Sir Roger Moore, who died May 23, 2017, at 90, is remembered for succeeding Sean Connery as James Bond — which he did and didn’t do.

As Bond buffs well know, George Lazenby briefly followed Connery as Bond in 1969’s ON HER MAJESTY’S SECRET SERVICE. Lazenby, who hadn’t meshed well with Eon Productions partners Albert R. Broccoli & Harry Saltzman, thought Bond would fade with the rise of youth appeal hits like THE GRADUATE & EASY RIDER. Telling his agent that he was uncertain about continuing led to his demise — despite having previously been offered a deal to play Bond in seven episodes.

Connery was persuaded to return as Bond for the sixth time in 1971’s DIAMONDS ARE FOREVER — after which Moore actually did take over for Connery, starting with 1973’s LIVE AND LET DIE. Moore couldn’t have done so any sooner than fully committed to British TV mogul Lew Grade’s hit series THE SAINT. He played Simon Templar, an English Robin Hood type crime-fighter created in the 1920s by British novelist Leslie Charteris, and also was a series producer & director. THE SAINT, which aired 118 episodes from 1962-to 69, made Moore the perfect solution to recasting Bond.

Moore has said he didn’t want to think about playing Bond until it was settled that Connery had definitely decided to give it up. And when Moore came on board, he was no Connery carbon copy. Where Connery, a famously proud Scotsman, was a departure from the English gentleman in the pages of Ian Fleming’s Bond novels, Moore fit the role splendidly well. Moore’s Bond was a custom-tailored playboy type who always seemed to have a gadget on hand to save the day. The Moore/Bond became known for witty one-liners since, as Moore once explained, he played the role “mostly for laughs” and not as a “cold-blooded killer type.”

To play Bond on screen, however, Moore had to lose weight and cut his hair, about which he made no secret of being unhappy. But in return, he starred in six more Bond films — THE MAN WITH THE GOLDEN GUN (1974), THE SPY WHO LOVED ME (1977), MOONRAKER (1979), FOR YOUR EYES ONLY (1981), OCTOPUSSY (1983) & A VIEW TO A KILL (1985).

On Dec. 3, 1985, Moore revealed that he was retiring as Bond; he’d had the role for over a dozen years. Moore’s seven times as Bond is the record for Eon’s franchise. However, technically Moore’s tied with Connery because Connery played Bond one more time in 1983’s non-Eon production NEVER SAY NEVER AGAIN, which became Connery’s seventh time out as Bond.

“I spent my life playing heroes because I looked like one,”  – Roger Moore

Now that the merger of Warner Bros. and Discovery has closed, David Zaslav has assumed his new role as the company’s President and CEO.  The Wall Street Journal published a profile of “Zas,” emphasizing his management approach and how different it is from how the media conglomerate was run under AT&T.

Zaslav uses a decidedly hands-on approach to running the company’s many television channels, streaming services, and news/media outlets.  He intends on increasing the number of new movies Warner Bros. releases theatrically from seventeen in 2022 to “20-25” in 2023.  The expansion is based on an assessment of financial profitability since his analysis indicates that theatrical releases provide more profit upfront and increased viewership on HBO Max.  Exhibitors are thrilled with a strong vote of confidence coming from the CEO of one of Hollywood’s major studios…and streaming providers.

Disney has hit a marketing home run by showing an exclusive in-theatre teaser trailer for AVATAR: THE WAY OF WATER with their blockbuster release of Marvel’s DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS.  The trailer has sparked buzz around the upcoming sequel to the 2009 original, especially its use of 3D technology.  AVATAR 2 will be the first time in years since many will have seen a movie in 3D.

James Cameron’s AVATAR was a box office phenomenon because of its innovative use of special effects.  After an initial wave of interest, 3D lost its luster as Hollywood rushed to bolt the format onto many special effects blockbusters, beginning with CLASH OF THE TITANS, released only four months after AVATAR.  Many viewers came to feel that 3D was a gimmick used to justify higher ticket prices.

At its peak in 2010, 3D accounted for $1.85B in domestic ticket sales, representing 18.2% of the total box office.  Since then, 3D’s market share has fallen dramatically, with even large-format specialist IMAX dropping the format.

However, Disney believes that audiences are ready once again to embrace 3D based on advancements in technology and the creative impact of director James Cameron.  Exhibitors are also enthusiastic since it promises a theatrical-only experience at a premium ticket price.

We finally know that 2023’s Oscars will take place on 3/12, but that’s not good news.

Once again, the Academy’s picked a March date that guarantees another bloated & extended awards season. Oscar campaigning starts with May’s Cannes Film Festival, where studios use costly premieres to put films into the early best picture conversation — like TOP GUN: MAVERICK (pictured) & ELVIS. Because Academy members are notoriously reluctant to nominate mainstream movies for best picture, being in the global media spotlight is step one.

But frontrunners must survive nearly a year of combat. As all the Oscar bellwethers start ringing, there’s an endless pre-Oscars parade of the same contenders. The sameness of it all works against the Oscars since viewers feel they’ve already seen it all by March.

The Academy’s far-flung membership — over 25% are now based in 75 countries — favors small international dramas. Many of them are only streaming, making it hard to get U.S. moviegoers to boost Oscar’s sagging ratings. However worthy these films are, unless American audiences know them, they don’t have a rooting interest in who wins.

The Academy would benefit from earlier dates for future festivities since shrinking the awards season could heighten interest in Oscar’s sealed envelopes.