this week in film and television

NEW YORK FILM FESTIVAL MAIN SLATE: YOURSELF AND YOURS

Young-soo (Kim Joo-hyuk) tries to win back Min-jung (Lee Yoo-young) in Hong Sang-soo’s YOURSELF AND YOURS

YOURSELF AND YOURS (Hong Sang-soo, 2016)
Film Society of Lincoln Center
West 65th St. between Eighth & Amsterdam Aves.
Friday, October 7, Bruno Walter Auditorium, 9:00
Monday, October 10, Walter Reade Theater, 9:00
Friday, October 14, Howard Gilman Theater, 9:45
Sunday, October 16, Howard Gilman Theater, 8:00
Festival runs September 30 – October 16
212-875-5050
www.filmlinc.org

“Don’t try to know everything,” Min-jung (Lee Yoo-young) says in Hong Sang-soo’s latest unusual and brilliant romantic drama, Yourself and Yours. It’s impossible to know everything that happens in Hong’s films, which set fiction against reality, laying bare cinematic narrative techniques. With a propensity to use protagonists who are directors, it is often difficult to tell what is happening in the film vs. the film-within-the-film. He also repeats scenes with slight differences, calling into question the storytelling nature of cinema as well as real life, in which there are no do-overs. In the marvelous Yourself and Yours, scenes don’t repeat, although the existence of a main character might. Min-jung is in a relationship with painter Young-soo (Kim Joo-hyuk), who is dealing with the failing health of his mother when he is told by a friend (Kim Eui-sung) that Min-jung was seen in a bar drunk and arguing with another man. Young-soo refuses to believe it, since he and Min-jung are facing her drinking problem by very carefully limiting the number of drinks she has when she goes out with him. But when the friend insists that numerous people have seen her in bars with other men and imbibing heavily, Young-soo confronts her, and she virulently defends herself, claiming that they are lies and that he should have more faith in her. She leaves him, and over the next several days she has encounters with various men, but she appears to be either a pathological liar or have a memory problem as she tells the older Jaeyoung (Kwon Hae-hyo), a friend of Min-jung’s, that she is a twin who does not know the painter; later, with filmmaker Sangwon (Yu Jun-sang), she maintains that they have never met despite his assertion that they have. Through it all, Young-soo is determined to win her back. “I want to love each day with my loved one, and then die,” he explains with romantic fervor. He also acknowledges Min-jung’s uniqueness: “Her mind itself is extraordinary,” he says.

Min-jung (Lee Yoo-young) tells Jaeyoung (Kwon Hae-hyo) she has a twin in YOURSELF AND YOURS

Yourself and Yours is an intelligent and witty exploration of fear and trust, built around a beautiful young woman who might or might not be lying, as she seems to reboot every time she meets a man, erasing her recent past. Lee (Late Spring, The Treacherous) is outstanding as Min-jung, keeping the audience on edge as to just what might be going through her “extraordinary” mind. Kim (Lovers in Prague, My Wife Got Married) plays Young-soo with just the right amount of worry and trepidation. As with most Hong films (The Day He Arrives, Oki’s Movie, Like You Know It All, Right Now, Wrong Then), there is a natural flow to the narrative, with long shots of characters just sitting around talking, smoking, and drinking — albeit primarily beer in this case rather than soju — with minimal camera movement courtesy of Hong regular cinematographer Park Hong-yeol (Hahaha, Our Sunhi), save for Hong’s trademark awkward zooms. There’s also an overtly cute romantic comedy score by Dalpalan to keep things light amid all the seriousness. Hong continually works on his scripts, so the actors generally get their lines the day of the shoot, adding to the normal, everyday feel of the performances. Many writers have compared the film to Luis Buñuel’s grand finale, 1977’s That Obscure Object of Desire, in which Carole Bouquet and Angelina Molina alternate playing a flamenco dancer, postulating that there are numerous Min-jungs wandering around town, a series of doppelgängers hanging out in bars. That’s not the way I saw it at all (and at the San Sebastian Film Festival, Hong denied it was a direct influence); instead, I see it as one Min-jung, dealing with the endless aspects of relationships, and one Young-soo, an artist who desperately wants to believe in true love and who does not want to be alone, particularly with his mother on her deathbed. There’s the smallest of cues near the end that explains it all, but I’m not about to give that away. And I’m not sure how much it even matters, as regardless of how many Min-jungs might populate this fictional world, Hong has crafted another mesmerizing and mysterious look at love and romance as only he can. The film is screening October 7, 10, 14, and 16 at the New York Film Festival; it is currently without U.S. distribution, perhaps partly because Hong is embroiled in controversy, having recently left his wife of thirty years for the much younger Kim Min-hee, star of Right Now, Wrong Then, as if he is living one of his own movies.

