March 5, 2018
February 24, 2018, Peter gave a talk on "Lifting the
Fog of Fake News" at the Commonweal Gallery in
Bolinas, CA. You can watch the event at this
The following is a review of Peter's
On Saturday at Commonweal the New
School presented Peter Coyote in conversation with Steve
Heilig. The subject was fake news and the talk began by
citing the recent Ken Burns documentary on the Vietnam
War which Coyote narrated.
During the war the trumped-up boy
counts on the nightly news were a glaring example of
governmental lying - fake news. Coyote went on to trace
the tragic decline of our political system from Reagan
to the present day.
He proposed four steps to stop fake news and fix our
broken political system:
1. All news must have an agreed
upon basis in fact
2. People pay for the electoral process
3. Eliminate gerrymandering of election districts
that are balkanizing our country
4. End non-person corporations spending their booty
to influence elections.
At the end of Coyote's talk, there
was a question and answer period. Most of the questions
were actually comments that echoed our current sad state
I had prepared a more philisophical question and when
called upon asked, "We've lost our moral compass. Do you
think it's the fault of technology?"
Coyote's face changed as he heard the phrase "moral
compass". He spoke with an open heart about his practice
of Zen and the way he set his own moral compass. Before
my eyes, Peter Coyote, the famous actor/author/activist
transformed from an angry leftist into a humble Zen
Buddhist monk (he has taken vows).
"I'd rather make a sandwich for a hungry guy than make a
speech on world hunger," he said. "The truth of it is
what you do do every day. How do you treat every person
you come into contact with? Do you practice being
universally kind? Do you pretend you don't have shadows
and all the evil in the world is on them?"
"That's the moral compass. The moral compass is to
understand that there's an invisible, pregnant energy in
the universe that creates everything. It throws up human
beings and solar systems and hummingbirds and dolphins
and we're all made of the same stuff."
"So the salient question is 'How did you come to believe
that way? It's so different than my experience.' But if
I talk to you that way, you know I'm not judging you,
and we can have a conversation. We can become friends
I expected more depressing news about fake news, but
instead received a teaching about "engaged Buddhism". It
was a beautiful transmission of truth in the Big Room at
Commonweal. A slogan from the 60's popped into my mind:
"Make love, not war."
We can become friends with differences.
Thank you, Mr. Coyote.
October 24, 2017
Literary Hub has an excellent interview with Peter
called "Peter Coyote, Voice of the Vietnam Generation".
Here's an excerpt:
"When I narrated The Rooseveltís, that was my
parentís time, and it was something I was conversant
with, and it brought up a lot of emotion. But when I did
The Vietnam War, that was my time and it really
did bring up a lot of emotionóit was very strong and
powerful for me to do. But Iím a Buddhist priest, and
the thing is that you donít really select what you like
and you donít like. You actually look at the world the
way it is and the world is an infinity of beauty and
miracles and itís also an infinity of horrors. And if
you canít stare at both unflinchingly youíre off
balance. A couple of people have commented on how I
treated the disasters [in the series] the same way I
treated the joys, and thatís true. Thatís a conscious
practice on my part."
You can read
the full interview
at this link.
October 15, 2017
From Voice Acting by Hugh Klitzke - Study Peter
Coyote's Compelling Narration in Ken Burns' THE VIETNAM
WAR PBS series:
As an actor, Peter Coyote has a voice of tremendous
appeal: you just like his sound. This is important,
because you're gonna hear his voice for most of TVM. But
appeal is never enough. A narrator creates context,
specificity, drama - and a narrator also needs to be
directed to get out of the way.
Coyote is directed to get out of the way of TVM's most
important voices: LBJ in the oval office (always
subtitled), Americans horrified at their own capacity
for violence, the grown children of South Vietnam
grateful that Americans were coming in to lay down their
own lives for their freedom.
Coyote is also directed to read slowly (very slowly at
times) to define specific terms like Viet Cong
(contracted from Vietnamese Communist).
His inflections are never arbitrary and never sound
repetitive. They are very specific and have purpose.
Overall, his read can be characterized as flat - but
never to the point of sounding disinterested or robotic
- and you are compelled to keep watching. A very
Now, compare all of this to Coyote reading audiobooks.
There you hear hear him being mellifluous and energetic,
wry and playful, everything he is never tasked to do by
Let me suggest you check out excerpts with the closed
captions on and off - perhaps parts of the first episode
as they talk about history and the fifth as they talk
And also make the time to watch the entire thing all the
way through. This is an outstanding collaboration worthy
of your time and analysis.
September 22, 2017
Kevin L. Jones, KQED:
"The Summer of Crap": Peter Coyote on Vietnam and Life
in the í60s
After 50 years, Peter Coyote still hasnít changed his
opinion on the Summer of Love.
