and physical well-being. 

So do I need permission? Does anyone need permission? The answer is no. I don’t believe we need to be given permission to do anything that makes us feel better without hurting anyone else. Who to like, what to do, which choices we make. We are entitled to it, even though we are trained to believe otherwise.

I don’t need permission. Neither do you.


PART 31. Do I need permission? 

有个地方叫“青少年宫”。对很多小孩来说可能是个乐园,但对我来说,更像是“虎爸宫殿”。什么活动都有,从民族舞、奥数、书法,到电子琴,每周都要去。我倒是不讨厌去看看,但我讨厌被强迫在那里待整整一下午,而且还得用我爸觉得“才算是真正参与”的方式去参与。

小时候,被“允许”做点什么,确实让我在一些事情上打下了基础。但我真的不喜欢他强迫我去做的那些:奥数、书法、民族舞……我知道他是想让我多接触点东西,这我理解。但他错就错在,以为只有坚持做一段时间,才能判断自己喜不喜欢。他觉得我不喜欢,是因为我不够努力。但问题是——我去参加了,就是在“努力”了。

还有,他老是很自豪地说,他“骗”我爱上了读书。我听了就烦。那不是骗我,那是把我困在家里,没别的选择罢了。他买的书我一本都不想看,什么历史书、古文书……我只想看《幽默与笑话》,那是一本每月一期的小杂志,全是搞笑段子和俏皮话。很好笑的是,这本杂志刚好是1993年创刊的,刚好就是我出生那年,像是专门为我准备的。

我很早就知道自己喜欢什么,不喜欢什么。而且判断很快,很坚定。我爸总觉得我是唬他。我确实想跟他对着干,但我也不是那种为了气他就连自己喜欢的东西都不要的人。他越是强推,越失败。他要是别管我了,反而那些我能自由喜欢的东西,就成了我后来的方向。

所以我需要他同意吗?不需要。我需要别人同意吗?也不需要。

我后来才意识到,其实最难的不是别人不给你许可,而是你自己不敢给自己许可。到现在我还时不时发现自己在“请求许可”,做什么事前都想问一下别人“可以吗”。以前是穿什么,说什么,怎么说,跟谁在一起,谁是可以喜欢的、谁是“不能喜欢”的。

我在青岛(黄岛)工作的时候,有段时间特别明显。我对所有决定都很没把握,什么都要去问老板,直到有一天她跟我说:“你要自己判断啊,你都这么大了。”她很疑惑我为什么这么不会自己做决定。我当时有点懵——她居然能那么果断。我现在偶尔还是会不确定,但我不再去外面找答案了。我会问自己。我对自己的怀疑越来越少,做的事情也越来越多。对我整个人的状态来说,真的挺好的。

所以,我需要“被允许”吗?我们需要吗?不需要。我们不需要任何许可,去做那些让自己更好、又不会伤害别人的事。喜欢谁、做什么、选哪条路。这些不该靠别人点头。

我不需要别人的允许才开始,不管是创作、还是人生。你也不需要。我们本来就有这个权利——只是一直被教着要忘掉而已。

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。