NILSSON SCHMILSSON: MIDNIGHT COWBOY

Oscar nominees Jon Voight and Dustin Hoffman try to make it in the big city in John Schlesinger’s powerful and moving MIDNIGHT COWBOY

MIDNIGHT COWBOY (John Schlesinger, 1969)
BAMcinématek, BAM Rose Cinemas
30 Lafayette Ave. between Ashland Pl. & St. Felix St.
Friday, October 7, 2:00 & 7:00
Series runs October 7-9
718-636-4100
www.bam.org

In 1968, John Lennon proclaimed, “Nilsson! Nilsson for president!” The race might have been between Richard M. Nixon and Hubert Humphrey, but the smart Beatle was declaring his support for Brooklyn-born singer-songwriter Harry Nilsson, who had covered the Fab Four’s “You Can’t Do That” on 1967’s Pandemonium Shadow Show, a version that incorporated twenty other Beatles songs in its brief two minutes and sixteen seconds. Nilsson, who died in 1994 at the age of fifty-two, would have turned seventy-five this year, so BAM is celebrating his career as a film composer and sometime actor with the BAMcinématek weekend series “Nilsson Schmilsson,” named after his Grammy-nominated 1971 album. The three-day, five-film fest begins with John Schlesinger’s masterful Midnight Cowboy, which stars Dustin Hoffman and Jon Voight as the worst hustlers ever. The only X-rated film to win a Best Picture Oscar, Midnight Cowboy follows the exploits of Joe Buck, a friendly sort of chap who leaves his small Texas town, determined to make it as a male prostitute in Manhattan. Wearing his cowboy gear and clutching his beloved transistor radio, he trolls the streets with little success. Things take a turn when he meets up with Enrico Salvatore “Ratso” Rizzo (Hoffman), an ill, hobbled con man living in a condemned building. The two loners soon develop an unusual relationship as Buck is haunted by nightmares, shown in black-and-white, about his childhood and a tragic event that happened to him and his girlfriend, Crazy Annie (Jennifer Salt), while Rizzo dreams of a beautiful life, depicted in bright color, without sickness or limps on the beach in Miami.

Adapted by Waldo Salt (Serpico, The Day of the Locust) from the novel by James Leo Herlihy, Midnight Cowboy is essentially a string of fascinating and revealing set pieces in which Buck encounters unusual characters as he tries desperately to succeed in the big city; along the way he beds an older, wealthy Park Ave. matron (Sylvia Miles), is asked to get down on his knees by a Bible thumper (John McGiver), gets propositioned in a movie theater by a nerdy college student (Bob Balaban), has a disagreement with a confused older man (Barnard Hughes), and attends a Warholian party (thrown by Viva and Gastone Rosilli and featuring Ultra Violet, Paul Jabara, International Velvet, Taylor Mead, and Paul Morrissey) where he hooks up with an adventurous socialite (Brenda Vaccaro). Photographed by first-time cinematographer Adam Holender (The Panic in Needle Park, Blue in the Face), the film captures the seedy, lurid environment that was Times Square in the late 1960s; when Buck looks out his hotel window, he sees the flashing neon, with a sign for Mutual of New York front and center, the letters “MONY” bouncing across his face with promise. The film is anchored by Nilsson’s Grammy-winning version of “Everybody’s Talkin’,” along with John Barry’s memorable theme. Iconic shots are littered throughout, along with such classic lines as “I’m walkin’ here!” Midnight Cowboy, which was nominated for seven Oscars and won three (Best Picture, Best Adapted Screenplay, and Best Director), is screening October 7 at BAM Rose Cinemas; “Nilsson Schmilsson” continues through October 9 with Freddie Francis’s Son of Dracula, starring Nilsson and Ringo Starr, Otto Preminger’s bizarre Skiddoo, Robert Altman’s Popeye, and Fred Wolf’s animated The Point.

