Yes, an essay may start with a block quotation. The quotation should be important to your discussion and referred to in your prose. This distinguishes it from an epigraph, which is ornamental in nature.
In an interview, the person being interviewed is generally considered the author; thus the works-cited-list entry for the interview will be listed under that person’s name. If you use the name of the person being interviewed in your prose, you have provided your reader with the necessary information to find the entry:
Orhan Pamuk has said that the war in Iraq “made life for democrats in this part of the world harder” (179).
Pamuk, Orhan. “Implementing Disform: An Interview with Orhan Pamuk.” Interview by Z. Esra Mirze. PMLA, vol. 123, no. 1, 2008, pp. 176–80.
If, however, you include the interviewer’s name in prose as well, it may be helpful to parenthetically repeat the name under which the works-cited-list entry appears:
In an interview with Z. Esra Mirze, Orhan Pamuk said that the war in Iraq “made life for democrats in this part of the world harder” (Pamuk 179).
To quote dialogue between the interviewer and the interviewee, use the following format:
MIRZE. How important is the idea of home to you?
PAMUK. It is very important. Why? Because I have been living in the same city, the same neighborhood, even in the same house, for all of my life. . . . Home, of course, is important to an immigrant, perhaps more important because that is what he left behind. But home is also important for the guy who is at home all the time. (Pamuk 179)
Although it is not conventional to document a building as if it were a work, if you are discussing many buildings in detail–for example, analyzing their architectural details, comparing them to one another–and wish to list full information about them in your works-cited list, follow the MLA template of core elements. Generally begin your entry with the architect in the “Author” slot, followed by the name of the building in the “Title of source” position. Then list the date of construction, followed by the location:
Wright, Frank Lloyd. Fallingwater. 1935, Mill Run, Pennsylvania.
This approach should be reserved for an in-depth, specialist study on architecture. If you are writing generally about a building’s importance, no entry is needed.
Someone might write, for example, “There are too many sos in this sentence,” in response to:
So many people were present, so he said so, so they were all so very pleased, but others felt that attendance was not so great, was, in a word, so-so.
But “sos” is hard to read. It looks at first like a mistake. Using italics might help a bit but not much: sos. Another option would be to add an apostrophe: so’s. But MLA style uses apostrophes only to form plurals of letters: p’s and q’s.
Note that dos and don’ts is fairly well established—that is, in the dictionary—but dos by itself seems as uncomfortable as sos. (In the thought balloon above the reader’s head might appear, with multiple question marks, “disk operating system” or “save our ship.”)
Consider sidestepping, rewording, when the imperfection of language rules causes this kind of trouble:
The word so appears way too often in this sentence.