“Even 'Jurassic Park III' tried to jump on the avian-dino bandwagon by making a brave attempt to adorn Velociraptor with a feathery hair-piece. (The result looked like a roadrunner's toupee- don't blame the effects-artists; it's notoriously difficult to render feathers in computer graphics animation, so we'll have to wait for 'JP IV' for a more thoroughly rendered avian pelage.)”

The plain answer is no. Although excellent, it is not with all its dollars what I would have wished to do with my career. I was always a loner and worked best that way. Since the very beginning I fought and struggled under constant pressure to keep the design and final result within my hands. As time moved on this became more difficult, until I was forced to bow to the fact that my method of working, in the financial sense, was no longer practical. Model animation has been relegated to a reflection, or a starting point for creature computer effects that has reached a high few could have anticipated. However, for all the wonderful achievements of the computer, the process creates creatures that are too realistic and for me that makes them unreal because they have lost one vital element - a dream quality. Fantasy, for me, is realizing strange beings that are so removed from the 21st century. These beings would include not only dinosaurs, because no matter what the scientists say, we still don't know how dinosaurs looked or moved, but also creatures of the mind. Fantastical creatures where the unreal quality becomes even more vital. Stop-motion supplies the perfect breath of life for them, offering a look of pure fantasy because their movements are beyond anything we know.
Source: An Animated Life (2003), p. 8

Source: Jurassic Park

Email of 28 May 1987 https://lamport.azurewebsites.net/pubs/distributed-system.txt
As quoted in [Teresa K. Attwood, Stephen R. Pettifer, David Thorne, Bioinformatics Challenges at the Interface of Biology and Computer Science: Mind the Gap, https://books.google.com/books?id=_i-8DAAAQBAJ&pg=PA266, 26 September 2016, John Wiley & Sons, 978-0-470-03548-1, 266–]

Source: Are you being brainwashed?: Propaganda in science textbooks (2007), p. 20

"Shadows of Forgotten Ancestors" (1992) (co-written with Ann Druyan)
Context: Humans — who enslave, castrate, experiment on, and fillet other animals — have had an understandable penchant for pretending animals do not feel pain. A sharp distinction between humans and 'animals' is essential if we are to bend them to our will, make them work for us, wear them, eat them — without any disquieting tinges of guilt or regret. It is unseemly of us, who often behave so unfeelingly toward other animals, to contend that only humans can suffer. The behavior of other animals renders such pretensions specious. They are just too much like us.

Ray Harryhausen & Tony Dalton (2003), An Animated Life, Aurum Press, p. 8

Source: The Irresistible Revolution (2006), p. 50

On how mothers are typically portrayed in “Alfre Woodard Redefines Black Motherhood On Screen In ‘Juanita’” https://shadowandact.com/alfre-woodard-redefines-black-motherhood-on-screen-in-juanita in Shadow and Act (2019 Mar 11)

Un Art de Vivre (The Art of Living) (1939), The Art of Growing Old