BAM NEXT WAVE FESTIVAL: BATTLEFIELD

Sean O’Callaghan, Carole Karemera, Ery Nzaramba, Jared McNeill, and Toshi Tsuchitori in BATTLEFIELD (photo by Richard Termine)

Sean O’Callaghan, Carole Karemera, Ery Nzaramba, Jared McNeill, and Toshi Tsuchitori appear in BATTLEFIELD at BAM (photo by Richard Termine)

Next Wave Festival
Brooklyn Academy of Music
BAM Harvey Theater
651 Fulton St.
Through October 9, $30-$110
718-636-4100
www.bam.org
www.bouffesdunord.com

“To hell with the state of humanity,” the blind king Dritarashtra (Sean O’Callaghan) says at the beginning of Battlefield, Peter Brook and Marie-Hélène Estienne’s return to their international triumph, The Mahabharata. It’s also a return home for the ancient Sanskrit epic to the BAM Harvey, previously an abandoned movie house that was renovated back in the late 1980s specifically for the nine-hour Mahabharata. In Battlefield, codirectors Brook and Estienne and their C.I.C.T. — Théâtre des Bouffes du Nord company explore a central section of The Mahabharata, focusing on the aftermath of the bloody battle between the Pandavas and the Kauravas, which left millions dead. The sparse stage is littered with bamboo sticks that represent the victims of the fierce war; there is also a small black rectangular block where various characters sit, mournfully understanding that there is little difference between victory and defeat. The new king, Yudhishthira (Jared McNeill), seeks advice from a soothsayer (Ery Nzaramba, who also plays several victims) and learns a devastating secret from his mother, Kunti (Carole Karemera), while Toshi Tsuchitori, who also performed in the original Mahabharata, sits in a chair off to the side, playing powerfully moving percussion on his African drum. The play evokes both Shakespeare and Brook and Estienne’s adaptation of The Suit, but it is too often flat and lackluster. There are some wonderful moments, particularly the use of colored scarves to identify the characters (the costumes are by Oria Puppo) in addition to sticks that represent various objects, but the stripped-down seventy-minute production feels like it’s all middle, with no beginning or end, existing in its own unclear time and space, even as it makes relevant connections to what is going on in the world today. Brook will participate in a discussion following the October 6 performance. The play runs through October 9, after which BAMcinématek will present the series “Peter Brook: Behind the Camera,” consisting of nine of the Paris-based English director’s films, beginning October 10 at 7:00 with his five-and-a-half-hour adaptation of The Mahabharata, which he will introduce, and continuing through October 20 with such works as The Beggar’s Opera, Lord of the Flies, Swann in Love, King Lear (starring Paul Scofield), and a week-long run of 1968’s Tell Me Lies (A Film About London).

BEYOND THE INGÉNUE: PAULINE AT THE BEACH

Pauline (Amanda Langlet), Pierre (Pascal Greggory), and Marion (Arielle Dombasle) get involved in a complicated love sextet in Éric Rohmer’s PAULINE AT THE BEACH

CINÉSALON: PAULINE AT THE BEACH (PAULINE À LA PLAGE) (Éric Rohmer, 1983)
French Institute Alliance Française, Florence Gould Hall
55 East 59th St. between Madison & Park Aves.
Tuesday, October 4, $14, 4:00 & 7:30
Series continues Tuesdays through October 25
212-355-6100
www.fiaf.org

“Love’s a form of insanity,” Pauline (Amanda Langlet) says in Éric Rohmer’s modern French classic, 1983’s Pauline at the Beach. The fifteen-year-old virgin turns out to be the most intelligent and honest character in the film, which earned Rohmer the Silver Bear for Best Director at the Berlin International Film Festival. Amanda Langlet stars as Pauline, a teenager who is spending the end of the summer on the Normandy coast with her older cousin, sexy fashion designer Marion (Arielle Dombasle). Windsurfing hottie Pierre (Pascal Greggory) wants to rekindle the romance that cooled off when Marion left to get married, but the now-divorced Marion lusts for Henri (Féodor Atkine), a balding, middle-aged father who is not nearly as serious about sex as Marion is. Meanwhile, Pauline and fellow teen Sylvain (Simon de La Brosse) start a cute flirtation that gets upended when Marion shows up at Henri’s beach house one afternoon to discover candy girl Louisette (Rosette) hiding in a bathroom with Sylvain. A series of lies, misunderstandings, and miscommunications — all the elements of a basic French sex farce — ensue as various characters reevaluate their relationships as well as their faith in love.

