A Quote by Shawn Mendes
So many of my songs are based on things that either happened to me or to someone I know, but there are also ones where I've written a made-up story. All of them are about very real emotions, and I just find different ways to express them.
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I don’t want to be a Princess,” she said finally. “You can’t make me be one.” She knew very well what became of Princesses, as Princesses often get books written about them. Either terrible things happened to them, such as kidnappings and curses and pricking fingers and getting poisoned and locked up in towers, or else they just waited around till the Prince finished with the story and got around to marrying her. Either way, September wanted nothing to do with Princessing.
I studied acting and there's certainly an element of performance. I think that the songs are in many ways written to be performed. I think about what it's going to be like to sing them on stage rather than what it's going to be like to have someone at home listening to them on a CD. I guess in that way there's a connection between my acting experience and the songwriting and the way the songs are written.
We are made of emotions, we are all looking for emotions, it's only a question of finding the way to experience them. There are many different ways of experience them all. Perhaps one different thing, only that, one particular thing that Formula One can provide you, is that you know we are always expose to danger, danger of getting hurt, danger of dying.
Everyone wants a happy life without difficulties or suffering. We create many of the problems we face. No one intentionally creates problems, but we tend to be slaves to powerful emotions like anger, hatred and attachment that are based on misconceived projections about people and things. We need to find ways of reducing these emotions by eliminating the ignorance that underlies them and applying opposing forces.
Many things have been said about what happened, but I don't know either. Maybe someday. One thing I'm sure of is that all the things that have happened to me, good and bad, happy and sad, have made me what I am today.
In a very real way, one writes a story to find out what happens in it. Before it is written it sits in the mind like a piece of overheard gossip or a bit of intriguing tattle. The story process is like taking up such a piece of gossip, hunting down the people actually involved, questioning them, finding out what really occurred, and visiting pertinent locations. As with gossip, you can't be too surprised if important things turn up that were left out of the first-heard version entirely; or if points initially made much of turn out to have been distorted, or simply not to have happened at all.
I've written so many songs that are hopeful - songs that are, like, about an old man that gives all his possessions away because he wants to help people. I wrote 'Pumped Up Kicks' just to tell a different type of story.
In the ordinary jumble of my literary drawer, I sometimes find texts I wrote ten, fifteen, or even more years ago. And many of them seem to me written by a stranger: I simply do not recognize myself in them. There was a person who wrote them, and it was I. I experienced them, but it was in another life, from which I just woke up, as if from someone else's dream.
The average person might articulate them differently, but we all think about interpersonal relationships in one way or another. Writers just express that in different ways and capture it in different ways. To some degree, we're all thinking about the same things. It's the zeitgeist. The trick, in a way, as a writer, is to hope that your interests in some sense link up with the culture around you.
We play many emotions in our careers, emotions that in real life we would perform just once. For example, my character has died in about 10 films, so you have to keep searching for different ways to do it!
I think it's also different when you're younger, too and your whole life is exposed. You know, it is probably exhausting and a little spiritually depleting, but you just find ways to fill up and do things For me it's simple things.
I like the way [Marcus Lemonis] thinks. He's made me think about things in a different way. He's made me want to support small businesses in a very real way, seeing what these small-business owners go through and the struggle it is and the courage it takes to put your heart and money behind things at a 24-hour job. I think I relate to that as an actress and a writer and someone who works freelance, in many ways. It never ends, you never clock out. You've always got to keep things moving.
I like the idea of having many different ways to express myself. There is a part of me as an artist and a creator who would like to express myself in many different ways. But then at the same time I know I have limited hours in the day, and I can only do so much successfully.
I think that people ran out of oxygen and don't really know what happened up there, maybe some of them just made things up because they weren't sure what had happened.
I often find in the film world, that it's very self-referring. If you talk to someone about films, they talk about them in terms of other films - rather than as something that happened to them in their life. And I'm really keen to get back to film as a reference to real things, not necessarily to other films.
The songs that I've written about Africa, and AIDS and HIV and about the power of humanitarian love, those songs, I'm gonna sing them because I know that it's real.
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