"It was crap," the 75-year-old Coyote says. "Who cares?"
Coyoteís talked a lot about the í60s this past year ó in
case you hadnít heard, itís the Summer of Loveís 50th
anniversary ó and to hear Coyote tell it, the experience
has been miserable. Cable news channels and other
organizations have "dragged" Coyote "out of the old
hippie diorama to talk," and they rarely discuss the
revolutionary ideas he helped germinate with the radical
theater group the Diggers. Instead, "all they wanted was
the fashions, the rock and roll posters, and the music,"
"I went to the deYoung show, which I narrated, and it
was an embarrassment," Coyote adds. "There were a lot of
people who were putting their lives on the line to make
change, and you would think everyone was just going to
rock and roll shows and wearing bellbottom pants."
But at least one project this year focuses on what was
"really important" to Coyote in the 1960s: Ken Burnsí
THE VIETNAM WAR. The 18-hour long documentary
series, which Coyote narrates, examines in detail the
history of the conflict, its causes, and its impact on
both Americans and the Vietnamese. And when Coyote looks
back at his work with the Diggers, fighting the causes
of the Vietnam War was at the heart of it.
"It wasnít trying to be 'radical,'" Coyote says today.
"It was trying to get people to understand that the core
organizing principle of American culture was profit and
private property, and that led directly to the war in
In 1961, Coyote ó then a student at Grinnell College ó
joined 11 other classmates on a trip to Washington D.C.,
where they held a three-day hunger strike against the
continued testing of nuclear weapons. The protest caught
the attention of then-President John F. Kennedy, who
invited the group to visit the White House ó the first
time a picketing group received such an invitation from
a president, according to Coyote.
At the time, Kennedy was in Arizona, so they met with
McGeorge Bundy, a special advisor to the president.
"We had gone to Washington thinking we had brought
information from the field to the White House. We were
going to tell them what young people were thinking,"
Coyote said. "Iím sitting in front of Bundy, and I
realize that we are nothing to him. We are a problem for
his president, and we needed to be solved."
Coyote adds, "I realized the only way I was going to get
this guyís attention was to come back with an army. Two
years later, I thought the counterculture was going to
be that army."
After graduating from Grinnell, Coyote moved to San
Francisco to study under the poet Robert Duncan at San
Francisco State University. But he didnít stay in school
for long, as the counterculture and his acting with the
guerilla theater group the San Francisco Mime Troupe
became his focus.
No longer a student, Coyote was called in for a military
service exam in order to be drafted for Vietnam. He had
applied for conscientious objector status, and even
offered to be a medic, but those appeals were rejected.
It looked like Coyote was going to war.
Except that by then, Coyote was an experienced actor.
"I actually pretended I was completely sane," Coyote
says. "I insisted that I would do whatever they wanted ó
rape, looting, killing ó but I would keep what I
His performance convinced the military service examiners
that he was unfit for duty, and so Coyote went back to
theater in the park instead of war in a far-off land.
Today, Coyote says he wouldíve fought for his country,
but only if it was the one being invaded.
"We invaded Vietnam. People forget that," Coyote said.
During the late í60s, Coyote traveled all over the
nation causing a ruckus with the San Francisco Mime
Troupeís brand of free, outdoor "guerilla theater." In
1967, still using the last name Cohon (he adopted the
name Coyote after peyote trip), he co-wrote and starred
in a short play called Olive Pits, based on a
16th-century commedia that Coyote updated to reflect the
Vietnam War and other current events. The play was a
hit, receiving rave reviews and winning the troupe its
first OBIE Award from the Village Voice.
But Coyote became dissatisfied with theater, even with
the guerrilla theater the San Francisco Mime Troupe
"It felt too safe to be on a stage where you can control
everything," Coyote said.
Coyote and six others splintered off and formed the
Diggers, an anarchist collective determined to incite
change through theater. But instead of staging plays,
the Diggers hosted events with subliminal messages. For
example, they gave away free food, but in order to be
fed, one had to walk through a large yellow square
called "Free Frame of Reference."
"It was like a ceremony. You stepped through it and
imagined yourself in a world with free food," Coyote
The point of the Free Frame of Reference and later, the
Free Store, was to show others what the world could be
like if everything was free. Such experiments saw the
Diggers not only rebelling against capitalism, but the
political tactics of the established left wing.
"We challenged ourselves and others to imagine a world
that weíd like to live in, and then make it real,"
Coyote said. "We felt that if people had a life that
they liked, they might be willing to defend it. They
were not going to throw themselves on the barricades
because they read Maoís little red book."
