Introduction Funny Quotes

When they reached a maintenance closet, Iko ushered the escort-droid inside. “I want you to know that I hold nothing against you,” she said, by way of introduction. “I understand that it isn’t your fault your programmer had so little imagination.” The escort-droid held her gaze with empty eyes. “In another life, we could have been sisters, and I feel it’s important to acknowledge that.” A blank stare. A blink, every six seconds. “But as it stands, I’m a part of an important mission right now, and I cannot be swayed from my goal by my sympathy for androids who are less advanced than myself.” Nothing. “All right then.” Iko held out her hands. “I need your clothes.

When Springsteen meets a future girlfriend on the boardwalk in Asbury Park, he delivers this electric introduction: “She was Italian, funny, a beatific tomboy, with just the hint of a lazy eye, and wore a pair of glasses that made me think of the wonders of the library.

We sometimes try to impress people we just met by not trying to impress them.

Saying that you do not remember something or someone is a less embarrassing or hurtful way of saying that you do not know it or them anymore.

Oh, God, if I'm anything by a clinical name, I'm a kind of paranoiac in reverse. I think people are plotting to make me happy.

Excuse me, but where do you think you’re going?” I asked. “I figured I’d put my underwear in with yours. That way they could all get to know each other.” One brown eyebrow lifted. “Unless you want to make some formal introductions right now?

People who don't like me call me Jacks.

Pilot scripts are particularly difficult to write because you have to introduce all the characters without it feeling like a series of introductions. You have to tell a story that’s not only funny and compelling but also dramatizes your main characters’ points of view and what the series would be about thematically (love, work, investigating sexy child murders in Miami, etc.).

Both middle-aged people and young people enjoy a play about young lovers; but only middle-aged people will tolerate a play about middle-aged lovers; young people will not come to see such a play, because, for them, middle-aged lovers are a joke—not a very funny one.

You wrote down that you were a writer by profession. It sounded to me like the loveliest euphemism I had ever heard. When was writing ever your profession? It's never been anything but your religion. Never. I'm a little over-excited now. Since it is your religion, do you know what you will be asked when you die? But let me tell you first what you won't be asked. You won't be asked if you were working on a wonderful moving piece of writing when you died. You won't be asked if it was long or short, sad or funny, published or unpublished. You won't be asked if you were in good or bad form while you were working on it. You won't even be asked if it was the one piece of writing you would have been working on if you had known your time would be up when it was finished--I think only poor Soren K. will get asked that. I'm so sure you'll get asked only two questions.' Were most of your stars out? Were you busy writing your heart out? If only you knew how easy it would be for you to say yes to both questions. If only you'd remember before ever you sit down to write that you've been a reader long before you were ever a writer. You simply fix that fact in your mind, then sit very still and ask yourself, as a reader, what piece of writing in all the world Buddy Glass would most want to read if he had his heart's choice. The next step is terrible, but so simple I can hardly believe it as I write it. You just sit down shamelessly and write the thing yourself. I won't even underline that. It's too important to be underlined. Oh, dare to do it, Buddy ! Trust your heart. You're a deserving craftsman. It would never betray you.

Love can do funny things to you. It can make you happy; it can make you sad. It can even make you downright miserable.

The divergence of my booty at any point is equal to the booty density divided by booty naught

Once upon a time, in a land  of verdant fields and stone castles, an evil queen and a lovely maiden… You know what? Never mind the introduction, let’s just skip to the action!   “Mirror,

I think it should be done over, Buddy. …Please make peace with your wit. It's not going to go away, Buddy. To dump it on your own advice would be as bad and unnatural as dumping your adjectives and your adverbs because Prof. B. wants you to. What does he know about it? What do you really know about your own wit? I've been sitting here tearing up notes to you. I keep starting to say things like 'This one is wonderfully constructed,' and 'The conversation between the two cops is terrific.' So I'm hedging. I'm not sure why. I started to get a little nervous right after you began to read. It sounded like the beginning of something your arch-enemy Bob B. calls a rattling good story. Don't you think he would call this a step in the right direction? Doesn't that worry you? Even what is funny about the woman on the back of the truck doesn't sound like something you think is funny. It sounds much more like something that you think is universally considered funny. I feel gypped. Does that make you mad? You can say our relatedness spoils my judgement. It worries me enough. But I'm also just a reader. Are you a writer or just a writer of rattling good stories. I mind getting a rattling good story from you.