Photographed by the great Néstor Almendros, who worked extensively with Rohmer and François Truffaut, Pauline at the Beach is a sophisticated jigsaw puzzle of a romantic drama, as Marion, Pierre, Pauline, and Henri spend much of the film debating over just what love is, each justifying their own beliefs. While the grown-ups act like children, the two teens are more like adults when examining the future. The film is also a splendid time capsule of 1980s styles, from the cheesy music to the awesome hairstyles and bathing suits. Dombasle, who has had a long film career, is racy and seductive as the libidinous blonde, but Langlet, in her cinematic debut, steals the show with her fantastic bangs, skimpy bikini, and expressive puppy-dog eyes. The third in Rohmer’s 1980s “Comedies and Proverbs” cycle — which also includes The Aviator’s Wife, A Good Marriage, Full Moon in Paris, The Green Ray, and Boyfriends and Girlfriends — Pauline at the Beach is screening October 4 at 4:00 and 7:30 in the FIAF CinéSalon series “Beyond the Ingénue”; the later show will be introduced by author Min Jin Lee (Free Food for Millionaires). The series continues Tuesday nights through October 25 with Patricia Mazuy’s The King’s Daughters, Jacques Rozier’s Adieu Philippine, and a double feature of Antoine Desrosières’s Haramiste and Claire Denis’s US Go Home.

NEW YORK FILM FESTIVAL DOCUMENTARIES — SHORTS PROGRAM 5: BRILLO BOX (3¢ OFF)

Director Lisanne Skyler on the Brillo Box her family once owned

SHORTS PROGRAM 5: BRILLO BOX (3¢ OFF) (Lisanne Skyler, 2016)
Film Society of Lincoln Center
Bruno Walter Auditorium
West 65th St. at Amsterdam Ave.
Monday, October 3, $15, 6:30
Tuesday, October 4, $15, 9:15
Festival runs September 30 – October 16
212-875-5050
www.filmlinc.org
www.brilloboxmovie.com

Brillo Box (3¢ Off) is a charming and delightful look at art, family, and popular culture, as director Lisanne Skyler turns her camera on her mother and father to explore what became a major point of contention in their marriage. In 1969, young collectors Martin and Rita Skyler purchased a yellow “Brillo Box (3¢ Off)” by Andy Warhol for $1,000 from Ivan Karp at O.K. Harris in SoHo; five years earlier, in 1964, when the Skylers got engaged, the “Brillo Boxes” sold for $200 when they were first displayed. In 1971, Martin traded the box for a drawing by Abstract Expressionist dot painter Peter Young. In 2010, the Skylers’ “Brillo Box (3¢ Off)” sold at Christie’s for $3 million. In this intimate and lighthearted documentary, Skyler traces the history of Warhol’s Brillo Boxes — which were wood copies of the original boxes found in stores, designed by Abstract Expressionist James Harvey — the provenance of the specific box her family owned, and the birth, death, and rebirth of Pop art, via interviews with her parents as well as experts in the art world. “I started out not trying to be a connoisseur or anything like that but thinking that something I enjoyed doing could also just be another way of making money grow,” her father explains. Meanwhile, her mother felt a closer connection with the art, particularly with the Brillo Box, which she encased in Plexiglas and used as a coffee table. The Skylers also bought and sold works by Jake Berthot, Frank Stella, Roy Lichtenstein, Chuck Close, Jasper Johns, Cy Twombly, and Richard Serra.

Documentary follows the provenance of one specific Andy Warhol “Brillo Box”

Skyler, who has previously made such documentaries as No Loans Today and Dreamland and such fiction films as Getting to Know You and Capture the Flag, combines family photographs and home movies with archival footage of Warhol and anecdotes from curators, artists, dealers, collectors, and critics, including Jessica Todd Smith, Irving Sandler, Christie’s Laura Paulson, Kenny Schachter, Andy Warhol Museum director Eric Shiner, and John Armaly, president and CEO of Brillo/Armaly Brands. The forty-minute film, which features a playful score by Tape Waves, maintains a sweetly innocent attitude throughout while taking a quick look at how the art world has changed from the 1960s to 2010, particularly in regard to Warhol. “The world is more Warholian today than it was when he died,” art collector and dealer Daniel Wolf notes. Skyler also provides a terrific surprise at the end. An HBO film scheduled to air in 2017, Brillo Box (3¢ Off) is screening October 3 and 4 at the New York Film Festival in “Shorts Program 5: Documentaries” with Lewie Kloster’s Legal Smuggling with Christine Choy, Esteban Arrangoiz’s El Buzo, Matt Tyrnauer’s Jean Nouvel: Reflections, Ian McClerin’s Rotatio, and Mila Aung-Thwin and Van Royko’s The Vote. Several of the filmmakers and crew members will be present for Q&As, including Skyler.

