It’s obviously a slow day for movie news, but this Atlantic piece about the danger posed to classic cinema by the digital revolution really registered with me. Much column ink has already been spilled on the demise of 35mm in contemporary film — some of it overly doom-laden — but less has been said about the effect the digital switchover will have on repertory screenings. Oscar-winning editor Thelma Schoonmaker, who recently found herself unable to obtain a new print of “The Age of Innocence” for a museum screening, is worried, not just about the future availability of older titles, but the preservation of the ones that do get converted: “I saw a digitized version of a film that David Lean made during World War II, and it looked just like a TV commercial that was shot yesterday. It was wrong, the balance was completely off. [Colorists] have no idea what these movies should look like anymore.” [The Atlantic]    

Solvej Schou on the importance of older female characters in the movies, as reflected in roles played this year by Sally Field, Judi Dench and Helen Mirren. No mention of Emmanuelle Riva? [EW] 

Alexandra Marshall talks to Riva, along with Michael Haneke and Jean-Louis Trintignant, about the making of “Amour.” [Hollywood Reporter]

Days after the news dropped of GKIDS acquiring “Grave of the Fireflies” for a US re-release, UK company Dresden Pictures has bought the rights for a live-action remake. Hmm. [Screen] 

The Wrap team highlight a dozen long-shot contenders that they think deserve some Oscar love. [The Wrap]

Production designer Rick Carter and costume designer Joanna Johnston on fabricating the sombre authenticity of “Lincoln.” [Gold Derby]

“Life of Pi” is the latest film to get a SoundWorks Collection study of its aural landscape. [SoundWorks Collection]

Kyle Buchanan and Claude Brodesser-Akner contemplate the rising stock of Best Actor hopeful Bradley Cooper: one of their sources calls him “the next Paul Newman.” I like Cooper, but… [Vulture]

Eugene Jarecki, who has to be regarded as one of the frontrunners for Best Documentary Feature, talks about his searing drug-war doc “The House I Live In.” [The Guardian]

Charlie Lyne on the thing that also bothered me most about the otherwise admirable “The Sessions”: why so coy with the male nudity? [Ultra Culture]