We put on shows at Golden Gate Park with the Dead and Jefferson Airplane, and the groups were part of the community they emerged out of, not some superstars. We had multiple stages, diversions, communal entertainment. There is something slightly fascistic about sitting in a huge auditorium focusing all the energy on one group far away on stage.
— Peter Coyote
When you break the rules and you win, you're a hero; when you lose, you're scurrilous.
When I got to Grinnell College, I was part of the black turtleneck sweater and Camel cigarette crowd of poets and writers.
Where I didn't have the maturity and the compassion to consider other people's needs, I did a lot of damage.
In 2001, Texaco was bought by Chevron, and during deliberations concerning that sale, an 800 page document listing the problems and liabilities connected to Texaco was brought forward at their stockholder meeting by Amazon Watch, a non-profit dedicated to protecting the Amazon.
Writing is something I can do by myself.
I've always been a writer.
My dad was a very violent, frightening and dangerous guy. Next to him, I was this vague kind of kid who walked around, as I still do, gathering impressions.
My gift seems to be that I am able to tell a story in a comprehensible and engaging way.
The self is just not a worthy enough vehicle to worship.
Any political agenda and organization which doesn't begin with personal responsibility is just half the argument. It's just not going to succeed.
You don't see artists sitting around a lot, talking about ideology. They find out what they believe, and what they're doing, by doing it.
It came home to me indelibly that I was never going to change anything in America by walking around carrying a sign. It was a great revelation. It saved me a lot of anxiety and a lot of wasted energy.
There has to be that feeling in a good villain - that he's awesome, he has his own power; that he is, in several senses, unstoppable.
We spend all this energy keeping our lives normal and safe and predictable, and the result is that our approved cultural safety valve is the movies. So in films, anyway, the hero is obliged to represent the continuance of social values and institutions, and his permission to act is much more seriously limited than the villain's.
When I was young and growing up in New York, my parents took me to children's theater quite often - elaborate presentations of 'Goldilocks' and 'Rapunzel' for Upper East Side kids. As I grew older, they took me to adult theater, mostly musicals.
Young people, for whom I should have been a role model and an uncle, duplicated my worst habits and died as a result.
In 1972, Texaco Oil Company, in partnership with PetroEcuador, the state-run oil company of Ecuador, began to drill for oil in the jungles of the Ecuadorian Amazon.
The terrible thing about being an actor is that it's not a solo occupation.
My house and my garden are built as part of nature, not over it.
People call me a movie star. If you're in the business, a movie star is someone who can make a film bankable. My name and $6 million will make a $6 million movie. I'm a working actor. Because I started late, I had a very short run as a leading man, and my films didn't make money in America.
Everyone knows that our current system is kind of like legalized prostitution. The corporate sector completely controls the civic sector.
I think the '60s were an extraordinary time. I feel bad for the kids today who missed this wonderful confluence, which was simultaneously a confluence of the global and the mythological.
I think it's good that people value their bodies and take care of them. I think if you cross the line and begin using your body as an asset or as an extension of your vanity, you've gone too far.
Money is a way of creating scarcity.
Kennedy invited us into the White House-the first time in the history of the White House picketers had been invited inside. This made front page headlines.
I think you have a social responsibility as the villain, which is pretty different from the hero's responsibility. If you have any kind of a social or political conscience at all, the first thing you want to do is make malevolence recognizable to people, almost as a kind of teaching aid.
When I went to get my master's in creative writing at San Francisco State after Grinnell, I joined the moribund remnants of the Actor's Workshop, until I saw Kay Hayward and Sandy Archer in the San Francisco Mime Troupe and drove down that day to audition. The rest is history.
One of the most treasured books that I own is Donald Allen's 'The New American Poetry, 1945-1960.' It was a totem of great importance and potency to my group of writer friends in college from 1960 to 1964.
I am fascinated by women. They're as close as we men get to experiencing 'the other.' The challenge for me was to know and accept fully formed, powerful women.
I believe that when you're wrong, own it and apologize, and so I do and put it on the equivalent of my front page.
Acting is the way I make my living.
Habitat for wildlife is continually shrinking - I can at least provide a way station.
The first time I read something, I have this special feeling of being fully engaged with it. It's fresh to the audience because it's fresh to me. It's a little mystical, but I really believe that.
Business is a subset of the environment, not the other way around. You can't have a healthy economy, you can't have a healthy anything in a degraded environment.
Interdependence is a fact, it's not an opinion.
The body is an inviolable limit. And you have to really hurt it before you know that.
I got out of college and I went to get my master's in creative writing at San Francisco State. I was working as an actor at the Actor's Workshop, being abused as a intern.
I would say 90 percent of my mail and phone calls are from people who want some kind of help or succor or commitment from me to do something.