Prayers For Rain' begins like practically every Cure song, with an introduction that's longer than most Bo Diddley singles. Never mind the omnipresent chill, why does Robert Smith write such interminable intros? I can put on 'Prayers For Rain,' then cook an omelette in the time it takes him to start singing. He seems to have a rule that the creepier the song, the longer the wait before it actually starts. I'm not sure if Smith spends the intro time applying eye-liner or manually reducing his serotonin level, but one must endure a lot of doom-filled guitar patterns, cathedral-reverb drums and modal string synth wanderings during the opening of 'Prayers for Rain.

(Family rumor has it that he was originally cloistered off - that is relieved of his duties as a secular priest in Astoria - to free him of a persistent temptation to administer the sacramental wafer to his parishioners' lips by standing back two or three feet and trajecting it in a lovely arc over his left shoulder.)

and was very anxious about it. ‘There’s nothing to be scared about,’ he said confidently. ‘Just give it to them from the shoulder; tell them to buy their Liberty Bonds; don’t try to be funny.’ ‘Don’t worry!’ I said ironically. Very soon I heard my introduction, so I bounded on to the platform in Fairbanksian style and without a pause let fly a verbal machine-gun barrage, hardly taking a breath: ‘The Germans are at your door! We’ve got to stop them! And we will stop them if you buy Liberty Bonds! Remember, each bond you buy will save a soldier’s life – a mother’s son! – will bring this war to an early victory!

Hollywood was called Tinseltown for a reason and I was caught up in its glitter. My friend Ken seemed to know everyone and once took me to the NBC Studios in Burbank, where he introduced me to Steve Allen. “Steverino,” as he was known by friends, must have thought that I wanted to get into show business and promised that if I applied myself, I would go places. I hadn’t really given show business much thought, but it sounded good to me. However, I’m glad that I didn’t count on his promise of becoming a star, because that was the end of it. I never saw Steve Allen again, other than on television, and I guess that’s just the way it was in Hollywood. Later Steve Allen starred in NBC’s The Tonight Show, which in more recent times has been hosted by Jack Paar, Johnny Carson, Jay Leno and now by Jimmy Fallon. Steve Allen had a rider in his contract that whenever he was introduced as a guest, the introduction would include: “And now our next guest is world-renowned recording artist, actor, producer, playwright, best-selling author, composer of thousands of songs, Emmy winning comic genius and entertainer – Steve Allen.” He was a funny guy and he would crack me up, but more than that, he would frequently crack himself up. Steve was loved or hated by people. It was said that he was enormously talented, and if you didn’t believe that, just ask him. Jack Paar, who followed Steve on The Tonight Show, once said, “Steve Allen has claimed to have written over 1,000 songs; name one???” The truth is that he did write a huge number of songs, including the 1963 Grammy award-winning composition, The Gravy Waltz. He wrote about 50 books, one of which is Steve Allen’s Private Joke File, published in 2000, just prior to his death in that same year. He also has two stars on the “Hollywood Walk of Fame,” one for radio and one for TV. Say what you want…. He cracked up at least two people with his humor, himself and me!

I'll tell you who I am, although I have a feeling you already know. I'm Hawke Flynn.' 'Hi,' I said, feeling foolish for doing so. The dimple in his right cheek deepened. 'This is the part where you tell me your name.' My lips nor my tongue moved. 'Then I'll have to keep calling you Princess.

one. He stored the information about Trump and a month or so later called Wynn back. “You think you could introduce me to Donald Trump?” he asked. Although he didn’t know exactly what Trump would do for him, he figured getting to know the owner of the course where he held the tournament could only have an upside. On this crap table, he saw no harm in throwing the dice. There wasn’t any harm. Without missing a beat, Wynn called out to his assistant. “Cindy, get the Donald on the phone for me, please.” And just like that, Dave was on a conference call with two billionaires. “Any friend of Steve’s is a friend of mine,” Trump would say after the introductions. “Next time you’re in New York, come see me.” “Funny,” Dave said, “I’m scheduled to be in New York City in the next couple of weeks.” As there was no such scheduled trip,

