DATE

3/15/2025

TIME

LOCATION

Oakland, CA

Who I am #4. Death Inspires A Lot of Art, But Living Inspires More

DATE

3/15/2025

TIME

LOCATION

Oakland, CA

Who I am #4. Death Inspires A Lot of Art, But Living Inspires More

DATE

3/15/2025

TIME

LOCATION

Oakland, CA

Who I am #4. Death Inspires A Lot of Art, But Living Inspires More

Death inspires a lot of art, but living inspires more. Last year, I got married, and funny story, is the same person I always thought I probably would marry but was not sure about for a long time. I’m still unsure about it, not because of him, but because I don’t have too much confidence in myself. Marriage is hard work, everyone says. I’m not good at working hard, I give up quickly, I’m easily daunted if I couldn’t be clueless, and I heard marriage was for life, “until death do us apart” they said. It sounded more like a curse than an oath. 

We walked in to the Alameda County Office on that day, thinking we could get our license that day, only to be told that we’d need to schedule for a ceremony, have at least one witness attending, and the officiating person representing the county doesn’t count. 

A witness? We asked around and a friend of his was nice enough to immediately agree to coming to be a witness, and said he “would be honored to do so”. The next day, I put on a white dress thrifted for $12, and he had some Korean oversized blazer with a thin silver chain. I was running late, but I had to take a hit, what am i doing, is this a good idea, lets do it anyway. 

Jack was in a very nice suit, he seemed excited. He’s doing the same with Emily soon. They were going to have a wedding in Big Sur. We grabbed the officiating person, and the four of us crammed into an elevator heading toward the ceremonial room on the second floor. “It’s not too late to back out!” The guy jokes. I looked at him dead in the eye, “that’s what divorces are for, right? “ 

I was very annoyed with the whole process, I don’t understand why they couldn’t just give me the license. What’s up with all these redundancies, I thought. What’s up wit the vow exchange and the kiss? Why am i being required to be seen at this intimate moment? Why are we saying until death do us apart, is that a good idea, are you sure, I’m not sure, but lets try it. 

It was a strange idea to me, witness, as if we were not seen by a third person we wouldn’t exist.  I didn’t understand the social implications of a marriage yet, and i didn’t want to. Let’s see how far it goes, I thought. I would like be an hopeless romantic, if I could, let me be.

死亡启发了很多艺术,但活着启发得更多。去年,我结婚了,说来好笑,结的这个人,其实就是那个我一直觉得大概会嫁给他但又一直没那么确定的人。我现在依然不确定——不是因为他,而是因为我对自己没有太多信心。大家都说,婚姻是需要努力经营的。我不太擅长努力,一旦不确定就容易放弃,我很容易被吓住。而我听说婚姻是要维持一辈子的,“直到死亡将我们分开”,他们是这么说的。听起来更像一个诅咒,而不是誓言。

那天我们走进阿拉米达县办公室,以为当场就能拿到结婚证。结果被告知我们必须预约仪式时间,还得有至少一个见证人到场,而代表县政府主持仪式的工作人员并不算。

一个见证人?我们问了几个人,他的一个朋友很好心,立马答应来当见证人,还说他“感到非常荣幸”。第二天,我穿上一件12美元淘来的白裙子,他穿了一件韩式的oversize西装外套,带着一条细细的银链。我迟到了,但我非得先抽一口。“我这是在干嘛?”“这决定是对的吗?”“管他呢,干吧。”

Jack穿着一套很体面的西装,显得很兴奋。他和Emily也快要办婚礼了——在Big Sur。他们会办一场正式的婚礼。我们拉上了仪式主持人,四个人挤进电梯,前往二楼的结婚仪式室。“现在反悔还来得及哦!”那人开玩笑说。我直视他,“这不就是为什么我们有离婚这个制度嘛,对吧?”

整个流程让我非常烦躁,我不明白他们为什么不能就直接把证给我。我心里想,这一堆冗余流程到底是干嘛的?交换誓词?接吻?为什么必须在这么私密的时刻“被看见”?为什么我们要说“直到死亡将我们分开”?这是个好主意吗?你确定吗?我不确定,但我们来试试看吧。

“见证”这个概念让我觉得很奇怪,仿佛如果没有第三方在场,我们就不存在了。我那时还不太理解婚姻在社会层面意味着什么,也不想去理解。我心里想,看看我们能走到哪一步吧。如果我可以,我想做一个无可救药的浪漫主义者。那就试试吧。

死亡启发了很多艺术,但活着启发得更多。去年,我结婚了,说来好笑,结的这个人,其实就是那个我一直觉得大概会嫁给他但又一直没那么确定的人。我现在依然不确定——不是因为他,而是因为我对自己没有太多信心。大家都说,婚姻是需要努力经营的。我不太擅长努力,一旦不确定就容易放弃,我很容易被吓住。而我听说婚姻是要维持一辈子的,“直到死亡将我们分开”,他们是这么说的。听起来更像一个诅咒,而不是誓言。

那天我们走进阿拉米达县办公室,以为当场就能拿到结婚证。结果被告知我们必须预约仪式时间,还得有至少一个见证人到场,而代表县政府主持仪式的工作人员并不算。

一个见证人?我们问了几个人,他的一个朋友很好心,立马答应来当见证人,还说他“感到非常荣幸”。第二天,我穿上一件12美元淘来的白裙子,他穿了一件韩式的oversize西装外套,带着一条细细的银链。我迟到了,但我非得先抽一口。“我这是在干嘛?”“这决定是对的吗?”“管他呢,干吧。”

Jack穿着一套很体面的西装,显得很兴奋。他和Emily也快要办婚礼了——在Big Sur。他们会办一场正式的婚礼。我们拉上了仪式主持人,四个人挤进电梯,前往二楼的结婚仪式室。“现在反悔还来得及哦!”那人开玩笑说。我直视他,“这不就是为什么我们有离婚这个制度嘛,对吧?”

整个流程让我非常烦躁,我不明白他们为什么不能就直接把证给我。我心里想,这一堆冗余流程到底是干嘛的?交换誓词?接吻?为什么必须在这么私密的时刻“被看见”?为什么我们要说“直到死亡将我们分开”?这是个好主意吗?你确定吗?我不确定,但我们来试试看吧。

“见证”这个概念让我觉得很奇怪,仿佛如果没有第三方在场,我们就不存在了。我那时还不太理解婚姻在社会层面意味着什么,也不想去理解。我心里想,看看我们能走到哪一步吧。如果我可以,我想做一个无可救药的浪漫主义者。那就试试吧。

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。