Hans Zimmer will very likely receive the tenth Oscar nomination of his career for his robust, striking score to “12 Years a Slave”; he may well even get his second win. (Yes, he’s only won for “The Lion King.”) It’ll be a suitable capper on what’s been a busy year for the German composer: I think he’s equally Oscar-worthy for “The Lone Ranger,” and there’s “Rush” and “Man of Steel” besides. Anyway, the subject of the day’s best online read, as he reflects (and gossips) on a range of films he’s scored in his career, from “My Beautiful Launderette” to “Inception.” On the Oscars, meanwhile, he says, “[They’re] incredibly seductive. You see people who you admire and who you think have incredible artistic integrity make complete fools of themselves on that stage. Me included.” [Vulture]
Emma Thompson will be the subject of a BAFTA: Life in Pictures tribute later this month. [Screen Daily]
Tim Gray on why studios are so reluctant to promote two leading co-stars in the same category. [Variety]
Guild-winning costume designer Trish Summerville discusses her creations for “The Hunger Games: Catching Fire.” [New York Times]
From James Franco to Mads Mikkelsen to Tye Sheridan, Peter Knegt spotlights 10 underdog actors who deserve Oscar consideration. [Indiewire]
Steve McQueen and Michael Fassbender talk about “12 Years a Slave” and their ongoing collaboration. A McQueen/Fassbender musical? It’s mooted. [Film.com]
Leslie Felperin on why the oft-applied Bechdel Test is no reliable indicator of a film’s feminist value. [The Guardian]
Why Joseph Gordon-Levitt’s “Don Jon” potentially points to a new distribution model for studios. [Tribeca Film]
Oscar-nominated writer-director John Sayles on why it’s harder than ever to get by as an independent filmmaker. [Newsday]