The Diggers evolved into the Free Family, which
established a series of communes that reached from
Northern California to the Pacific Northwest, and
throughout the Southwest. Coyote says he loved those
days, even though they subsisted on little ó he averaged
about $2,500 a year, and much of the communeís funds
came from welfare. But everyone seemed to do their part
in terms of chores and other responsibilities, the
entertainment came from board games and being with each
other, and the group learned it didnít need much to be
happy. For Coyote, it was "a wonderful life."
"It was the perfect confluence of living the life your
art described," Coyote said. "If I didnít need health
insurance, I would still be living on a commune."
But it couldnít last, especially after commune members
began having children. Coyote says that those with
families came to resent the free spirits who wanted to
hang around getting high all day. And when conflicts
arose, those in the commune didnít have the tools to
resolve them. In the end, members began separating
themselves from the rest of the group.
"What we learned is that we are the problem. We grew up
in this culture, with bad habits, impulses, egoism,
selfishness and everything else. We could pretend we
didnít but it wasnít actually true," Coyote said. "We
were so intent on building a new world, we didnít
concentrate as fully as we shouldíve on building our
In 1978, Coyote returned to theater, which led to a
successful acting career ó heís since been in over 70
films, including blockbusters like E.T. the
Extra-Terrestrial and Erin Brockovich.
He also began a fruitful career in voice work, which has
led him to become the go-to voice for documentarians
such as Alex Gibney and Ken Burns. Burns and Coyote
started worked together in 1992 on the documentary
The West, which Burns produced. Coyote has gone on
to narrate nine of Burnsí documentaries.
The Vietnam War, Burnsí newest series, is already
being hailed as his best yet. Coyote narrated all 18
hours of the documentary, and he says that while working
on it, "there was a lot of re-living."
"I was amazed how passionately my memories and feelings
about the war came up," Coyote said.
He also had a major discovery from the series: that the
North Vietnamese werenít the good guys Coyote assumed
they were back when he was protesting the war.
"People had all these romantic ideas about the VietCong
and the Viet Minh. Well, those guys were just as bad as
our guys," Coyote said. "They were murdering civilians
over ideological disputes, and burying them alive
because they didnít want to waste bullets."
Even though Coyote can admit that he was wrong in some
ways, he remains angry that the work of the
counterculture was later portrayed in the media as a
failure. He blames Reagan-era conservatives for shutting
down surpluses and doing all they could to ensure that a
left-wing counterculture never saw prominence again.
"Itís true that the free lifestyle is unsustainable, but
it doesnít mean you have to give up your values. Most of
our kids became nurses, healers, doctors, and
environmentalists, and Iím really proud of them," Coyote
August 28, 2017
news for Canadian TV viewers. Last fall Peter
spent a good deal of his time up in Montreal filming a
6-part original mystery series for CTV. It's
called THE DISAPPEARANCE and it'll debut on
Sundays at 9 p.m. beginning October 1 on CTV and CTV GO.
You can watch the trailer
at this link.
"The Disappearance" is a dark, emotionally charged drama
that focuses on a familyís struggle to cope with an
unthinkable tragedy when a 10-year-old boy goes missing
during a birthday-party treasure hunt; Peter plays the
family patriarch, a retired judge who has been estranged
from his son and his wife but is drawn back into their
lives when the horrible event forces them to turn to
each other for support and comfort.
Peter says he was immediately intrigued by the first two
scripts his agent forwarded to him, but admits he
underestimated the workload that signing onto the
project would bring.
He says, "The producers were very clever. I thought,
ĎOh, Iím the grandfather; itíll be great ó Iíll work a
couple of days a week and Iíll collect my checks. It
wonít be too hard.í And then I came up here and got the
scripts for the other four episodes, full of night
shoots in Montreal in the winter, outside. And I
thought, ĎOh, you want to kill an old Jew.í"
This project and this city have been something of a
revelation for Peter. Even after nearly four decades in
the business, he embraces the possibility of
eye-widening surprises such as this that keep him
interested in his craft.
"Every actor should be lucky enough to film in Quebec,"
he says. "I really canít think of a more enjoyable film
Iíve had, in terms of the camaraderie of the crew and
the cast, and the lack of authoritarian bull on the part
of the director and the producers. It feels like a
charmed environment... itís exactly the way I like to
previously reported, Peter has narrated another Ken
Burns project. This time it's a 10-part documentary
called THE VIETNAM WAR, which will be broadcast
on PBS starting September 17. At a KQED event last
month, Peter was asked about his own experience with the
Vietnam War draft. Heíd applied to be a conscientious
objector and written an essay expressing his beliefs,
and was turned down. He started graduate school and
dropped out, and then "they drafted me. I went into the
psychiatric interview, and said I would go ... 'but I am
not going to go and kill people.'" He was classified
1-Y, to be called only in extreme emergency, he said. "I
told the exact truth, with the worldview I could have
Peter said he has done 170 narrations, some of which ó
for "The Roosevelts," for example, which he felt touched
upon his parentsí lives and beliefs ó involved him
emotionally. "But when this one came up, this is one
time I was flabbergasted at the degree my emotions and
my memories were in my throat," he said.
