292:"...Over the years, they worked on so many of the films that I directed or produced, and I remember not just with ET or Schindler´s list, but also the times when the campaigns may have even been better than some the films I produced, and that´s as much a salute to Andy´s talent as his long list of tremendously successful pictures. Andy did it by building relationship with filmmakers, he did it by setting high standards of creativity, and he did it because he had good taste. And although he´s now no longer in the cutting room, there are so many people who have learned from him and worked with him, that his legacy of coming attractions goes on and on and on." -
286:"Andy was a kaleidoscope, never repetitious, always visually original, and above all, he was a lovely man: fun to be with, fun to work with. Andy understood the rhythms of editing and the important role music plays in telling a story. He never relied on the same creative idea twice. I also treasured that there were so many other dimensions to him as a person that enriched our time together. His passion for his art, his passion for his country, and for life in general, will be very sorely missed." -
279:"A trailer is two or three minutes long - about the length of a song - and I think of trailers as songs," said Kuehn, who was noted for his clever writing, use of music and sharp editing. "One of the hardest things to do when looking at a movie is to determine the overall tone, tempo, mood, pacing and rhythm of the trailer. They may not be the same as the tone and rhythms of the picture itself."
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of his, "Coming
Attractions" features rare archival footage and interviews with the top creative and executive talent in the industry, as well as the insights and discoveries of leading academics, archivists and collectors. The Academy Film Archive houses the Andrew J. Kuehn, Jr. Foundation collection, which includes footage used to make
145:, which was the predominant, if not singular, provider of motion picture trailers to Hollywood. At the time, their trailers typically featured a great deal of copy, slowly paced editing, bold graphic treatment of titles and cast information, and a presentational style borrowed from circus pitchmen and carnival barkers.
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which he inspired, financed and guided through development. As mandated by the Andrew J. Kuehn, Jr. Foundation, "Coming
Attractions" is to be freely distributed to film schools, film archives and film-related institutions nationally and worldwide. Produced, written and shot by long-term collaborators
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In a trade interview, Kuehn said, "A trailer has but one goal: to draw audiences out of their houses and into a theater. To do that you have to set up a sense of urgency. In the process of arriving at that forced pace, we advanced the style of editing. We really pushed the envelope in terms of what
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Top trailer companies have all been run by former
Kaleidoscope creatives, like The Cimarron Group (Chris Arnold), Ant Farm, Aspect Ratio (Mark Trugman), Trailer Park (Benedict Coulter) and Motor Entertainment, run by Greg McClatchy, who previously headed up the film marketing division at
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Kuehn opened the West Coast office of
Kaleidoscope Films in 1968 and Kuehn and his company became a major player in the trailer industry for the next three decades. As Hollywood began to produce bigger blockbuster films and invest more money in marketing them, directors like
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In 1994, Kuehn was honored by the Cannes Lions with a lifetime achievement award. On the tribute reel dedicated to his career, more than 1000 trailers were credited to Kuehn, including re-releases for
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began to depend on Kuehn and
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credits his career success to the thirty-year collaboration with Kuehn and their revolutionary approach of creating original scores using a whole new musical template.
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On March 15, 2006, the Andrew J. Kuehn
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Kuehn developed trailers for films including the original
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television study of
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395:Coming Attractions: The History of Movie Trailers,
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