NEW YORK FILM FESTIVAL MAIN SLATE: PATERSON

Adam Driver and Golshifteh Farahani star as a happy New Jersey couple in Jim Jarmusch’s PATERSON

PATERSON (Jim Jarmusch, 2016)
Film Society of Lincoln Center
West 65th St. between Eighth Ave. & Broadway
Sunday, October 2, Alice Tully Hall, $25, 9:00
Monday, October 3, Alice Tully Hall, 6:00
Sunday, October 16, Francesca Beale Theater, $15, 9:30
Festival runs September 30 – October 16
212-875-5050
www.filmlinc.org

Jim Jarmusch’s Paterson is a beautifully poetic, deceptively simple wonder about the beauty, poetry, and wonderful simplicity of life, an ode to the little things that make every day special and unique. Adam Driver stars as Paterson, a New Jersey Transit bus driver and poet who lives in Paterson with his girlfriend, Laura (Golshifteh Farahani), who spends much of her time decorating their small, quaint house, painting black and white circles and lines on curtains, couches, dishes, walls, and even her clothing, continually creating works of art out of nearly everything she comes into contact with. The film takes place over an ordinary week for the sweet-natured couple, who are very much in love, each allowing the other the freedom to explore who they are and offering their complete support. Every morning, Paterson wakes up around 6:12, as the sunlight streaks over their sleeping bodies. He checks his Casio wristwatch to confirm the time — he doesn’t use an alarm clock, nor does he own a cell phone or a computer — then snuggles closer with Laura for a few extra minutes. He eats Cheerios out of a bowl painted by Laura with circles that match the shape of the cereal. He studies a matchbook, which becomes the starting point for his next poem. Lunchbox in hand, he walks to the Market St. garage and gets on board the 23 bus. He writes a few lines of poetry, listens to fellow bus driver Donny’s (Rizwan Manji) daily complaints, then heads out on his route through his hometown, picking up pieces of some very funny passenger conversations. For lunch he sits on a bench overlooking the Paterson Great Falls and composes more mostly non-rhyming lines in his “Secret Notebook,” which he will not show anyone but Laura. At quitting time, he walks home, checks the mail, fixes the tilted mailbox, sees what new art Laura has created, and takes their English bulldog, Marvin (Nellie, who won the Palm Dog at Cannes and passed away two weeks after shooting concluded), for a walk after dark, stopping for a beer and chatting with bar owner Doc (Barry Shabaka Henley). He then goes back home, ready to do it all over again the next day. But Paterson is no bored working-class suburbanite living out a dreary routine; he finds something new and special in every moment, from his job to his relationship to his nightly trips to the bar. Every day is different from the one before, Jarmusch celebrating those variations that make life such a joy.

Adam Driver plays a poetic New Jersey Transit bus driver named Paterson in PATERSON

Set to a subtle electronic score by Sqürl, Jarmusch and Carter Logan’s band, Paterson is a gorgeous film, lovingly photographed by Frederick Elmes, who captured a very different kind of town in David Lynch’s Blue Velvet, and edited to the sweet rhythm of a basic existence by Affonso Gonçalves. Paterson’s poems were written by award-winning poet Ron Padgett, who, like Jarmusch, studied with Kenneth Koch; the works, which unfold day by day, include the previously published “Love Poem” (a tribute to Ohio Blue Tip Matches and love), “Glow,” “Pumpkin,” and “Poem” as well as three written specifically for the film, “Another One,” “The Run,” and “The Line.” The words appear on the screen in a font based on Driver’s handwriting as he narrates them in voiceover. (Among the other poets referenced in the film are Frank O’Hara, Wallace Stevens, Petrarch, and Emily Dickinson.) The film is also very much about duality and pairs, which Jarmusch has said in interviews was not always intentional. Adam Driver, who served in the Marines, plays a driver and former Marine named Paterson who lives and works in Paterson. He is constantly seeing twins, from two brothers named Sam and Dave (Trevor and Troy Parham) to two young girls on his bus to two older men on a bench. While Paterson and Laura seem meant to be together, their happiness infectious, he looks on every night as Everett (William Jackson Harper) desperately pleads with Marie (Chasten Harmon) to take him back. At the bar, Paterson often speaks to Doc about the pictures on the wall of fame, photos about such native sons as Uncle Floyd and his brother, Jimmy Vivino, as well as local superstar Lou Costello, part of one of the most popular comedy duos ever with Bud Abbott, who was born in Asbury Park (and thus does not qualify for the wall). Paterson’s favorite poet is lifelong New Jersey-ite William Carlos Williams, who Laura playfully refers to as Carlos Williams Carlos. (In making the film, Jarmusch was inspired by one of Williams’s most popular phrases, “No ideas but in things.”) And when Paterson’s not encountering twins, he’s bumping into random poets (Sterling Jerins, Method Man, Masatoshi Nagase) during his walks. Paterson is a poetic marvel all its own, a dazzling film about love and harmony, about finding creativity in every aspect of life, led by marvelous performances by Driver and Farahani and written and directed by a master of cinematic restraint.