July 27 playwright and actor Sam Shepard passed
away at age 73. Peter, who Shepard cast in the 1980
world premiere of his play "True West" at the Magic
Theatre, remembered Shepard in an interview with The
Frame as someone whose "genius was unmistakable."
"You didn't have to be close and intimate [friends with
him] to realize how gifted and how original and how
profound he was," Peter said. He recalled that Shepard
"had a kind of tarnished eye toward the business of
Hollywood," and was "very much dedicated to real, as
opposed to commercial, art."
April 4, 2017
was recently in Paris to participate in an event called
"American Stories" held on March 26, 2017 at the
Philharmonie de Paris. He was delighted to once again
read Aaron Copland's "Lincoln Portrait", this
time with the Orchestre National d'őle-de-France. He has
previously performed it in 2015 at the Napa Valley
Performing Arts Center as well as with the Greensboro
Symphony in NC. Both of these previous times he
performed with conductor Dimitry Sitkovetsky, seen in
the third photo taken in March 2015 in Napa Valley.
March 15, 2017
Coyote-narrated documentary is now available online.
BELO MONTE: AFTER THE FLOOD, directed by
award-winning filmmaker Todd Southgate, explores the
history and consequences of one of the worldís most
controversial dam projects, built on the Xingu River in
the heart of the Brazilian Amazon. It chronicles the
inspiring work of indigenous peoples, grassroots
activists, and their allies to prevent dam construction
and its many impacts. The film exposes the gross
disregard for the
of law that marked the entire project, including a
massive corruption scandal involving high-level
politicians and construction companies. And it shows the
unfulfilled promises for bringing ďprogressĒ to this
remote Amazonian region. Since the film first premiered
in late 2016, it has demonstrated huge potential for
raising awareness and stimulating public debate on this
critical issue. The film has also been well received at
film festivals. It can be viewed online at the film's
website, which you can
February 3, 2017
Back in November Peter originally published "Democrats
Need to Clean Up Their Own House" on dailykos.com, a
daily weblog with political analysis on US current
events from a liberal perspective. It has now been
published on this web site
at this link.
December 26, 2016
2017 BAMPFA calendar under its Big Ideas program
now lists Peter as one of its speakers next year. BAMPFA
stands for Berkeley Art Museum and Pacific Film Archive.
Big Ideas is a UC Berkeley course open to the public.
This year's theme, California Countercultures, is
inspired by the BAMPFA exhibition Hippie Modernism: The
Struggle for Utopia. Peter will discuss the Diggers,
communes and community on Wednesday, April 12th at 12
will also see the return of the Bay Area's Emmy Award-winning
series, BAY AREA REVELATIONS, narrated by Peter.
The next chapter will tell the story of how the Bay Area
became one of the most innovative and successful movie
centers on earth.
Lion's Roar web site, an essay by Peter can be
found called "It! It! It", in which he shares some
of his Buddhist wisdom through his personal experience.
month Peter was in Quebec filming a six-part series
called THE DISAPPEARANCE for CTV, which will air
in summer/fall of 2017. While on location, the press
caught up with him. He admits he's fairly picky about
the roles he takes on these days as he has become more
and more reluctant to leave his northern California
ranch. "I have my dogs and my fruit trees," he says.
Peter plays a retired judge plunged into despair when
his beloved 10-year-old grandchild goes missing. The
script for the Canadian series had to pass his "must
surprise me in the first ten pages" test. It did. He
also liked that it was a limited run series. He gave a
shout out to Montreal as a great city for an actor and
praised Canadians in general as "grown-up Americans."
When questioned about the upcoming 18-hour Ken Burns
epic, THE VIETNAM WAR, he said, "It's going to be
a shocker. Really, the only people who come out of this
conflict with any honor are the warriors on both sides.
Politicians on all sides were despicable."
2001, Winter 2002,
Winter 2003, Spring
Summer 2003, Fall 2003,
Winter 2004, Spring
Summer 2004, Fall 2004,
Winter 2006, Spring 2006,
Summer 2015, Fall 2015,
| Latest Tracking |
Sleeping Where I Fall |
Coyote in Print |
TV& Stage |
Audiobooks | Photos