From sketchy beginnings, The Weinstein Company has grown into a major Oscar player, ruling even the documentary race last year — but one category they have yet to score in, unlike back in their Miramax days, is Best Foreign Language Film. This year, they’re looking to change that with French crossover smash “The Intouchables,” but they’ve also just extended their stake in the race by nabbing Norway’s submission, “Kon-Tiki.” I’ll be seeing it myself soon, but even when its selection was announced, I figured this factual tale of explorer Thor Heyerdahl’s 1947 expedition from South America to Polynesia on a wooden raft — the most expensive film in Norwegian history — would be something that could appeal to the Academy. The Weinsteins’ attachment now confirms it as one to watch. True-life of Pi, anyone? [Variety]  

From “All the President’s Men” to “Invasion of the Body Snatchers,” Tom Huddleston picks 10 films — mostly from the 1970s — that he feels most informed “Argo.” [Time Out]

An interesting featurette on the sound design of “Flight,” with Robert Zemeckis, Randy Thom and Dennis Leonard. [SoundWorks Collection]

Oscar-winning production designer Preston Ames (“An American in Paris,” “Gigi”), along with Richardson Macdonald and Edward Stephenson, will be inducted into the Art Directors’ Guild’s Hall of Fame in February. [ADG]

Clayton Davis contemplates the chances of two lead acting hopefuls from the Lionsgate-Summit-Roadside stable: Naomi Watts and Richard Gere. [Awards Circuit]

Tom O’Neil chats to Ben Richardson, the gifted young cinematographer of “Beasts of the Southern Wild.” It’s his first feature; will this often insular branch acknowledge him? [Gold Derby] 

AFI Fest’s Secret Screening last night was… “Skyfall.” Isn’t that a bit anticlimactic, given it opens tomorrow? [Deadline]

Speaking of which, more Best Picture talk for Bond’s 50th-anniversary outing. I like the film and all, but I can’t quite board this train. [The Envelope]

Nathaniel Rogers, still in an election mood, invites your re-vote in some famously competitive and/or richly stacked Oscar races. [The Film Experience]

Home favorite Michael Haneke took top honors at the Vienna Film Festival with “Amour,” while Kenneth Lonergan’s “Margaret” — still chugging along — won the critics’ prize. [Viennale]