Paterson is screening October 2, 3, and 16 at the New York Film Festival; Jarmusch and Driver will participate in a Q&A following the U.S. premiere October 2 at 9:00 at Alice Tully Hall. Jarmusch is also presenting Gimme Danger, his new documentary about Iggy Pop, at this year’s festival, including a Q&A with him and the Stooge after the October 1 show. In addition, Jarmusch will be in conversation with NYFF director Kent Jones for an “On Cinema” discussion on October 4 at 8:30 at the Walter Reade Theater ($15). A true treasure, Paterson opens theatrically in the U.S. on December 28.

DANNY SAYS

Documentary details Danny Fields’s wild life in the music business, including managing the Ramones

DANNY SAYS (Brendan Toller, 2016)
IFC Center, 323 Sixth Ave. at Third St., 212-924-7771
Lincoln Plaza Cinema, 1886 Broadway between 62nd & 63rd Sts., 212-757-2280
Opens Friday, September 30
dannysaysfilm.com

“He’s a handmaiden to the gods. He’s been midwife to some of the most important people in music,” John Cameron Mitchell says at the beginning of Danny Says, Brendan Toller’s highly entertaining if scattershot documentary about Danny Fields. Born Daniel Henry Feinberg in Brooklyn in 1939, Fields graduated from the University of Pennsylvania when he was still a teenager, dropped out of Harvard Law School, and went on to one of the wildest careers in the music business. Attracted to both cutting-edge and celebrity culture, Fields was a DJ, a magazine editor, a record executive, a press agent, and a band manager, always doing things his way. “I always went against the grain,” he says in the film, which features family photographs, home movies (including scenes from his bar mitzvah), outstanding music clips, and new and archival interviews with Fields, a natural storyteller with a casual delivery, whether he’s talking about his sexual promiscuity, hanging out with Andy Warhol and Edie Sedgwick at the Factory, or trying to hook up Jim Morrison and Nico. Nothing is off limits as he shares tales about going to gay bars, making “Have a Marijuana” with David Peel & the Lower East Side, developing a friendship with Linda Eastman, and playing the Ramones for Lou Reed for the first time. “He had a way with words that made you want to become part of whatever he was doing,” Peel says in the film.

Others who sing Fields’s praises are Wayne Kramer, Judy Collins, Iggy Pop, Alice Cooper, Justin Vivian Bond, Leee Black Childers, Lenny Kaye, Jonathan Richman, Jann Wenner, and Tommy Ramone. Toller, who met Fields while finishing his 2008 debut film, I Need That Record! The Death (or Possible Survival) of the Independent Record Store, made when he was twenty-one, and editors Ian Markiewicz and Timothy Sternberg have a blast with the archival concert footage, especially of the Stooges and the Ramones (who honored Fields with their song “Danny Says” on End of the Century) in their early days as well as the Velvet Underground, the Doors, the MC5, and the Modern Lovers. Playful animation by Emily Hubley, Johnny Woods, and Matt Newman accompanies several of Fields’s longer anecdotes. The narrative flow is rough, bouncing around like an album with some great songs but doesn’t quite achieve greatness itself, but it’s still a whole lotta fun. “What motivates me is to be in the right crowd,” Fields says. Seeing this film puts moviegoers in the right crowd, at least for ninety minutes. Danny Says opens September 30 at Lincoln Plaza and IFC Center; Toller will be at IFC for a Q&A with Michael Musto following the 7:15 screening Friday night.