Long the standard-bearer of avant garde British cinema, Peter Greenaway — director of such unhinged works as “The Cook, the Thief, His Wife and Her Lover,” “The Draughtsman’s Contract” and “The Pillow Book” — has never even been nominated for a BAFTA. (Nope, not even in the days before they tried to out-Oscar the Oscars.) As of Sunday, however, he’ll have one, as he’s been named the recipient of this year’s Outstanding Contribution to British Cinema Award at the ceremony. Says Greenaway: “Everyone agrees that cinema is changing its characteristics very fast and to be awarded a BAFTA for trying to contribute to that change is a pleasure and a delight, an encouragement and an acknowledgment that the effort is valuable, certainly for myself and certainly for all those numerous collaborators who have assisted me in this effort over more than 30 years.” [BAFTA]
Randee Dawn examines how the short film Oscar races have become so dominated by foreign fare. [Variety]
Alfonso Cuaron calls fellow Best Picture nominee “Her” the “best film about love that speaks directly to an age since ‘Annie Hall.”” [The Playlist]
Oscar-winning producer Grant Heslov talks about “The Monuments Men” and his 30-year friendship/collaboration with George Clooney. [The Guardian]
This year’s Sci-Tech Oscars will honor the dying art of film processing. [The Wrap]
The Academy reveals details of this year’s inaugural Oscar Concert, where Pharrell’s “Happy” will be performed, rather awesomely, by Jill Scott. [Oscars]
Richard Brody on why doing a sitcom could be a good thing for Greta Gerwig. [New Yorker]
Daniel Walber on the distinction between sound mixing and editing, and how well (or not) the Academy’s nominees reflect it. [Film.com]
TCM’s Classic Film Festival announces its lineup, opening April 10 with a restoration of “Oklahoma!.” [Hollywood Reporter]