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We would have potluck dinner, and discuss our most recent projects. It was a wonderful way to exchange ideas. All the people in The Dinosaur Society had an interest in paleontology. We had the artists Bill Stout, Mark Hallett, Carl Gage, and Richard Hescox, and the writers George Olshevsky and Don Glut; paleontologists Mark Gallup and George Callison, who runs a program in which people go out and dig up dinosaurs; and preparator Mary Odano, who prepares and casts dinosaur fossils for exhibits after they’ve been dug up.
I had no idea who these people were, but they had to be Harryhausen fans, just like I was. Finally, Ray and Forry drove up in a car, and the crowd got very excited, just as if he were a rock star. We all went into the house, and Ray was very friendly and encouraging. He didn’t say much about how he performed his movie magic, but it was wonderful for all of us to talk with him and show him the models that we had brought. This was the first time I had met other people who were also doing special effects and animation.
I created only dinosaurs. I also started studying the art and literature of dinosaurs for the first time. That’s how I came across Charles R. Knight. As Stephen mentioned before, Knight was the greatest painter of prehistoric life during the first half of the twentieth century. I discovered that no one had ever written a book about him. So, with the encouragement of a paleontologist friend, Robert Long, Don Glut and I decided that the time had come to write a book. Don and I worked on the book together.