It’s been obvious for some time that Michael Fassbender isn’t all that fond of the publicity game — particularly when it comes to awards season. He’s currently among the Best Supporting Actor favorites for his brutal turn in “12 Years a Slave,” but if/when he nets that overdue first nomination, it’ll be without much campaigning on his end. Speaking to GQ, Fassbender says he’ll be avoiding the awards circuit to focus on work: “That’s just not going to happen, because I’ll be in New Zealand … You know, I get it. Everybody’s got to do their job. So you try and help and facilitate as best you can. But I won’t put myself through that kind of situation again.” Fair enough. Mo’Nique let her performance speak for her in 2009, and it didn’t obstruct her path to the Oscar. Can Fassbender do the same? [GQ]
Bruce Handy makes the case for 2013 as the best year for movies since Hollywood’s Golden Age. I liked “We’re the Millers” more than most, but it’s a strange example to pick. [Vanity Fair]
Oscar-nominated screenwriter and playwright Patrick Marber (“Closer,” “Notes on a Scandal”) is polishing the “Fifty Shades of Gray” script. Well, work is work. [Variety]
Oscar-winning film editor Christopher Rouse talks about creating suspense and chaos in “Captain Phillips.” [Hollywood Reporter]
Still on “Captain Phillips,” Eliana Dockterman breaks down what’s fact and what’s fiction in the film. [TIME]
Hugh Jackman sang and performed on stage in Los Angeles at a benefit of the Motion Picture & Television Fund. [LA Times]
With “Frozen” on the way, head Disney animator Lino Disalvo says female characters are more difficult to animate than male ones. Hmmm. [Slate]
Speaking of Disney, with regard to “Escape from Tomorrow,” Matt Singer looks into our ongoing fascination with the dark side of the Mouse House. [The Dissolve]
David Denby calls “12 Years a Slave” “easily the greatest feature film ever made about American slavery.” [New Yorker]
Why over-acting is under-appreciated. [The Guardian]