Gothic is the genre of fear. Our fascination with it is almost always revived during times of instability and panic. In the wake of the French Revolution, the Marquis de Sade described the rise of the genre as 'the inevitable product of the revolutionary shock with which the whole of Europe resounded,' and literary critics in the late eighteenth century mocked the work of early gothic writers Anne Radcliffe and Matthew Lewis by referring to it as 'the terrorist school' of writing. As Fred Botting writes in Gothic, his lucid introduction to the genre, it expresses our unresolved feelings about 'the nature of power, law, society, family and sexuality' and yet is extremely concerned with issues of social disintegration and collapse. It's preoccupied with all that is immoral, fantastic, suspenseful, and sensational and yet prone to promoting middle-class values. It's interested in transgression, but it's ultimately more interested in restitution; it alludes to the past yet is carefully attuned to the present; it's designed to evoke excessive emotion, yet it's thoroughly ambivalent; it's the product of revolution and upheaval, yet it endeavors to contain their forces; it's terrifying, but pretty funny. And, importantly, the gothic always reflects the anxieties of its age in an appropriate package, so that by the nineteenth century, familiar tropes representing external threats like crumbling castles, aristocratic villains, and pesky ghosts had been swallowed and interiorized. In the nineteenth century, gothic horrors were more concerned with madness, disease, moral depravity, and decay than with evil aristocrats and depraved monks. Darwin's theories, the changing roles of women in society, and ethical issues raised by advances in science and technology haunted the Victorian gothic, and the repression of these fears returned again and again in the form of guilt, anxiety, and despair. 'Doubles, alter egos, mirrors, and animated representations of the disturbing parts of human identity became the stock devices,' Botting writes, 'signifying the alienation of the human subject from the culture and language in which s/he is located.' In the transition from modernity to post-modernity, the very idea of culture as something stable and real is challenged, and so postmodern gothic freaks itself out by dismantling modernist grand narratives and playing games. In the twentieth century, 'Gothic [was] everywhere and nowhere,' and 'narrative forms and devices spill[ed] over from worlds of fantasy and fiction into real and social spheres.

Write this in a witty, funny, engaging tone” or you can even ask for people like “Write this podcast introduction in the style of Joe Rogan

Above all, he kept it an internal conflict, not a conflict between him and her.… And if she or anyone else comments on her quietness or hesitancy, Jim’s prompt reply is, ‘That’s just your style. Other people have different styles. But this is yours. You like to take your time and be sure.’ Jim also knows that part of her style is befriending anyone whom others tease, doing careful work, noticing everything going on in the family, and being the best soccer strategist in her league.” One of the best things you can do for an introverted child is to work with him on his reaction to novelty. Remember that introverts react not only to new people, but also to new places and events. So don’t mistake your child’s caution in new situations for an inability to relate to others. He’s recoiling from novelty or overstimulation, not from human contact. As we saw in the last chapter, introversion-extroversion levels are not correlated with either agreeableness or the enjoyment of intimacy. Introverts are just as likely as the next kid to seek others’ company, though often in smaller doses. The key is to expose your child gradually to new situations and people—taking care to respect his limits, even when they seem extreme. This produces more-confident kids than either overprotection or pushing too hard. Let him know that his feelings are normal and natural, but also that there’s nothing to be afraid of: “I know it can feel funny to play with someone you’ve never met, but I bet that boy would love to play trucks with you if you asked him.” Go at your child’s pace; don’t rush him. If he’s young, make the initial introductions with the other little boy if you have to. And stick around in the background—or, when he’s really little, with a gentle, supportive hand on his back—for as long as he seems to benefit from your presence. When he takes social risks, let him know you admire his efforts: “I saw you go up to those new kids yesterday. I know that can be difficult, and I’m proud of you.

Joy through suffering: this phrase (extracted from one of Beethoven's letters, where it actually referred to an uncomfortable coach journey) became the central motto of the Beethoven cult [..].